BEGIN:VCALENDAR VERSION:2.0 PRODID:icalendar-ruby CALSCALE:GREGORIAN BEGIN:VEVENT DTSTAMP:20170820T083315Z 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:20170820T083315Z 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:20170820T083315Z UID:66391 DTSTART:20090817T180000 DTEND:20090817T200000 LOCATION:ARTBREAK\,3956 YONKERS \nNEW YORK\, NY 08574 SUMMARY:RO-SEY\, WM ROSE END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z 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:20170820T083315Z 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:20170820T083315Z 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:20170820T083315Z 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:20170820T083315Z 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:20170820T083315Z 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:20170820T083315Z 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:20170820T083315Z 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:20170820T083315Z 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).

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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.

\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:20170820T083315Z 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:20170820T083315Z UID:387218 DTSTART:20150712T000000 DTEND:20170909T000000 DESCRIPTION:

Painter Barbara Takenaga creat es a new work of \;unprecedented scale for a 100&rsquo\; gallery space. Known for \;her labor-intensive abstractions composed of matrixlike&nb sp\;patterns of dots\, Takenaga translates her \;meticulous\, easel-siz ed work to wallpaper in this large-scale \;commission.

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Painter Barbara Takenaga creates a new work of an unprecedented scale for a 100&rs quo\; wall in the Hunter Center lobby at MASS MoCA. Known for her labor-int ensive\, exuberant abstractions composed of matrix-like\, swirling patterns of dots\, Takenaga translates her meticulous\, handcrafted\, easel-sized w ork to wallpaper in this large-scale commission. The mural features a new i mage from her series\, \;Nebraska Paintings\, a body of work t hat moves closer to the representational imagery only implied in earlier pi eces\, but which captures the wide open spaces and big sky of the artist&rs quo\;s native state.

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At MASS MoCA\, Takenaga&rsquo\;s pared-down landscape of earth and atmosphere is painted in grays and muted tones\, which the artist likens to the quality of light at dusk. In her words\, the moody palette\, punctuated with the artist&rsqu o\;s signature burst of high color\, conveys &ldquo\;the &lsquo\;violet hou r&rsquo\; of in-between time\, when the land and sky start to blur.&rdquo\; A horizon line\, situated high in Takenaga&rsquo\;s composition\, places t he viewers&rsquo\; perspective floating above the ground\, suggesting that an immense expanse of plain stretches out in front of them. Repeated lines of white dots radiate out in all directions from an implied vanishing point on the horizon line to suggest blooming crops\, a snowy blizzard\, or a st ar-filled sky. The single image is repeated twelve times along the length o f the wall\, with the composition&rsquo\;s receding lines and diminishing d ots of classical one-point perspective alternately moving backward toward t he horizon and forward toward the viewer. The long horizon is regularly int errupted by a diamond-like shape formed by the intersection of lines at the seams between each image. As viewers walk the length of the wall\, the cha in of images functions like a series of film stills\, implying movement and the rhythm of time. The result is a tension-filled composition that emphas izes both the flat surface of the wall and an illusion of depth. Adding eve n more dimension to the work\, as well as a sense of the artist&rsquo\;s ha nd to the digitally reproduced image\, Takenaga will apply iridescent paint to the wallpaper surface.

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Describi ng Takenaga&rsquo\;s paintings as both &ldquo\;hallucinogenic&rdquo\; and & ldquo\;sternly disciplined\,&rdquo\; writer Nancy Princenthal aptly describ es the \;Nebraska Paintings: &ldquo\;It would be misleading to overstate the figurative suggestions of these paintings\, or their emotion al weight. Many present a sleek seductiveness that combines acid-trip visua l plentitude with James Bond cool. But given a minute\, the imagery grows m ore complex. Takenaga&rsquo\;s work explores the minimum requirements for e voking astral space\, or snow over the plains\, or an uncharted sea. And it demonstrates the many pleasures\, not excluding the optical\, that such ev ocations provide.

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Barbara Takenaga was born in North Platte\, Nebraska\, and has a M.F.A. from the University of Colorado\, Boulder. She has had solo exhibitions at the Colorado Univers ity Museum\, University of Colorado\, Boulder\; Brattleboro Art Museum\, Br attleboro\, Vermont\; McKinney Avenue Contemporary\, Dallas\; Art in Genera l\, New York\; and the Williams College Museum of Art\, among other museums and galleries. Takenaga&rsquo\;s work has also been exhibited in group exh ibitions at the Pennsylvania Academy of the Fine Arts\, Philadelphia\; San Antonio Museum of Art\, Texas\; Henry Art Gallery\, Seattle\; American Acad emy of Arts &\; Letters\, New York\; Bell Gallery\, Brown University\, P rovidence\, Rhode Island\; deCordova Sculpture Park and Museum\, Lincoln\, Massachusetts\; Tang Teaching Museum and Art Gallery\, Skidmore College\, S aratoga Springs\, New York\; Museum of Contemporary Art\, Denver\; and the Asia Society\, New York. In 2013 Takenaga was elected National Academician of the National Academy\, New York. Her work can be found in numerous publi c and private collections\, including the Pennsylvania Academy of the Fine Arts\; Crocker Art Museum\, Sacramento\, California\; Neuberger Museum of A rt\, Purchase\, New York\; the San Jose Museum\; Library of Congress\, Wash ington\, D.C.\; and the Frederick R. Weisman Art Foundation\, Los Angeles\; among others. Takenaga is the Mary A. &\; William Wirt Warren Professor of Art at Williams College\, Williamstown\, Massachusetts. She is represen ted by DC Moore Gallery\, New York\; and Gregory Lind Gallery\, San Francis co. Takenaga lives and works in New York City and Williamstown\, Massachuse tts.

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\n LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:Nebraska\, Barbara Takenaga END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:387219 DTSTART:20150711T173000 DTEND:20150711T190000 LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:Nebraska\, Barbara Takenaga END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z 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:20170820T083315Z 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:20170820T083315Z UID:421933 DTSTART:20160922T000000 DTEND:20170925T000000 DESCRIPTION:

This exhibition celebrates the fifteenth anniversary of the Neue Galerie&rsquo\;s founding. Highlights fr om the museum&rsquo\;s extensive collection of Austrian art from the period 1890 to 1940 are on view\, including major paintings and drawings by Gusta v Klimt\, Oskar Kokoschka\, Alfred Kubin\, and Egon Schiele. Icons of moder n design are also featured\, such as furniture designed by architects Otto Wagner and Adolf Loos\, as well as objects made by the Wiener Werkstä\; tte after designs by Josef Hoffmann\, Koloman Moser\, and Dagobert Peche.\n\n

The center gallery features an extra ordinary selection of Klimt&rsquo\;s sensuous depictions of women\, includi ng both portraits of Adele Bloch-Bauer (1907 and 1912)\, as well as paintin gs of Gertha Loew (1902)\, Elisabeth Lederer (1914-15)\, and Ria Munk (1917 ). This special presentation includes four major loans that have been exten ded following the recent exhibition\, &ldquo\;Klimt and the Women of Vienna &rsquo\;s Golden Age\, 1900-1918.&rdquo\; The Neue Galerie appreciates the generosity of the private lenders who made this presentation possible\, whi ch offers a rare opportunity to see some of Klimt&rsquo\;s most important a nd beloved canvases. Special thanks are due to Neue Galerie President and c o-founder Ronald S. Lauder.

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A fully -illustrated catalogue\, published by Prestel Verlag\, accompanies the exhi bition\, featuring a major overview of of the Neue Galerie'\;s holdings of fine art and design from Germany and Austria.

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This exhibition is made possible in part by the Neue Galerie President&rsquo\;s Circle.

\n LOCATION:Neue Galerie Museum for German and Austrian Art\,1048 Fifth Avenue \nNew York\, NY 10028 SUMMARY:Austrian Masterworks from the Neue Galerie New York END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:421934 DTSTART:20160922T110000 DTEND:20160922T180000 LOCATION:Neue Galerie Museum for German and Austrian Art\,1048 Fifth Avenue \nNew York\, NY 10028 SUMMARY:Masterworks of the Neue Galerie END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z 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:20170820T083315Z 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:20170820T083315Z 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:20170820T083315Z UID:433237 DTSTART:20170804T000000 DTEND:20170930T000000 DESCRIPTION:

Andrew Kosten received a Bachelor'\;s degree in painting from Washington University in St. Louis in 2001 and a Masters degree in pri ntmaking from the University of South Dakota in 2005. He currently resides in Brookings\, South Dakota where he operates Gum Pal Press. Themes consist ent in his work include the influence of the corrupt over the unsuspecting\ , the hilarity and whimsical nature of the human psyche\, and the function of the individual in relation to their culture or environment.

\n LOCATION:Ink Shop Printmaking Center & Olive Branch Press\,330 E. MLK Jr. S t. 2nd Floor\nIthaca\, NY 14850 SUMMARY:Hideout\, Andrew Kosten END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:433238 DTSTART:20161111T170000 DTEND:20161111T200000 LOCATION:Ink Shop Printmaking Center & Olive Branch Press\,330 E. MLK Jr. S t. 2nd Floor\nIthaca\, NY 14850 SUMMARY:Hideout END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:433239 DTSTART:20170804T000000 DTEND:20170930T000000 DESCRIPTION:

After traveling abroad in Asia and earning my BFA degree in Printmaking from Massachusetts College of Art and Design in Boston Anna has joined the Ink Shop as our newest Printmaker Associate. She has immediatel y begun work for this show\, Muse.

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In Muse\, Anna mAnnaeditates a nd questions the relationship between her ever-shifting present\, and the m ournful and joyous past through the series of 15-25 en plein air landscape intaglio prints. She pulls both inspiration and comfort from Rembrandt'\ ;s Intaglio Landscapes\, which were created specifically after his wife&rsq uo\;s\, death in 1642. Landscape as her subject matter\, allows her to surr ender to the renderings of light\, with similar the delicate and even sombe r atmosphere reflective of Rembrandt&rsquo\;s prints.

\n LOCATION:Ink Shop Printmaking Center & Olive Branch Press\,330 E. MLK Jr. S t. 2nd Floor\nIthaca\, NY 14850 SUMMARY:Muse\, Anna Pausch END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:433240 DTSTART:20161111T170000 DTEND:20161111T200000 LOCATION:Ink Shop Printmaking Center & Olive Branch Press\,330 E. MLK Jr. S t. 2nd Floor\nIthaca\, NY 14850 SUMMARY:Muse END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:434856 DTSTART:20161210T000000 DTEND:20170904T000000 DESCRIPTION:

CIM- "\;seven"\; in Ukrainian- plays on the notion o f a collective and what binds the seven artists in this exhibition cultural ly and ethnically\, as first and second generation Ukrainian-American and U krainian-born artists from the New York City area. This exhibition\, curate d by Roman Hrab\, with catalogue contribution by Olena Chervonik\, convenes their individual experiences as a collective of artists working in a wide range of styles and media.

\n LOCATION:Ukrainian Museum\,222 East 6th St. \nNew York\, New York 10009 SUMMARY:CIM\, Luba Drozd\, Adriana Farmiga\, Maya Hayuk\, Roman Hrab\, Yuri Masnyj\, Christina Shmigel\, Marko Shuhan END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:437214 DTSTART:20160827T000000 DTEND:20180107T000000 DESCRIPTION:

In her stone sculptures\, Zimm erman balances the sensuous materiality of \;magnificent \;slabs&nb sp\;of quarried stone with other key elements such as water\, light\, and l andscape. \; Zimmerman&rsquo\;s sculptures reference her attraction to archaic architectural form\, a subject also captured in her lush black and white photographs on display in the East Gallery. These photographs\, taken during her travels in places such as Peru\, India\, and Egypt\, are joined by images of her many public sculptures\, allowing the viewer to make the connection between her large scale public works and the form\, light and co mposition seen in her black and white photography.

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Beginning in February 2017\, the exhibition continues in th e West Gallery which will further explore Zimmerman'\;s works on paper\, juxtaposing works from the artist&rsquo\;s \;Elemental \; series\, including topographical photographic collages\, ink and wash drawi ngs of moving water\, and pastel drawings of clouds from her \;Heav en'\;s Breath \;series.

\n LOCATION:Grounds For Sculpture\,18 Fairgrounds Road (mailing address) 126 S culptors Way (GPS location)\nHamilton\, New Jersey 08619 SUMMARY:Wind\, Water\, Stone\, Elyn Zimmerman END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:438424 DTSTART:20161001T000000 DTEND:20171001T000000 DESCRIPTION: LOCATION:Kalib & Kalib\,20 West 72nd Street \nNew York\, NY US SUMMARY:Works by Benna Holden END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:438727 DTSTART:20170202T000000 DTEND:20171202T000000 DESCRIPTION:

RECEPTION 2/3 Fri Group Exhibition: Beginning

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T ittle: Beginning

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Part icipating Artists &\; Biography

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Ai Hibino

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Ai Hibino was born in August\, 1993 in Gifu Prefecture. Nag oya University of Arts and Sciences Department of Visual Media(Aichi) 4th g rade. She is studying the Omotesenke Chado and Orthodox Law Flower Arrangem ent under her grandmother Souyu Hibino from the childhood. When she studied abroad for studied English to United States for a year at 17 years old\, s he determine to receive a stimulus in the height of the level of the music and the art and advance towards the musical way. She formed a rock band aft er returning home\, but It dismisses from the difference in the mutual opin ions. After that I go to a university and learned movie\, picture\, graphic design\, installation\, and sound. A sound spatial work using 5ch is relea sed in "\;Tokoname field trip"\; \;in 2014. And Audio Engineeri ng and music edit is performed in a fashion \;show "\;NUAS Collecti on"\; \;by a department of fashion in the same university\, 2014. S tereophonic \;spatial work <\;Geometric Confusion>\; \;using 16 ch is released in a &\;quot\;Nagoya University of Arts and \;Science s Department of Visual Media\, production exhibition&\;quot\; common nam e Zemiten show in \;2015. She specializes in sound art and I&\;#39\; m studying&\;quot\; possibility of the fusion of Japanese culture and so und art using multichannel and the expression&\;quot\; in a theme and pr oducing. She would like to express beauty of the heart with which the perso n inherited continuously in the Japanese entertained and Wabi and Sabi from the angle of the sound. A study is being advanced from the thought that sh e would like to repaint the fixed idea to say when she say Japanese culture .

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Akane Nakamura

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Aka ne Nakamura was born in Aichi Japan on 1993.

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She has loved drawin g under the influence of her friends since she was chaild. She has loved En glish which she had hated because she met with an English teacher. She went to the high school which recommended to go study abroad. She went to Austr alia and Canada to study aboroad when she was high school student. She had joined fashion and some art classes in Canada\, and then she found the plea sure of creation. She also took part in drama in English and the contest fo r oral interpretation as a member of ESS club in her high school. This expe rience gave her the interest of performance. After going to the University\ , she starts to study semiotics and girl cluture. She also joins the drama club\, and has experienced acter and advertiser in some public performance. She is interested in ZINE\, and planning to creat it herself recently. She hasn&rsquo\;t experienced with creating something publicly yet except the plays. However\, her core of creation is to represent ideas in her mind tha t she can not tell well. It is hard for her to tell her mind exactly in the conversations. She plan for creating works that are natural\, daily and li ttle bit fantasy.

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Risa Mikami< /p>\n\n

Risa Mikami was born in the city of Takahama\,in Aichi Prefecture of Japan.

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She experienced a behind the scenes in the activities of the drama club\,which began in high school.By this\,She was interested i n the work on sound.At the time\,because it was the thing to watch a movie on a hobby\,to study about it and recording to put the sound on the video a t the university.2014\,begin to co-produced the movie in the univercity.

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In 2015 it experienced a 5.1ch of editing\, went to deepen the know ledge of recording and MA.

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And\,such as performing the recording and MA of the Roundtable been asked for those that have been introduced fro m an acquaintance\,is expanding the range of activities.

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 \;< /p>\n\n

Yuri Sakai

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Yuri Sakai is from Aichi Pr efecture Japan. She has liked painting since her childhood.

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She w ent on to high school the fine arts department\, and she began to study art . However\, she realized that the world of the fine arts was a little diffe rent with her thoughts. For this reason\, she decided to go on to the Unive rsity of design. She was in love with a man at the time of the third year o f high school. But she had not shown her art works to him. It is at the sta rting point. She determined that she joins in the world of art\, and releas es her works there. After graduated from high school\, she went on to the U niversity of design that she planned. One day\, she visited the exhibition of Jim Dine by chance. It aroused her interest in lithograph. She has begun to go to the atelier of print in her University. She fascinated with litho graph because the color of ink is beautiful. Most of the motif of her work is males. Males are her interests for because the gender is different from her\, so she doesn&rsquo\;t have jealousy for their beauty. She easily admi ts the beauty even it is what she doesn&rsquo\;t have. She puts her desire and negative emotions on males in her work. As that way\, she releases hers elf from femininity that binds her thoughts.

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Exhibition:

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Thursday\, 2/2 &ndash\; Sunda y\, 2/12

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12:00PM - 6:00 PM

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Closed on Wednesday

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&nbs p\;

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\n LOCATION:Ouchi Gallery\,170 Tillary St. suite 105\nBrooklyn\, NY 11201 SUMMARY:★RECEPTION 2/3 Fri★ Group Exhibition: Beginning\, Ai Hibino + Akane Nakamura + Risa Mikami + Yuri Sakai END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:438728 DTSTART:20170302T190000 DTEND:20170302T220000 LOCATION:Ouchi Gallery\,170 Tillary St. suite 105\nBrooklyn\, NY 11201 SUMMARY:★RECEPTION 2/3 Fri★ Group Exhibition: Beginning END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:439516 DTSTART:20170502T000000 DTEND:20171102T000000 DESCRIPTION:

EXHIBITION 2/5~2/11

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Art ist: Mari Nishimura

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Biography:

\n\n< p>I have been fond of dragons since childhood. From a young age\, I started drawing dragons using my fingers with assorted painting materials and woul d paint colorful dragons in various places.

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The pictures drawn by Mari Nishimura are often described as being &ldquo\;powerful&rdquo\;.

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The energy\, kindness\, strength and sadness can be seen overflowing from the basis of an individual human...

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Many people are moved to tears when they see these paintings.

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This is surely due to the d epth and strength of the view of life that is depicted in each painting.

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Sometimes gentle\, sometimes powerful\, Mari Nishimura&rsquo\;s wor ks continue to evolve.

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Her solo exhibitions in Japan have proven to be so popular that numbered tickets have been issued for admission.

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This &ldquo\;dragon woman&rdquo\; is flying around the world with her dragons as she receives invitations from all parts of the earth.

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Born in Kumamoto Prefecture\, resident in Tokyo

\n\n< p>Graduated from Musashino Art University

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Working as Creative Dir ector/Copywriter at an advertising company

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2014 Solo exhibition at Omotesando Gallery Pamina\, Tokyo

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2015 Solo e xhibition at Hyde Gallery\, Los Angeles

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2015 Solo exhibition at l iveravo  \;Gallery Fukuoka

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2016 Group exhibition at Jadite Ga lleries N.Y.

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2016 Solo exhibition at Hyde Gallery\, Los Angeles\n\n

2016 Solo exhibition in Omotesando\, Tokyo Presentation of dragon paints at IsonokamifutsumitamaShrine in Okayama Prefecture

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2016 C hristmas art show exhibition at Hyde Gallery\, Los Angeles

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2017 E xhibition at Japan Fair\, Berlin

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2017 Solo exhibition at Montserr at Gallery\, Chelsea\, NY

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2017 Group exhibition at Pinacoteca di Brera 169 in Milan\, Italy

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Exhibition:< /strong>

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Thursday\, 2/5 &ndash\; Sunday\, 2/11\n\n

12:00PM - 6:00 PM

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&nb sp\;

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\n LOCATION:Ouchi Gallery\,170 Tillary St. suite 105\nBrooklyn\, NY 11201 SUMMARY:Art Exhibition\, Mari Nishimura END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:440426 DTSTART:20170301T000000 DTEND:20170924T000000 DESCRIPTION:

In the early twentieth century\, New York City&rsquo\;s weal thy elite gathered in opulent private ballrooms for extravagant parties tha t defined their social status. In contrast\, Central Park was established i n the 1850s as one of the nation&rsquo\;s first urban parks because of a ne ed for democratic access to public space. Open House is a new comm ission by Los Angeles-based artist Liz Glynn (b. 1981\, Boston\, MA) that h ighlights these historic class distinctions. It references one of the grand est Fifth Avenue ballrooms designed by famed Gilded Age architect Stanford White: the now-demolished William C. Whitney Ballroom.

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Open H ouse transforms Doris C. Freedman Plaza into an open air ballroom wher e only scattered furniture and arches remain eight blocks south from the si te of the original mansion. The 26 sculptures adapt the forms of the lavish Louis XIV sofas\, chairs\, and footstools from the historic home\, but wit h a twist&mdash\;Glynn&rsquo\;s objects feature modeled additions and are c ast in concrete\, a populist material more commonly seen in modern architec ture. With this revision\, the artist invites the public to enjoy her conte mporary re-imagining of a previously exclusive interior space as one that i s open and accessible to all. In this strange facsimile of a once opulent p ast\, Glynn addresses the evolving face of a city: who has access to space in a society that is increasingly divided along socio-economic lines?

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\n LOCATION:Public Art Fund\,Doris C. Freedman Plaza Central Park\, 60th Stree t & 5th Avenue\nNew York\, NY 10019US SUMMARY:Liz Glynn: Open House\, Liz Glynn END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z 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:20170820T083315Z 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:20170820T083315Z UID:441283 DTSTART:20170314T000000 DTEND:20170820T000000 DESCRIPTION:

This survey\, the first museum exhibition on Carlo Zinelli (1916&ndash\;1974) in the United States\, coin cides with the one-hundredth anniversary of the birth of this revered and d istinctive Italian artist&mdash\;a canonical art brut figure included in Je an Dubuffet&rsquo\;s collection from the 1960s. The show highlights four di stinct phases in Zinelli&rsquo\;s oeuvre and new scholarship\, through a se lection of fifty-five paintings (many displayed double-sided)\, audio recor dings of Zinelli\, a film\, and images by Life magazine photograph er John Phillips. The exhibition brings together artworks from the American Folk Art Museum and other private and public collections from the United S tates and abroad\, notably the Collection de l&rsquo\;Art Brut\, Lausanne\, the Fondazione Culturale Carlo Zinelli\, Verona\, and the collection of Au drey B. Heckler\, New York.

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Curated by Valé\;rie Rousseau\, PhD\, Curator\, Self-Taught Art and Art Brut .

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An exhibition brochure is availab le.

\n LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SUMMARY:Carlo Zinelli (1916–1974)\, Carlo Zinelli END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:441284 DTSTART:20170314T103000 DTEND:20170314T173000 LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SUMMARY:Carlo Zinelli (1916–1974) END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:441285 DTSTART:20170314T000000 DTEND:20170820T000000 DESCRIPTION:

Throughout his life\, Eugen Ga britschevsky displayed a precocious passion for the natural sciences\, part icularly entomology. Born in Russia\, he completed advanced degrees in biol ogy and genetics in Moscow\, before pursuing postdoctoral studies in 1925 a t Columbia University. Soon after he joined the Pasteur Institute in Paris in 1927\, his successful career was cut short by the deterioration \;of his mental health\, leading to his admission into a psychiatric hospital i n Germany in 1931. There\, and for the rest of his life\, Gabritschevsky el aborated a prolific\, refined\, and heterogeneous body of work&mdash\;gouac hes\, drawings\, and watercolors on paper&mdash\;imbued with his early scie ntific interests\, observation skills\, and a propensity for experimentatio n. This first in-depth exhibition of Gabritschevsky&rsquo\;s relatively unk nown artistic contribution is composed of more than eighty artworks\, a fil m\, publications\, and archival documents.

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The exhibition is organized in collaboration with the Collection de l&rsquo\;Art Brut\, Lausanne\, and La maison rouge\, Paris. The New York p resentation is curated by Valé\;rie Rousseau\, PhD\, Curator\, Self-T aught Art and Art Brut.

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A 192-page catalog\, Eugen Gabritschevsky\, 1893&ndash\;1979 (Snoeck\, 2016)\ , is available.

\n LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SUMMARY:Theater of the Imperceptible\, Eugen Gabritschevsky END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:441286 DTSTART:20170314T103000 DTEND:20170314T193000 LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SUMMARY:Theater of the Imperceptible END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:441567 DTSTART:20170803T000000 DTEND:20171203T000000 DESCRIPTION:

Yukapon

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Biography :

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Yuka Ishiguro was born in the small town of &ldquo\;Date&rdquo\;\,in Hokkaido\,Japan in 1963.

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When she was a child\,she lived near the sea and always enjoyed playing in the bountiful n ature of her hometown.It was these experiences that fueled her imagination with the time that she spent in the sea\,the fields alive with the sounds o f insects and the flower garden of her family home.

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She greatly e njoyed picture books ando stories. Even wanting the same picture books that she already had if illustrations were different.In her childhood\, she was shy.Her imagination fueled by becoming absorbed in reading books and spend ing time in nature.

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Her father had a talent for sketching and she was greatly moved by his drawings of his wife.

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The moment she sa w these\,she became interested in art.

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When she was in the first grade of primary school\,she wa awarded a commendation in an art contest.At the time she wasa incredibly happy to get 36 kinds of paints as a prize\,b ut after trying them she knew that she couldn&rsquo\;t express her all the ideas in her imagination with only 36 colors.

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When she was in six th grade\,her design of imaginary creatures was adopted in her school festi val and made into a snow statue.Her talent and creativity was admired even at that time.

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However after graduating elementary school\,as she grew up she stopped drawing the art that she had felt such a connection wit h.

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She became a bank employee\,married and retired from her job a fter starting a family.She enjoyed many years of happiness\,but struck by a dversity found herself plunged into cycle of loss and rebirth.Ultimately\,s he returned to drawing by digital\,depicting winged creatures such as the p hoenix\,a symbol of rising from the ashes\,to express her wish to escape fr om a life without freedom\, into the truly free world of fer imagination\,< /p>\n\n

In 2015\,she visited N.Y. with a strong resolve to change herself and her life. Then\,heavily influenced by the energy and individuality of the people of N.Y. her view of things began to shift.

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During 2016 \,she met the popular art director Arisa Itami and given the chance to exhi bit her art at the Ouchi gallery.

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Through her works she express j oy\,love\,hope and peaceful energy propagated be her art aiming to draw out the essence on these invisible but powerful emotions.She hoped those who v iew her works can away from the experience feeling renewed happiness.

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mume

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Biography:

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Mika Horie uses unprecedented mixed medi a to discover and combine the histories of Japanese handcraft and \;Wes tern photography.

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Her interest for photography and Japanese paper making began in BA in Information Design \;at Kyoto University of Art and Design.

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In 2008\, she moved to the United Kngdom for her one- year study in MA \;European Arts Practice (Fine Art) at Kingston Univer sity London. Throughout her life in Europe\, she developed her \;intere st in exploring Japanese aesthetic point of views and sense of humor in our everyday life with various \;artworks.

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In 2013\, horie estab lished her own studio space &ldquo\;mume (Umeboshi pickled plum)&rdquo\; in a small mountain \;village in Ishikawa\, Japan\, and started to pursue the primitive passions for pleiotropic arts and design.

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She  \;consistently creates cyan-blue prints on the basis of ultra-naturalism by using 100% wild Gampi trees\, spring water\, \;iron-salt\, ferric ammo nium citrate\, potassium ferricyanide\, and sunlight from paper making to c yanotype \;printmaking.

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\n LOCATION:Ouchi Gallery\,170 Tillary St. suite 105\nBrooklyn\, NY 11201 SUMMARY:OPENING RECEPTION 3/7 AT 7pm Yukapon/Can you feel it?~Spits with wi ngs+mume/B3-304\, Yukapon+mume END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:441568 DTSTART:20170703T190000 DTEND:20170703T220000 LOCATION:Ouchi Gallery\,170 Tillary St. suite 105\nBrooklyn\, NY 11201 SUMMARY:OPENING RECEPTION 3/7 AT 7pm Yukapon/Can you feel it?~Spits with wi ngs+mume/B3-304 END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:442066 DTSTART:20161023T000000 DTEND:20170904T000000 DESCRIPTION:
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For Projects 1 05\, MoMA PS1 presents Education by Stone (2016)\, a new site -specific installation by Cinthia Marcelle (born Belo Horizonte\, Brazil\, 1974) and the artist&rsquo\;s first solo exhibition in New York. Marcelle i s known for installations\, performances\, and videos that stage forms of l abor to produce poetic situations. The installation introduces chalk\, a tr aditional teaching material to which Marcelle has returned throughout her c areer\, into the Duplex gallery of MoMA PS1&mdash\;which is itself a former school building. Numerous rods of chalk will be lodged into the fissures a nd openings of the gallery&rsquo\;s brick walls from floor to ceiling\, rev ealing the material&rsquo\;s inherent instability and fragility.

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Cinthia Marcelle has had solo exhibitions in South America and Europe. She recently participated in the 11th Sharjah Bie nnial (2015)\, and will represent Brazil in the 57th Venice Biennale (2017) . In 2006\, she was the recipient of the International Prize for Performanc e for her work Gray Demonstration (2006). In 2010\, she was awarde d the Future Generation Prize.

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Organized by Giampaolo Bianconi\, Curatorial As sistant\, Department of Media and Performance Art\, The Museum of Modern Ar t.

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The Elaine Dannheisser Projects Series is made possible in part by The Elaine Dannheisser Foundation and Th e Junior Associates of The Museum of Modern Art.

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\n LOCATION:MoMA PS1\,22-25 Jackson Ave \nLong Island City\, NY 11101 SUMMARY:Projects 105: Cinthia Marcelle\, Cinthia Marcelle END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:442067 DTSTART:20170409T000000 DTEND:20170925T000000 DESCRIPTION:
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MoMA PS1 presents Ian Cheng&rsquo\;s (b. 1984) first US museum solo presentation\, featuring the artist&rsquo\;s complete Emissary trilogy (2015&ndash\;17)\, a series of three live simulations dedi cated to the history of cognitive evolution. Using an engine for developing video games\, Emissary is made up of open-ended animations with no fixed o utcome or narrative&mdash\;a format Cheng calls "\;live simulation.&quo t\; These works ask us to imagine technology not as a subordinate reflectio n of our own minds\, but as a tool to model a non-anthropomorphic vision of history and consciousness. The trilogy was recently acquired by The Museum of Modern Art.

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In conjunction with the exhibition\, the artist will joins us for a Modern Mondays event at 7:00 p.m. on Monday\, Ap ril 24.

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Organized by Peter Eleey\, Chief Curator\, MoMA PS1\, with Jocelyn Miller\, Curatorial Associate\, MoM A PS1.

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\n LOCATION:MoMA PS1\,22-25 Jackson Ave \nLong Island City\, NY 11101 SUMMARY:Emissaries\, Ian Cheng END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:442068 DTSTART:20170409T120000 DTEND:20170409T180000 LOCATION:MoMA PS1\,22-25 Jackson Ave \nLong Island City\, NY 11101 SUMMARY:Emissaries END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:442069 DTSTART:20170409T000000 DTEND:20170910T000000 DESCRIPTION:
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MoMA PS1 presents Tomá\;&scaron\; Raf a: New Nationalisms\, an exhibition featuring the work of the Slovakia n artist and documentary filmmaker. Since 2009\, Rafa (b. Žilina\, 1979) ha s employed the methods of ciné\;ma verité\; to document what he refers to as &ldquo\;new nationalisms&rdquo\; across Central Europe\, crea ting vivid and stirring portraits of the resurgence of extreme right-wing\, xenophobic\, and neo-fascist groups in the region.

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Rafa&rsquo\;s films offer a visceral glimpse into a range of political and social conflicts\, including the plight of Syrian refugees attempting to cross the border into Hungary\, clashes between ethnic major ities and disenfranchised groups like the Roma\, and political movements su ch as the Euromaidan protests that prefaced the Ukrainian civil war.

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Extending the tradition of vé\;rit& eacute\; filmmaking\, Rafa often acts as a participant observer: in one wor k\, he collaborates with Roma youth in Slovakia\, using sports motifs to ir onically decorate a boundary wall that separates Roma communities from thos e of neighboring ethnic majorities. Elsewhere\, he violates anti-graffiti l aws by painting the words &ldquo\;We Are So Sorry&rdquo\; on a fence erecte d around a Roma camp where a family had recently been murdered by a white S lovakian nationalist. Set in Hungary\, Poland\, the Czech Republic\, Ukrain e\, and his native Slovakia\, Rafa&rsquo\;s films reveal how the return of extreme nationalist fervor has become an increasingly widespread phenomenon .

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T he exhibition is organized by Peter Eleey\, Chief Curator\, MoMA PS1.

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The exhibition is generously supported b y The International Council of The Museum of Modern Art.
\nAdditional funding is provided by the MoMA PS1 Annual Exhibition Fund.

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\n LOCATION:MoMA PS1\,22-25 Jackson Ave \nLong Island City\, NY 11101 SUMMARY:New Nationalisms\, Tomas Rafa END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:442070 DTSTART:20170409T120000 DTEND:20170409T180000 LOCATION:MoMA PS1\,22-25 Jackson Ave \nLong Island City\, NY 11101 SUMMARY:New Nationalisms END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:442071 DTSTART:20170409T000000 DTEND:20170910T000000 DESCRIPTION:
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MoMA PS1 presents A B it of Matter: The MoMA PS1 Archives\, 1976-2000\, a selection of archi val materials documenting the vast array of artists who worked and exhibite d in the museum&rsquo\;s building over the course of its first 25 years. Su rveying a period that spans from the institution&rsquo\;s inaugural 1976 ex hibition Rooms to its merger with The Museum of Modern Art in 2000 \, the exhibition brings together hundreds of objects drawn from the MoMA P S1 Archives\, including artist&rsquo\;s proposals\, exhibition posters\, ph otographs\, correspondence\, flyers\, postcards\, residency applications\, and other ephemera.

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The exhibition takes its title from Lawrence Weiner&rsquo\;s eponymous installation from R ooms\, which consists of the words &ldquo\;A Bit of Matter and A Little Bit More&rdquo\; stenciled on the interior and exterior entrance doors of the museum&rsquo\;s building. When P.S. 1 re-opened after an extensive renovati on in the mid-1990s\, Weiner reprised A Bit of Matter on the glass doors of the building'\;s new entrance way\, where the work remains pro minently visible.

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Highlights of the exhibition include documentation of the construction of James Turrell&rsqu o\;s permanent\, site-specific installation Meeting\; images from early performance works by such artists as Simone Forti\, Carolee Schneeman n\, Min Tanaka\, and Hannah Wilke\; unpublished installation views\, corres pondence\, and ephemera from landmark group exhibitions such as Rooms (1976)\, New York/New Wave (1981)\, and The Knot: Arte Pov era at PS1 (1985)\, solo shows of Michelangelo Pistoletto (1988) and D avid Hammonds (1991)\, and numerous special projects by individuals and col lectives\, among them Nam June Paik\, Christo\, Mabou Mines\, Kenny Scharf\ , Dara Birnbaum\, Michelle Stuart\, Group Material\, Alighiero Boetti\, Mar ina Abramovic\, Chen Zhen\, Douglas Gordon\, Philip Johnson\, and Cai Guo-Q iang.

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The MoMA PS1 Archives are part of the collection of The Museum of Modern Art.

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Funding for the processing an d creation of a finding aid for the MoMA PS1 Archives was generously provid ed by the Leon Levy Foundation.

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\n LOCATION:MoMA PS1\,22-25 Jackson Ave \nLong Island City\, NY 11101 SUMMARY:A Bit of Matter: The MoMA PS1 Archives\, 1976-2000\, Simone Forti\, Carolee Schneemann\, Min Tanaka\, James Turrell\, Hannah Wilke END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:442072 DTSTART:20170409T120000 DTEND:20170409T180000 LOCATION:MoMA PS1\,22-25 Jackson Ave \nLong Island City\, NY 11101 SUMMARY:A Bit of Matter: The MoMA PS1 Archives\, 1976-2000 END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:442073 DTSTART:20170409T000000 DTEND:20170910T000000 DESCRIPTION:
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In today&rsquo\;s techno logical environment\, we can style\, extend\, and broadcast ourselves at wi ll\, projecting into digital realms that in turn shape us. The six artists in Past Skin take up science historian and cyber-feminist Donna Ha raway&rsquo\;s provocation\, &ldquo\;Why should our body end at the skin?\, &rdquo\; testing the growing porosity between our bodies and habitats in a contemporary world where virtuality is ubiquitous and surreality is increas ingly normalized. As much as we exert influence on our bodies and surroundi ngs\, the technologies that enable this influence also influence us. No lon ger simply &ldquo\;users&rdquo\; of technology\, we become players renegoti ating the stakes of our world\, engineering natural and synthetic environme nts to fulfill social imperatives and emotional needs. Featuring 20 works a cross a variety of media&mdash\;including painting\, sculpture\, drawing\, sound\, video\, and virtual reality&mdash\;by artists Cui Jie\, Jordan Kase y\, Hannah Levy\, Abigail Lucien\, Jillian Mayer\, and Madelon Vriesendorp\ , Past Skin highlights works that merge figures with landscapes to examine the state of the contemporary body in and beyond nature.

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Past Skin is organized by Jocelyn M iller\, Curatorial Associate\, MoMA PS1.

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\n LOCATION:MoMA PS1\,22-25 Jackson Ave \nLong Island City\, NY 11101 SUMMARY:Past Skin\, Cui Jie\, Jordan Kasey\, Hannah Levy\, Abigail Lucien\, Jillian Mayer\, Madelon Vriesendorp END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:442074 DTSTART:20170409T120000 DTEND:20170409T180000 LOCATION:MoMA PS1\,22-25 Jackson Ave \nLong Island City\, NY 11101 SUMMARY:Past Skin END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:442183 DTSTART:20161128T000000 DTEND:20171015T000000 DESCRIPTION:
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Stanley Rosen (b. 1926) came of age as an artist working in clay in the 1950s and 1960s\, a period of time in which craft experienced an exp losion of creative growth in the US. Within this context\, ceramics was tra nsformed from a practice devoted to the production of utilitarian objects t o one that embraced clay as a medium of sculpture. The works on view\, crea ted by Rosen between 1959 and 1967\, are excellent examples of this expansi on of the field of ceramics into the realm of fine art. This new addition t o MAD&rsquo\;s permanent collection complements and deepens the Museum&rsqu o\;s distinctive holdings in mid-century craft.

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Stanley Rosen&rsquo\;s interest in clay as a medium of sculptu re was shared by many other ceramists of his generation\, including Peter V oulkos\, whose transition from potter to ceramic sculptor is explored in Voulkos: The Breakthrou gh Years. Writing about this exciting new direction in ceramic pra ctice for the magazine Craft Horizons in 1961&mdash\;an essay that reproduc ed a work by Rosen very similar to Untitled #32 (1959)&mdash\;crit ic Rose Slivka emphasized the new attention to surface texture\, the depart ure from conventional ceramic forms\, and a more improvisational method of making as key to &ldquo\;giving the inherent nature of [clay] greater freed om to assert its possibilities&rdquo\; as a medium of art. All of these ele ments as well as an awareness of ceramic traditions outside of Western Euro pe&mdash\;from Japan to Africa&mdash\;are evident in Rosen&rsquo\;s work.\n\n

Stanley Rosen earned a BFA from Rhod e Island School of Design\, and a MFA from Alfred University. Between 1956 and 1959 he was the studio manager at the legendary Greenwich House Pottery in New York City\, and in 1960 he joined the art faculty at Bennington Col lege in Vermont\, where he led the ceramics department for many years. Beyo nd his important contribution to the field of ceramic sculpture\, Rosen was also a gifted teacher\, inspiring several generations of ceramic artists.< /p>\n

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\n LOCATION:Museum of Arts and Design\,2 Columbus Circle \nNew York\, NY 10019 SUMMARY:New Acquisitions: Stanley Rosen\, Stanley Rosen END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:442184 DTSTART:20170302T000000 DTEND:20170820T000000 DESCRIPTION:
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Counter-Couture: Handmade Fashion in an American Countercultu re celebrates the handmade fashion and style of the 1960s and 1970s. O ften referred to as the hippie movement\, the Counterculture swept away the conformism of the previous decade and professed an alternative lifestyle w hose effects still resonate today. Moved by the rejection of a materialist and consumerist interpretation of the American Dream\, Counterculture youth s embraced ideals of self-sufficiency and self-expression. Against the back drop of the Vietnam War protests and the civil rights movements\, hippies\, flower children\, and idealistic young people shunned the cultural standar ds of their parents\, embraced the struggle for racial and gender equality\ , used drugs to explore altered states of consciousness\, and cultivated a renewed dimension of spirituality.

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The pursuit of a personal style proved a transcendental tool toward self-re alization\, enlightenment\, and freedom from conventions. Counter-Coutu re exhibits garments\, jewelry\, and accessories by American makers wh o crafted the very reality that they craved\, on the margins of society and yet at the center of an epochal shift. The works on display encompass the ethos of members of a generation who fought for change by sewing\, embroide ring\, quilting\, patch-working\, and tie-dyeing their identity. Putting th e handmade at the center of their daily revolution\, they embraced and cont ributed to establishing a craft and folk sensibility in a seminal moment fo r the development of American Craft.

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Counter-Couture: Handmade Fashion in an American Counterculture was organized by Bellevue Arts Museum\, Bellevue\, Washington\, and curated by Guest Curator Michael Cepress. It was secured for the Museum of Arts an d Design by William and Mildred Lasdon Chief Curator Shannon R. Stratton wi th the support of Assistant Curator Barbara Paris Gifford.

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Counter-Couture: Handmade Fashion in an America n Counterculture is part of The Art and Craft of Getting Dressed\, a series of three exhibitions at the Museum of Arts and Design (MAD) this spring that embrace craftsmanship\, cultural commentary\, and critical thinking in fashion practices&mdash\;from the couture to the conceptual&md ash\;across multiple generations. In keeping with the MAD&rsquo\;s dedicati on to investigating studio &ldquo\;process&rdquo\; in modern and contempora ry art and craft\, these exhibitions highlight how fashion\, as an expanded field of craft\, serves as a platform for artists and designers to explore ways of making that champion artistry\, expressiveness\, and social respon sibility&mdash\;from concept to product.

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Counter-Couture: Handmade Fashion in an American Counterculture < /em>is made possible by the generous support of Michele and Marty Cohen and the Chairmen&rsquo\;s Council\, a leading Museum support group. Additional support is provided by public funds from the New York City Department of C ultural Affairs in partnership with the City Council.

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\n LOCATION:Museum of Arts and Design\,2 Columbus Circle \nNew York\, NY 10019 SUMMARY: Counter-Couture: Handmade Fashion in an American Counterculture END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:442202 DTSTART:20170415T000000 DTEND:20170830T000000 DESCRIPTION:
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Making Space shines a spotlight on the stunning but still relatively under-recognized achievements of women artis ts between the end of World War II (1945) and the start of the Feminist mov ement (around 1968). In the postwar era\, societal shifts made it possible for larger numbers of women to work professionally as artists\, yet their w ork was often dismissed in the male dominated art world\, and few support n etworks existed for them. Abstraction dominated artistic practice during th ese years\, as many artists working in the aftermath of World War II sought an international language that might transcend national and regional narra tives&mdash\;and for women artists\, additionally\, those relating to gende r.

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Drawn entirely from the Museum&r squo\;s collection\, the exhibition features more than 100 paintings\, scul ptures\, photographs\, drawings\, prints\, textiles\, and ceramics by some 50 artists. Within a trajectory that is at once loosely chronological and s ynchronous\, it includes works that range from the boldly gestural canvases of Lee Krasner\, Helen Frankenthaler\, and Joan Mitchell\; the radical geo metries by Lygia Clark\, Lygia Pape\, and Gego\; and the reductive abstract ions of Agnes Martin\, Anne Truitt\, and Jo Baer\; to the fiber weavings of Magdalena Abakanowicz\, Sheila Hicks\, and Lenore Tawney\; and the process -oriented sculptures of Lee Bontecou\, Louise Bourgeois\, and Eva Hesse. Th e exhibition will also feature many little-known treasures such as collages by Anne Ryan\, photographs by Gertrudes Altschul\, and prints made at the Tamarind Lithography Workshop in Los Angeles\, founded by June Wayne.

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Organize d by Starr Figura\, Curator\, Department of Drawings and Prints\, and Sarah Hermanson Meister\, Curator\, Department of Photography\, with Hillary Red er\, Curatorial Assistant\, Department of Drawings and Prints.

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The exhibition is supported by the Annual Exhib ition Fund.

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\n LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SUMMARY:Making Space: Women Artists and Postwar Abstraction\, Gertrudes Alt schul\, Jo Baer\, Lee Bontecou\, Louise Bourgeois\, Lygia Clark\, Helen Fra nkenthaler\, Gego\, Eva Hesse\, Lee Krasner\, Agnes Martin\, Joan Mitchell\ , Lygia Pape\, Anne Ryan\, Anne Truitt END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:442203 DTSTART:20170415T103000 DTEND:20170415T173000 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SUMMARY:Making Space: Women Artists and Postwar Abstraction END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:442974 DTSTART:20170210T000000 DTEND:20170906T000000 DESCRIPTION:

Solomon R. Guggenheim&rsquo\;s wholehearted embrace of modern art around the age of 68 was not so dissimi lar from his philosophy for succeeding in business. He had never shied away from pioneering\, or introducing novel methods\, in his prosperous career as a mining industrialist. Having collected art privately since the 1890s\, he was ripe for fresh inspiration when he fatefully encountered the German ‑born artist Hilla Rebay and the innovations of the contemporary avant-gard e. Guggenheim and Rebay were closely aligned from 1929\, when they began as sembling an art collection grounded in nonobjectivity&mdash\;a strand of ab straction with spiritual underpinnings&mdash\;until Solomon&rsquo\;s death 20 years later. This defining focus distinguished the eponymous foundation Guggenheim established in New York in June 1937. Two years later the Museum of Non‑Objective Painting\, the forerunner of the Solomon R. Guggenheim Mu seum\, debuted in New York.

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The Gug genheim Foundation&rsquo\;s formative collection was shaped through major g ifts and purchases from contemporaries who similarly championed radical exp erimentation in art. These acquisitions include a prized group of Impressio nist\, Post‑Impressionist\, and School of Paris masterworks from Justin K. Thannhauser\; the Expressionist inventory of é\;migré\; art dea ler Karl Nierendorf\; inimitable holdings of abstract and Surrealist painti ng and sculpture from self‑proclaimed &ldquo\;art addict&rdquo\; Peggy Gugg enheim\, Solomon&rsquo\;s niece\; and key modernist examples from the estat e of artist and curator Katherine S. Dreier\, as well as from Rebay&rsquo\; s estate.

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While each collector possessed distinctive motivat ions\, tastes\, and art-world relationships\, parallels persist. They advoc ated for arts education and harbored ambitions for establishing cultural in stitutions\, even those who were involved in the commercial side of the art trade. Mutual associations existed with such groundbreaking artists as Alexander Calder\, Marcel Duchamp\, Paul Klee\, Piet Mondrian\, and Pablo Picasso. Vasily Kandinsky repre sents a particularly critical link\, and his work forms the nucleus of the Guggenheim Foundation collection today with over 150 examples assembled.

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The foresight of these individuals in amassing key examples of the art of their time enables the institution to display the breadth of modernist invention\, beginning with the late 19th-c entury avant-gardists who dispensed with academic genres and techniques in their desire to capture the essence of modern life. Stylistic advances furt her developed in the early decades of the 20th century&mdash\;from an expre ssionistic use of color to the fracturing and faceting of the picture plane &mdash\;as abstraction took hold. Between the 20th century&rsquo\;s two wor ld wars\, experimental approaches that stressed clarity and precision emerg ed\, as well as an effort to establish a universal aesthetic language throu gh geometric forms. Other artists attempted to give shape to the unconsciou s mind\, exploring repressed desires and dream imagery\, and practicing fre e association. Finally\, amid the influx of European cultural é\;migr é\;s from the late 1930s\, daring new modes of mark making appeared i n the United States. This exhibition explores nearly a century&rsquo\;s wor th of original artistic production\, from the work of Camille Pissarro to Jackson Po llock\, and illuminates the visionaries&mdash\;artists and patrons alik e&mdash\;who helped to establish the Guggenheim&rsquo\;s identity as a forw ard-looking institution.

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Vision aries: Creating a Modern Guggenheim is organized by Megan Fontanella\, Curator\, Collections and Provenance\, Solomon R. Guggenheim Museum. Support provided by Ylinka Barotto\, Curatorial Assistant\, Solomon R. Guggenheim Museum.\n\n

This exhibition is m ade possible by Lavazza logo

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The Leadership Committee for Visionarie s: Creating a Modern Guggenheim is gratefully acknowledged for its gen erosity\, with special thanks to Trustee Chairs Denise Saul and John Wilmer ding\, Stefan Edlis and Gael Neeson\, Bill and Donna Acquavella\, Rowland W einstein\, Arnhold Foundation\, Peter B. Brandt\, Dorothy and Sidney Kohl\, Mnuchin Gallery\, Elizabeth R. Rea in honor of Michael M. Rea\, Lyn M. Ros s\, Elliot and Nancy Wolk\, and those who wish to remain anonymous.

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Funding is also provided b y the William Talbott Hillman Foundation.

\n LOCATION:Solomon R. Guggenheim Museum\,1071Fifth Ave. \nNew York\, NY 10128 -0173 SUMMARY:Visionaries: Creating a Modern Guggenheim END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:442975 DTSTART:20170317T000000 DTEND:20180103T000000 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:20170820T083315Z UID:442976 DTSTART:20170301T000000 DTEND:20170831T000000 DESCRIPTION:

In their new project A tal king parrot\, a high school drama class\, a Punjabi TV show\, the oldest so ng in the world\, a museum artwork\, and a congregation&rsquo\;s call to ac tion circle through New York\, artists Lenka Clayton and Jon Rubin cre ate a complex system of social and material exchange that brings together c ity communities often separated by cultural\, economic\, geographic\, or ci rcumstantial boundaries. The artists have drawn an imaginary circle through Harlem\, the South Bronx\, Queens\, and Manhattan&rsquo\;s Upper East Side and invited six public venues along the circle&rsquo\;s path to participat e in a system of social and material exchange. These spaces\, which include a pet store\, a high school\, a TV network\, an academic research institut e\, the Guggenheim\, and a church\, serve as the project&rsquo\;s cocreator s and hosts. The artists worked with the venues to select aspects of their identities&mdash\;referenced in the project&rsquo\;s full title&mdash\;that will rotate among the six locations over a period of six months.

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Each month\, as the six elements move one st ep around the five-mile-wide circle\, new and unique collaborations will oc cur and subtly expand the partners&rsquo\; everyday routines. During the mo nth of March\, for instance\, a group of drama students from Frank Sinatra School of the Arts will broadcast new performances live at Jus Broadcasting \, a Punjabi TV network\, while a 3\,400-year-old Hurrian hymn&mdash\;consi dered to be the oldest notated song in the world&mdash\;will travel from th e Institute for the Study of the Ancient World to the Guggenheim\, where it will be hummed in the galleries daily by museum staff. In April this Hurri an hymn will travel to St. Philip&rsquo\;s Church in Harlem\, where it will be sung by a choir during church services and drummed by a community-based arts and spirituality group. A month later at Pet Resources in the South B ronx\, a staff bird trainer\, who is also a DJ\, will remix the song with p ets and humans in mind. In June the Frank Sinatra School&rsquo\;s band will play the hymn\, and in July it will be incorporated into the on-air soundt racks of Jus Broadcasting&rsquo\;s programs. Through this choreography of m aterial and social exchange\, . . . circle through New York engage s each partner site in a process of learning about and caring for the other s&rsquo\; value systems\, public functions\, and social characters.

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By encouraging moments of mutual cooperati on\, . . . circle through New York creates connections and interac tions that may be invisible to some but exceptional and profound to others. The project aims to engage members of an expanded and heterogeneous public \, whose daily lives may be fundamentally&mdash\;and playfully&mdash\;alter ed as they encounter this work of art. Clayton and Rubin&rsquo\;s project f orges a shifting network of social relations founded on quiet humor\, empat hy\, and the power of art to transform reality.

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A complete schedule of collaborations\, related programs\, and responses to the project can be found at CircleThroughNewYork.com.

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HOW TO EXPERIENCE . . . CIRCLE THROUGH NEW YORK

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The project can be experienced at any of t he six partner locations at select times. \;A complete \;schedule of collaborat ions\, related programs\, and responses to the project\, as well as&nbs p\;location addre sses and hours\, \;can be found at \;CircleThroughNewYork.com.

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Visitors are encouraged to return to the partner locations over the course of the six-month project to see how the traveling elements are transformed as they move around the circle.

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. . . circle through New York is organized by Anna H arsanyi\, Project Manager\; Nat Trotman\, Curator\, Performance and Media\; and Christina Yang\, Directo r\, Public Programs. It is commissioned as part of Guggenheim Social Practice\, an initiative launched in 2016 in which artists and the museum collaborate to foster new forms of public and community engagement.

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Guggenheim Social Practice is made possible by a major g rant from the Edmond de Rothschild Foundations.

\n LOCATION:Solomon R. Guggenheim Museum\,1071Fifth Ave. \nNew York\, NY 10128 -0173 SUMMARY:Lenka Clayton and Jon Rubin: . . . circle through New York END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:442988 DTSTART:20170307T000000 DTEND:20170827T000000 DESCRIPTION:

Brooklyn-based artist Cheryl M olnar&rsquo\;s collage paintings are representations of fantastical\, natur al spaces in relationship to urban architectural forms. Molnar&rsquo\;s pro cess involves lathering wood panels in oil\, then etching and collaging the m with manipulated and superimposed images. The technique involves layering painted paper and photographs of natural landscapes and jutting urban monu mental fixtures. The scenery is cut-up and altered using long slivers of mi xed papers that reference humanity&rsquo\;s inflicted alterations of nature . In a mosaic-like configuration they reveal vibrantly chopped asymmetrical forms simulating a surreal\, transcendental world. There is a sense of dep th\, multi-dimensionality and rigidity in the composition that highlights t he human/non-human divisions in nature. Superimposed skyscrapers and steel structures evoke hyperbolic fantasies of reimagined spaces\, illuminating t he charm of a utopic\, idealized\, urban wilderness. A 2014 Winter Workspac e artist\, Molnar drew inspiration from the Hudson River\, Wave Hill&rsquo\ ;s greenhouses\, national parks\, suburban settings and lush\, green spaces throughout the United States. The Headquarters and Rollercoas ter images are indicative of the ominous but seductive pull of the loo ming burden of urban development. Inspired by Wave Hill&rsquo\;s Conservato ry\, Green House offers an optimistic possibility for greenhouse a rchitecture. Weeping Willow references an overlook above Wave Hill &rsquo\;s Conifer Slope.

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Molnar rec eived a BFA from Rhode Island School of Design and an MFA from Pratt Instit ute. Her work has been exhibited nationally\, including at Smack Mellon\, B rooklyn\, NY\; The University of Arizona\, Tucson\, AZ\; The Islip Art Muse um\, Long Island\, NY\; and General Electric Headquarters\, Fairfield\, CT. Molnar recently participated in the Fire Island National Seashore Artist-i n-Residence Program in Watch Hill\, NY\, and in residencies at Wave Hill\, Smack Mellon and Weir Farm Art Center in Wilton\, CT.

\n LOCATION:Wave Hill\,West 249th Street and Independence Avenue (front gate) 675 West 252nd Street (mailing) \nBronx\, NY 10471-2899 SUMMARY:Unnatural Landscapes\, Cheryl Molnar END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083315Z UID:443411 DTSTART:20170421T000000 DTEND:20170917T000000 DESCRIPTION:

Focusing on the work of black women artists\, We Wanted a Revolution: Black Radical Women\, 1965&ndas h\;85 examines the political\, social\, cultural\, and aesthetic prior ities of women of color during the emergence of second-wave feminism. It is the first exhibition to highlight the voices and experiences of women of c olor&mdash\;distinct from the primarily white\, middle-class mainstream fem inist movement&mdash\;in order to reorient conversations around race\, femi nism\, political action\, art production\, and art history in this signific ant historical period.

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Presenting a diverse group of artists and activists who lived and worked at the interse ctions of avant-garde art worlds\, radical political movements\, and profou nd social change\, the exhibition features a wide array of work\, including conceptual\, performance\, film\, and video art\, as well as photography\, painting\, sculpture\, and printmaking.
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\nThe artists represe nted in the exhibition include Emma Amos\, Camille Billops\, Kay Brown\, Vi vian E. Browne\, Linda Goode Bryant\, Beverly Buchanan\, Carole Byard\, Eli zabeth Catlett\, Barbara Chase-Riboud\, Ayoka Chenzira\, Christine Choy and Susan Robeson\, Blondell Cummings\, Julie Dash\, Pat Davis\, Jeff Donaldso n\, Maren Hassinger\, Janet Henry\, Virginia Jaramillo\, Jae Jarrell\, Wads worth Jarrell\, Lisa Jones\, Loï\;s Mailou Jones\, Barbara Jones-Hogu\, Carolyn Lawrence\, Samella Lewis\, Dindga McCannon\, Barbara McCullough\, Ana Mendieta\, Senga Nengudi\, Lorraine O&rsquo\;Grady\, Howardena Pindell\ , Faith Ringgold\, Alva Rogers\, Alison Saar\, Betye Saar\, Coreen Simpson\ , Lorna Simpson\, Ming Smith\, and Carrie Mae Weems.

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We Wanted a Revolution: Black Radical Women\, 1965&ndash\;85 is organized by Catherine Morris\, Sackler Family Seni or Curator for the Elizabeth A. Sackler Center for Feminist Art\, and Rujek o Hockley\, Assistant Curator of Contemporary Art\, Brooklyn Museum.

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Generous support for this exhibition is p rovided by the Ford Foundation\, the Elizabeth A. Sackler Foundation\, the Brooklyn Museum&rsquo\;s Contemporary Art Acquisitions Committee\, The Andy Warhol Foundation for the Visual Arts\, The Shelley &\; Donald Rubin Fo undation\, and The Barbara Lee Family Foundation.
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\nTwo books published by the Brooklyn Museum accompany the e xhibition: a sourcebook of historical writings from the period\, followed b y a book of newly commissioned essays.

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The publication of We Wanted a Revolution: Black Radical Women\, 19 65-85 / A Sourcebook has been made possible by the Elizabeth A. Sackle r Foundation. Additional support has been provided by Mary Jo and Ted Shen.

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A public symposium held under the auspices of the exhibition\, and a published volume of new essays growing o ut of the symposium\, have been made possible by the Elizabeth A. Sacker Fo undation. Additional support has been provided by Mary Jo and Ted Shen.
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We Wanted a Revolut ion: Black Radical Women\, 1965&ndash\;85 is part of A Year of Yes: Reimagining Feminism at the Brooklyn Museum\, a yearl ong series of ten exhibitions celebrating the 10th anniversary of the Eliza beth A. Sackler Center for Feminist Art.

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\n LOCATION:Brooklyn Museum of Art\,200 Eastern Parkway \nBrooklyn\, NY 11238- 6052 SUMMARY:We Wanted a Revolution: Black Radical Women\, 1965–85\, Emma Amos\, Camille Billops\, Kay Brown\, Vivian E. Browne\, Linda Goode Bryant\, Beve rly Buchanan\, Carole Byard\, Elizabeth Catlett\, Barbara Chase-Riboud\, Ay oka Chenzira\, Christine Choy\, Blondell Cummings\, Julie Dash\, Pat Davis\ , Jeff Donaldson\, Maren Hassinger\, Janet Henry\, Virginia Jaramillo\, Jae Jarrell\, Wadsworth Jarrell\, Lisa Jones\, Lois Mailou Jones\, Barbara Jon es-Hogu\, Carolyn Lawrence\, Samella Lewis\, Dindga McCannon\, Barbara McCu llough\, Ana Mendieta\, Senga Nengudi\, Lorraine O’Grady\, Howardena Pindel l\, Faith Ringgold\, Susan Robeson\, Alva Rogers\, Alison Saar\, Betye Saar \, Coreen Simpson\, Lorna Simpson\, Ming Smith\, Carrie Mae Weems END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:443412 DTSTART:20170421T110000 DTEND:20170421T180000 LOCATION:Brooklyn Museum of Art\,200 Eastern Parkway \nBrooklyn\, NY 11238- 6052 SUMMARY:We Wanted a Revolution: Black Radical Women\, 1965–85 END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:443418 DTSTART:20170325T000000 DTEND:20170924T000000 DESCRIPTION:

An installation in the museum& rsquo\;s Process Lab\, Citizen Design invites visitors to engage\, empathize\, and help envision a better America. Inspired by the Gray Area project\, a Philadelphia-based community engagement initiative featured in the exhibition By the People: Designing a Better America&nb sp\;(which ran from September 30\, 2016 to February 26\, 2017)\, \; Citizen Design \;encourages civic dialogue at a local level. \ ;Through a series of questions and choices\, visitors \;identify issues that personally matter and use design-thinking tactics to creatively brain storm possible interventions. Interactive features designed for the install ation allow visitors to explore how their concerns align with those of othe r visitors to the museum.

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Citiz en Design was \;developed in partnership with Interface Studio Arc hitects\, collaborators and designers of the Gray Area project.

\n LOCATION:Cooper-Hewitt National Design Museum\,2 East 91st Street \nNew Yor k \, NY 10128 SUMMARY:Process Lab: Citizen Design END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:443419 DTSTART:20170213T000000 DTEND:20170924T000000 DESCRIPTION:

A Depression-era\, monumental& nbsp\;batik mural entitled The World of Radio is the focus \;of this ex hibition of iconic radios\, radio design drawings\, and photographs from th e early twentieth century through  \;the present day. Designed \;by Arthur Gordon Smith\, the mural \;celebrates the career of Jessica Dra gonette\, one of radio&rsquo\;s most popular personalities of the 1930s. On view for the first time in nearly three decades\, the mural also includes over a dozen vignettes illustrating radio&rsquo\;s formative events and per sonalities.

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Radios designed by pion eering industrial designers such as Donald Deskey\, Dieter Rams\, and Henry Dreyfuss \;are installed alongside drawings by hand \;of prototype s for radio consoles and cabinets designed to enhance a modern home. The ex hibition also underscores the technological advancement of radio electronic s&mdash\;from electric powered to portables to digital media players&mdash\ ;and includes examples of historically significant radios.

\n LOCATION:Cooper-Hewitt National Design Museum\,2 East 91st Street \nNew Yor k \, NY 10128 SUMMARY:The World of Radio END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:443420 DTSTART:20170407T000000 DTEND:20170827T000000 DESCRIPTION:

Over 100 extraordinary example s of cigarette and vanity cases\, compacts\, clocks and timepieces\, and ot her luxury objects will be installed in the Teak Room\, including exquisite works from the premier jewelry houses of Europe and America. Personal gift s from Prince Sadruddin Aga Khan (1933&ndash\;2003) to his wife\, Catherine (b. 1938)\, the collection was amassed over three decades and displays the excitement\, innovation and creativity of the art deco era at its most lux urious.

\n LOCATION:Cooper-Hewitt National Design Museum\,2 East 91st Street \nNew Yor k \, NY 10128 SUMMARY:Jeweled Splendors of the Art Deco Era: The Prince And Princess Sadr uddin Aga Khan Collection END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:443421 DTSTART:20170407T100000 DTEND:20170407T170000 LOCATION:Cooper-Hewitt National Design Museum\,2 East 91st Street \nNew Yor k \, NY 10128 SUMMARY:Jeweled Splendors of the Art Deco Era: The Prince And Princess Sadr uddin Aga Khan Collection END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:443422 DTSTART:20170407T000000 DTEND:20170820T000000 DESCRIPTION:

The first major museum exhibit ion to focus on American taste during the creative explosion of the 1920s\, The Jazz Age \;will be a multi-media experience of more than 400 examples of interior design\, industrial design\, decorative art\, jewe lry\, fashion\, and architecture\, as well as related music and film. Givin g full expression to the decade&rsquo\;s diversity and dynamism\, The J azz Age \;will define the American spirit of the period.

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During the 1920s\, the influences that fuele d design&rsquo\;s burst of innovation\, exoticism\, and modernity were mani fold and flowed back and forth across the Atlantic. \;Jazz music\, a un iquely American art form\, also found a ready audience in Europe. \;An apt metaphor for the decade&rsquo\;s embrace of urbanity and experimentatio n\, jazz captured the pulse and rich mixture of cultures and rhythms that b rought a new beat to contemporary life.

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The exhibition will be organized into the themes of Persistence of Tra ditional &ldquo\;Good Taste\,&rdquo\; A New Look for Familiar Forms\, Bendi ng the Rules\, A Smaller World\, Abstraction and Reinvention\, and Toward a Machine Age. \;Presented on two floors of the museum\, The Jazz Ag e \;will highlight the dynamic changes in \;American taste and lifestyles that prompted an outpouring of design and heralded an exhilarat ing new era.

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Members are in vited to preview the exhibition at the opening party on April 6. Become a member today!

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Th e Jazz Age: American Style in the 1920s is co-organized by Cooper Hewit t\, Smithsonian Design Museum and the Cleveland Museum of Art.

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 \;#Jazz AgeAmerica

\n LOCATION:Cooper-Hewitt National Design Museum\,2 East 91st Street \nNew Yor k \, NY 10128 SUMMARY:The Jazz Age: American Style in the 1920s END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:443423 DTSTART:20170407T100000 DTEND:20170407T170000 LOCATION:Cooper-Hewitt National Design Museum\,2 East 91st Street \nNew Yor k \, NY 10128 SUMMARY:The Jazz Age: American Style in the 1920s END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:443465 DTSTART:20170601T000000 DTEND:20170902T000000 DESCRIPTION:

JoAnne Artman Gallery\, Presents:

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&ldquo\;Contempo rary Consciousness&rdquo\; Featuring JAMES WOLANIN and JANE MAXWELL

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Artists&rsquo\; Reception: Thursday\, June 1st\, 2017 from 6pm-8pm

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Please RSVP: 949.510.5481 by May 26th\, 2017

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\nJoAnne Artman Gallery

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511A West 22nd St. || New York\, NY 10011

\n\n< p>Contact:  \;JoAnne Artman

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Telephone:  \;949-510-5481 || E-mail: joanneartman@aol.com

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Website: www.joanneartmangallery.co m

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Contemporary Consciousness

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The female body has long served as a muse in the arts\, a lens th rough which the themes\, issues and ongoing dialogue of the contemporary co llective consciousness can be reflected. The work of James Wolanin and Jane Maxwell addresses this discourse through reflective interpretations of the feminine ideal through context\, material and approach. In Wolanin&rsquo\; s work an idealized "\;snapshot"\; image is filtered through memori es of the artist&rsquo\;s own personal history. Maxwell'\;s imagery on t he other hand\, while also addressing the legacy of print advertisement in the digital age\, looks at its ephemerality through aggregation and accumul ation. Biting into societal and personal constructs of femininity both arti sts commit to an encompassing approach\, resulting in work that both entice s and provokes. \;

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James Wolanin elevates the subject of Amer icana through a vivid re-imagining of the type imagery depicted in popular American advertisements from his childhood\, rendered in a precise\, hard-e dged style\, using surfboard resin as a finish. Unlike the idealized dream- girl stereotypes prevalent in contemporary media\, Wolanin&rsquo\;s women l ean towards the wholesome. These captured moments are full of a winking cha rm simultaneously nostalgic and fresh. The flat planes of color\, soft pale tte\, and nod to vintage and minimalist tonal transitions help the works re ad on an abstract level\, creating a deeper resonance between the compositi onal elements. Wolanin continuously plays with the imagery\, working betwee n the ambiguous and beguiling\, redefining the narrative.

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Jane Ma xwell explores the complexities of the feminine ideal through the paper med ium of current advertisements\, brochures and original billboard papers. Th e work has a feel of the sculptural through the sheer physicality of this m aterial\, which is layered\, cut and peeled into distinctive female silhoue ttes. Exploring the ubiquitous and inundating nature of the advertisements\ , as well as our perception of them\, the work presents a complex commentar y. Completely deconstructing the original intent of the source material\, t he artist clothes and forms the female body out of this aggregated ephemera \, synthesizing the idealized imagery of the advertisements into something with entirely new meaning. \;

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These artists will inspire\, pr ovoke\, engage and mesmerize. With visual perceptions always changing\, pee k behind the stories told and you'\;re sure to find the right artistic e xpression!

\n LOCATION:JoAnne Artman Gallery\,511 A West 22nd Street \nNew York\, NY 1001 1 SUMMARY:“Contemporary Consciousness”\, Jane Maxwell\, James Wolanin END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:443466 DTSTART:20170601T180000 DTEND:20170601T200000 LOCATION:JoAnne Artman Gallery\,511 A West 22nd Street \nNew York\, NY 1001 1 SUMMARY:“Contemporary Consciousness” END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z 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 10011 SUMMARY:Masterworks of Himalayan Art END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:443492 DTSTART:20170421T000000 DTEND:20170904T000000 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 10011 SUMMARY:India in Full Frame\, Henri Cartier-Bresson END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:443493 DTSTART:20170421T110000 DTEND:20170421T220000 LOCATION:Rubin Museum of Art\,150 West 17th Street \nNew York\, NY 10011 SUMMARY:India in Full Frame END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:444241 DTSTART:20161015T000000 DTEND:20170826T000000 DESCRIPTION:

&ldquo\;A paradisiacal landsc ape where [black-faced lawn] jockeys appear &mdash\; made from the crystals that would normally go into chandeliers\, on a raised platform accessible via four ladders &mdash\; is the heart of &ldquo\;Until.&rdquo\; &ldquo\;I had been thinking about gun violence and racism colliding\,&rdquo\; Mr. Cav e said. &ldquo\;And then I wondered: Is there racism in heaven? That&rsquo\ ;s how this piece came about.&rdquo\; Read the full \;profile in \; T he New York Times.

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&ldqu o\;Cave is also using [the exhibition] to convene prominent performers in o ther fields \;and inspire them to craft their own responses to the work and the conversations it&rsquo\;s meant to instigate.&rdquo\; Lis ten to the WBUR review\, which includes reflections from dancer and cho reographer Bill T. Jones and musician Solange Knowles.

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If you think you know Nick Cave\, think again. The artist celebrated for his wearable sculptures calle d Soundsuits turns expectations inside out at MASS MoCA in a massive immersive installation that opened on October 16\, 2016\, where not a sing le Soundsuit \;is found. Instead\, Cave uses MASS MoCA&rsquo\;s signature football field-sized space to create his largest installation to date\, made up of thousands of found objects and millions of beads\, which will make viewers feel as if they have entered a rich sensory tapestry\, li ke stepping directly inside the belly of one of his iconic Soundsuits.

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The sheer volume of material th at has \;been gathered is astounding &mdash\; 16\,000 wind spinners\; m illions of plastic pony beads\; thousands of ceramic birds\, fruits\, and a nimals\; 13 gilded pigs\; more than 10 miles of crystals\; 24 chandeliers\; 1 crocodile\; and 17 cast-iron lawn jockeys.

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Cave&rsquo\;s first Soundsuit\, made out of twigs\, was a direct response to the Rodney King beating\, a visual image about social justice that was both brutal and empowering. Just as the violence around t he Rodney King beating was the impetus to Cave&rsquo\;s early work\, the de ath of men such as Eric Garner\, Trayvon Martin\, and Michael Brown drives his new imagery. For Cave&rsquo\;s MASS MoCA installation\, Until &mdash\; a play on the phrase &ldquo\;innocent until proven guilty\,&rdquo\ ; or in this case &ldquo\;guilty until proven innocent&rdquo\; &mdash\; he addresses issues of gun violence\, gun control policy\, race relations\, an d gender politics in America today.

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Until begins with a dense sculptural field of metallic lawn ornam ents leading to a crystal cloud topped by a private garden populated with b irds\, flowers\, and black-face lawn jockeys\, finally coming to rest befor e a cliff wall hand-woven with shoelaces and hundreds of thousands of color ful pony beads. This is an active space where alluring kinetics and a sumpt uous\, overwhelming materiality give way to stark images of guns\, bullets\ , and targets\, positioning us all as culpable\, vulnerable\, and potential ly under attack. The aim of this is pointed\, questioning us to spark discu ssion about important issues in a space that is at once dazzling\, provocat ive\, and &mdash\; ultimately &mdash\; optimistic. Cave believes in humanit y\, celebrating possibility while also creating a forum for critical discus sion that eventually provokes the question\, &ldquo\;Is there racism in hea ven?&rdquo\;

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Cave has come to see h imself as a messenger\, endeavoring to coalesce communities\, discuss impor tant issues\, and ultimately heal through art. &ldquo\;I view this work as an elaborate community forum\, as much as a work of sculpture\,&rdquo\; not es Cave. As such\, the gallery will double as a stage for internationally k nown dancers\, singer-songwriters\, pop artists\, poets\, and composers\, t ogether with panel discussions\, community forums\, and other forms of crea tive public debate and engagement. The inaugural performers &mdash\; Brenda Wimberly\, a soprano singer anchored in gospel music root s\, and Sereca Henderson\, a musicologist\, singer\, and o rganist who has played with Eric Clapton and B.B. King &mdash\; will perfor m during the exhibition opening reception on October 15. On Friday\, Octobe r 28\, powerhouse vocalist Helga Davis responds to Unt il with an intimate concert in the exhibition\, performed solo with ba cking loops. Iconic choreographer Bill T. Jones and powerful da ncer Okwui Okpokwasili each respond with site-specific dan ce in the gallery this spring.

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Nick Cave&rsquo\;s use of black-face lawn jockeys is topical&hellip\; check out this fascinating piece in The New York Times about reconciling\, reclaiming and reinter preting racist objects.

\n LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:Until\, Nick Cave END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:444243 DTSTART:20170218T000000 DTEND:20180117T000000 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:20170820T083316Z UID:444559 DTSTART:20170428T000000 DTEND:20170828T000000 DESCRIPTION:

Group art show featuring Mo Baretta\, Denver Butson\, Joseph Barral\, Jazzmine Beaulieu\, Marcy Brafman\, Moreay Hillary\, Stephen Lipu ma\, Rammer Sanchez and Eryk Wenziak. \;

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The Art of the Multi ple at Brooklyn Works 159

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April 28 @ 6:00 pm \;- \;9:00 p m

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| \;FREE

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Jazzmine Beaulieu

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Multiple Press Release6Multiple Press Release6

\n LOCATION:BrooklynWorks at 159\,159 20th Street \nBrooklyn\, New York 11232U S SUMMARY:The Art of the Multiples\, Mo Baretta\, Joseph Barral\, Jazzmine Be aulieu\, Marcy Brafman\, Denver Butson\, Moreay Hillary\, Stephen Lipuma\, Rammer Sanchez\, Eryk Wenziak. END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:444560 DTSTART:20170428T180000 DTEND:20170428T200000 LOCATION:BrooklynWorks at 159\,159 20th Street \nBrooklyn\, New York 11232U S SUMMARY:The Art of the Multiples END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:444893 DTSTART:20170602T000000 DTEND:20170825T000000 DESCRIPTION:

Lehmann Maupin is pleased to p resent TILL\, LIT\, Nari Ward&rsquo\;s fourth solo exhibition with the gall ery. Ward will debut a series of new work comprised of mixed media painting s\, sculptures\, and installations. These works examine the ways value is a ssigned throughout society\, with Ward attempting to disrupt existing monet ary-based value structures in favor of social enrichment. On the occasion o f this exhibition\, Ward and Lehmann Maupin will donate a percentage of sal es to Housing Works\, the New York City-based nonprofit organization whose mission is to end the dual crisis of homelessness and AIDS. The gallery wil l host a reception for the artist on Friday\, June 2\, from 6-8 PM\, at 536 West 22nd Street.

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Ward garnered acclaim early in his career with pieces like Amazing Grace (1993)\, which he produced while in residence at the Studio Museum in Harle m. Ward created a sculptural installation using hundreds of discarded strol lers and recycled fire hoses woven to resemble a ship&rsquo\;s hull as a re ference to both the history of the transatlantic slave trade and today&rsqu o\;s homeless population. The methodologies implemented in this early work can be found throughout his career\, with the artist repurposing found obje cts and placing them in juxtapositions that highlight their functional purp oses\, cultural associations\, and metaphorical potential. Ward lives and w orks in close proximity to his subject matter: He chooses media sourced fro m his local surroundings\, delicately inserting his own experience in the w ork. He contributes to socio-political themes\, including identity\, race\, religion\, immigration\, patriotism\, tourism\, and consumer culture\, by imbuing his work with historic and personal narrative\, while intentionally leaving obscured space for open-ended meaning.

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The works in this exhibition are organized i nto two distinct material categories relating to the exhibition&rsquo\;s ti tle\; the paintings are collectively referred to as TILL\, and sculpture an d installation works as LIT. The TILL works directly reference commerce. Wa rd creates these seemingly minimal paintings out of cash register drawers\, referred to as tills\, surrounded by faint rectangular forms on a backgrou nd of metallic colors associated with money&mdash\;gold\, copper\, and silv er. Other large-scale paintings in the series render the pyramid from the b ack of U.S. $1 bills as a focal point\, where the bricks appear to be laid in a frenetic manner that suggests the structure is on the verge of topplin g.

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The size and s hape of the rectangles that are repeated throughout the works recall a doll ar bill. Indeed\, Ward has extracted a thin margin from paper money\, a seg ment so small its removal is undetectable to the naked eye\, allowing the a ltered bills to remain legal tender. Ward gives the paintings a distinct pa tina by pouring and rubbing white rum in a ritualistic fashion that weather s and removes the pigments\, producing an ethereal aura much like a color f ield painting. Ward treats the word &ldquo\;till&rdquo\; with double entend re in both noun and verb form\, representing both a receptacle for capital\ , and allusion to the hidden or unacknowledged labor required in its acquis ition.

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In the LIT works\, artificial lighting is employed to maximum effect. Ward utilizes t he exact wattage of the generator-powered floodlights erected by the NYPD o n street corners and parks to deter crime. The first piece viewers encounte r is a replica of these lights\, constructed from collected materials. This light beams across a series of panels that spell out &ldquo\;Reparations\, &rdquo\; illuminating the longstanding debate that conflates both economic policy with spiritual atonement for America&rsquo\;s history of slavery and racial subjugation. In another installation\, this harsh light flashes at intervals over the low light of candles typically used in street memorials that commemorate the location of a death in the neighborhood. In both piece s\, Ward endeavors to bring the experience of living in a community surveil led by the police into the gallery\, using everyday objects that create a t angible link to the reality of our current political and social climate.

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In essence and acti on\, TILL\, LIT engages the value systems found in our relationship with cu rrency\, with the artist subverting this system to ultimately benefit those who have been undervalued and marginalized economically and socially. Whil e politically minded\, Ward is not an activist\, but an alchemist\, removin g a small part of the transactional economy to add tangible value to the so cial transformation that takes place in art making.

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Running concurrent with TILL\, LIT in Ch elsea\, Socrates Sculpture Park in Queens will exhibit Nari Ward: G.O.A.T.\ , again\, through September 4\, 2017\, a series of newly commissioned outdo or artworks created on site by Ward\, while a recent commission of his piec e\, We the People\, is on view at the New York Historical Society on the Up per West Side. His mid-career survey\, Nari Ward: Sun Splashed\, will be on view at the Institute of Contemporary Art/Boston\, through September 4\, 2 017.

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About the ar tist
\n \;Nari Ward (b. St. Andrew\, Jamaica\; lives and works in New York) graduated with a BA from City University of New York\, Hunter Col lege in 1989 and an MFA from City University of New York\, Brooklyn College in 1992. Ward&rsquo\;s work has been widely exhibited on an international level\, including solo exhibitions at The Barnes Foundation\, Philadelphia\ , PA (2016)\; Pé\;rez Art Museum Miami\, FL (2015)\; SCAD Museum of A rt\, Savannah\, GA (2015)\; Louisiana State University Museum of Art\, Bato n Rouge\, LA (2014)\; The Fabric Workshop and Museum\, Philadelphia\, PA (2 011)\; Massachusetts Museum of Contemporary Art\, North Adams (2011)\; Inst itute of Visual Arts\, Milwaukee\, WI (1997)\; Isabella Stewart Gardner Mus eum\, Boston\, MA (2002)\; and Walker Art Center\, Minneapolis\, MN (2001\, 2000). Ward has taken part in important group exhibitions\, including The Great Mother\, The Fondazione Nicola Trussardi\, Palazzo Reale\, Milan (201 5)\; NYC 1993: Experimental Jet Set\, Trash and No Star\, New Museum\, New York (2013)\; Nanjing Biennial\, Nanjing\, China (2011)\; Contemplating the Void: Interventions in the Guggenheim Rotunda\, Solomon R. Guggenheim Muse um\, New York (2010)\; Prospect 1\, New Orleans\, LA (2008)\; the Whitney B iennial\, New York (2006)\; and Landings\, Documenta XI\, Kassel\, Germany (2003). Ward has received prestigious honors and distinctions such as the T he Vilcek Prize in Fine Arts\, Vilcek Foundation\, New York (2017)\; Joyce Award\, The Joyce Foundation\, Chicago (2015)\; the Rome Prize\, American A cademy of Rome (2012)\; and awards from the American Academy of Arts and Le tters\, the National Endowment for the Arts\, New York Foundation for the A rts\, John Simon Guggenheim Foundation\, and the Pollock Krasner Foundation . Additionally\, he has received commissions from the United Nations and th e World Health Organization.

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About Housing Works
\n \;Housing Works is a vibrant\, healing community of people living with and affected by HIV/AIDS. Our missi on is to end the dual crises of homelessness and AIDS through relentless ad vocacy\, the provision of lifesaving services\, and entrepreneurial busines ses that sustain our efforts. Housing Works is the largest grassroots AIDS organization in the U.S.\, as well as the largest minority-controlled AIDS organization.

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For more information on Nari Ward or other Lehmann Maupin artists\, please contact Marta de Movellan or Kath ryn McKinney at +1 212 255 2923\, or visit lehmannmaupin.com.

\n LOCATION:Lehmann Maupin\,536 West 22nd Street \nNew York\, NY 10011US SUMMARY:TILL\, LIT\, Nari Ward END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:444894 DTSTART:20170602T180000 DTEND:20170602T200000 LOCATION:Lehmann Maupin\,536 West 22nd Street \nNew York\, NY 10011US SUMMARY:Till\, Lit END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:444895 DTSTART:20170525T000000 DTEND:20170901T000000 DESCRIPTION:

Lehmann Maupin is pleased to p resent From a whisper to a scream\, a group exhibition featuring w ork by Teresita Ferná\;ndez\, Jeffrey Gibson\, \;and \;Shirazeh Houshiary. \;The artists in this e xhibition all draw from the visual vocabulary of Minimalism in their use of industrial materials\, deliberate restriction of form\, and engagement of physical space\, but do so in order to communicate social\, political\, and cultural meaning in a way that the 1960s movement always resisted. Through painting and sculpture\, each artist transforms this typically self-refere ntial genre into one that speaks as loudly as narrative imagery. Th ere will be an opening reception at the gallery on Thursday\, May 25\, from 6-8 PM.

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Teresita Ferná\;ndez (b. 1968\, Miami\, FL\; lives and works in Brooklyn\, NY) creates vast abstracted landscapes of minimal c olor and form that attempt to capture how we experience our surroundings\, and how we define our environments in relation to identity and citizenship. For this exhibition\, Fernandez will present 3:37 p.m. (2001)\, a wall installation composed of hundreds of acrylic cubes in seven colors of the light spectrum\, a reductive representation of a rainbow captured at a specific moment in time\, 3:37 p.m. Ferná\;ndez&rsquo\;s wo rk is characterized by an interest in perception and the psychology of look ing\, so she encourages the viewer to conjure up his or her own personal as sociations with the landscape\, which in turn become part of the meaning be hind the work.

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\nJeffrey Gibson (b. 1972\, Colorado Springs\, CO\; lives and wo rks in New York) assimilates influences such as indigenous art and craft\, politics\, music\, fashion\, urban subculture\, and art historical referenc es to create paintings\, sculptures\, and beaded tapestries infused with la yers of historical\, social\, and formal content. The six works included in this exhibition are comprised of elements of geometric abstraction and Min imalism\, phrases appropriated from popular song lyrics and social movement s\, and materials such as beads\, metal jingles\, sinew\, and animal rawhid e. Gibson\, who is of Choctaw and Cherokee heritage and grew up in major ur ban centers around the world\, draws on these influences in his work to sub vert and complicate assumptions about both Native American art and identity .

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\nShirazeh Houshiary (b. 1955\, Iran\; lives and works in London) makes paint ings\, sculpture\, and animation that seek to challenge viewers&rsquo\; per ceptions of time\, space\, and materiality. This exhibition will feature tw o works by Houshiary: Sheer (2012)\, a sculpture made from aluminu m bricks\, and Meander (2016)\, a pencil and pigment work on canva s. Both works are structured around the &ldquo\;rules&rdquo\; of Minimalism &mdash\;the reduced color palette\, the use of industrial material\, the re striction of form\, and the engagement with physical space&mdash\;but they prioritize the viewer&rsquo\;s individualized\, sensorial\, and intellectua l experience. Although constructed according to a predetermined set of cond itions\, Sheer takes on an organic shape as it twists and grows\, creating a sense of movement and fluidity that is antithetical to the mater ial. In Meander\, Houshiary uses language as the foundation of her gestures\, layering contradictory Arabic phrases such as &ldquo\;I am&rdqu o\; and &ldquo\;I am not\,&rdquo\; until they become illegible. Provoking a variety of nonverbal and visceral associations\, Houshiary&rsquo\;s painti ngs invite viewers to consider the significance and meaning of each individ ual gesture.

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For more information on Teresita Ferná\;nde z\, Jeffrey Gibson\, Shirazeh Houshiary or other Lehmann Maupin artists\, p lease contact Marta de Movellan or Kathryn McKinney at +1 212 255 2923\, or visit lehmannmaupin.com

\n LOCATION:Lehmann Maupin - Chrystie Street\,201 Chrystie Street \nNew York\, NY 10002US SUMMARY:From a whisper to a scream\, Teresita Fernández\, Jeffrey Gibson\, Shirazeh Houshiary END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:444896 DTSTART:20170525T180000 DTEND:20170525T200000 LOCATION:Lehmann Maupin - Chrystie Street\,201 Chrystie Street \nNew York\, NY 10002US SUMMARY:From a whisper to a scream END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:444927 DTSTART:20170610T000000 DTEND:20170820T000000 DESCRIPTION:

The exhibition \;Spring into Summer with An dy Warhol and Friends \;takes an \;innovative approach to Andy Warhol&rsquo\;s art\, featuring key examples of his \;revolutionary Po p aesthetic and &ndash\; in celebration of the season &ndash\; imagery draw n \;from nature.

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The show builds on th ree important gifts of Warhol&rsquo\;s art to the Bruce Museum: \;

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  1. Warhol&rsquo\;s \;Little Red B ook\, 1971\, a gift from the Andy Warhol Foundation for the \;Arts \, features ten unique polaroid portraits by the artist including a self-po rtrait\, \;and portraits of architect Philip Johnson and his partner Da vid Whitney\, fashion \;model Donna Jordan\, and art critic Barbara Ros e.
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  3. Two large silkscreen portraits \;o f \;Sachiko Bower\, \;1977\, also will be on view.< /span>
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  5. Flowers\, 1974\, a suite of ten \;w onderfully hand-colored silkscreened prints\,were given to the Museum by Pe ter M. Brant and are based on drawings \;Warhol made after photographs in the book Interpretive \;Floral Designs \;by \;Mrs. Raymond Russ Stoltz (1972).
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The Mu seum&rsquo\;s holdings of Warhol will be enriched by the loan of Warhol&rsq uo\;s \;silkscreen series \;Endangered Species\, 1983\, wh ich includes animal portraits of \;the: \;

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  • Siberian Tiger
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  • San Franc isco Silverspot Butterfly
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  • Orangutan
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  • Grevy&rsquo\;s Zebra
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  • Black Rhinoceros
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  • Bighorn Ram
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  • African Elephant
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  • Pine Barrens Tree Frog
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  • Giant \ ;Panda \;
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  • Bald Eagle\n
\n LOCATION:Bruce Museum\,1 Museum Drive \nGreenwich\, CT 06830 SUMMARY:Spring into Summer with Andy Warhol and Friends\, Andy Warhol END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:444993 DTSTART:20170421T000000 DTEND:20170917T000000 DESCRIPTION:

Focusing on the work of black women artists\, \;We W anted a Revolution: Black Radical Women\, 1965&ndash\;85 \;examine s the political\, social\, cultural\, and aesthetic priorities of women of color during the emergence of second-wave feminism. It is the first exhibit ion to highlight the voices and experiences of women of color&mdash\;distin ct from the primarily white\, middle-class mainstream feminist movement&mda sh\;in order to reorient conversations around race\, feminism\, political a ction\, art production\, and art history in this significant historical per iod.

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Presenting a diverse group of artists and activists who live d and worked at the intersections of avant-garde art worlds\, radical polit ical movements\, and profound social change\, the exhibition features a wid e array of work\, including conceptual\, performance\, film\, and video art \, as well as photography\, painting\, sculpture\, and printmaking.
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\nThe artists represented in the exhibition include Emma Amos\, Camil le Billops\, Kay Brown\, Vivian E. Browne\, Linda Goode Bryant\, Beverly Bu chanan\, Carole Byard\, Elizabeth Catlett\, Barbara Chase-Riboud\, Ayoka Ch enzira\, Christine Choy and Susan Robeson\, Blondell Cummings\, Julie Dash\ , Pat Davis\, Jeff Donaldson\, Maren Hassinger\, Janet Henry\, Virginia Jar amillo\, Jae Jarrell\, Wadsworth Jarrell\, Lisa Jones\, Loï\;s Mailou J ones\, Barbara Jones-Hogu\, Carolyn Lawrence\, Samella Lewis\, Dindga McCan non\, Barbara McCullough\, Ana Mendieta\, Senga Nengudi\, Lorraine O&rsquo\ ;Grady\, Howardena Pindell\, Faith Ringgold\, Alva Rogers\, Alison Saar\, B etye Saar\, Coreen Simpson\, Lorna Simpson\, Ming Smith\, and Carrie Mae We ems.

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We Wanted a Revolution: Black Radical Women\, 1965&ndash\;85 \;is organized by Catherine Morris\, Sackle r Family Senior Curator for the Elizabeth A. Sackler Center for Feminist Ar t\, and Rujeko Hockley\, former Assistant Curator of Contemporary Art\, Bro oklyn Museum.

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Generous support for this exhibition is provided by the Ford Foundation\, the Elizabeth A. Sackler Foundation\, the Brooklyn M useum&rsquo\;s Contemporary Art Acquisitions Committee\, The Andy Warhol Fo undation for the Visual Arts\, The Shelley &\; Donald Rubin Foundation\, and The Barbara Lee Family Foundation.

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\nTwo books publish ed by the Brooklyn Museum accompany the exhibition: a sourcebook of histori cal writings from the period\, followed by a book of newly commissioned ess ays.

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The publication of \;We Wanted a Revolution: Black R adical Women\, 1965-85 / A Sourcebook \;has been made possible by the Elizabeth A. Sackler Foundation. Additional support has been provided b y Mary Jo and Ted Shen.

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A public symposium held under the auspice s of the exhibition\, and a published volume of new essays growing out of t he symposium\, have been made possible by the Elizabeth A. Sacker Foundatio n. Additional support has been provided by Mary Jo and Ted Shen.
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We Wanted a Revolution: Black Radical Women\, 1965&ndash \;85 \;is part of \;A Year of Yes : Reimagining Feminism at the Brooklyn Museum\, a yearlong series of exhibitions celebrating the 10th anniversary of the Elizabeth A. Sackler Center for Feminist Art.

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Image caption/credit: \;Jan van Raay (America n\, born 1942). \;Faith Ringgold (right) and Michele Wallace (middle) at Art Workers Coalition Protest\, Whitney Museum\, \;1971. Digita l C-print. Courtesy of Jan van Raay\, Portland\, OR\, 305-37. ©\; Jan v an Raay

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\n LOCATION:Brooklyn Museum of Art\,200 Eastern Parkway \nBrooklyn\, NY 11238- 6052 SUMMARY:We Wanted a Revolution: Black Radical Women\, 1965–85\, VARIOUS END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:444994 DTSTART:20170421T110000 DTEND:20170421T180000 LOCATION:Brooklyn Museum of Art\,200 Eastern Parkway \nBrooklyn\, NY 11238- 6052 SUMMARY:We Wanted a Revolution: Black Radical Women\, 1965–85 END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:445105 DTSTART:20170505T000000 DTEND:20170901T000000 DESCRIPTION:

What interests me is the t ransformation\, not the monument. I don'\;t construct ruins\, but I feel ruins are moments when things show themselves. A ruin is not a catastrophe . It is the moment when things can start again.
\n&mdash\;Anselm Kiefer

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Gagosian is pleased to prese nt new paintings\, artists&rsquo\;s books\, and watercolors by Anselm Kiefe r. \;

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Employing broad-ranging a nd erudite literary sources\, from the Old and New Testaments to the poetry of Paul Celan\, Kiefer&rsquo\;s oeuvre makes palpable the movement and des truction of human life and\, at the same time\, the persistence of the deli cate\, lyrical\, or divine.

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Central to the exhibition are more than forty unique artists&rsquo\;s books\, thei r pages painted with gesso to mimic marble\, displayed in an installation o f glass vitrines. Erotically charged female nudes and faces emerge from the pages. Artists&rsquo\;s books are an integral part of Kiefer&rsquo\;s oeuv re\; over time they have ranged in scale from the intimate to the monumenta l\, and in materials\, from lead to dried plant matter. In this selection o f books\, the sequences of narrative information and visual effect evoke th e fragile endurance of the sacred and the spiritual through the female figu res on the marbled pages. They are a reminder perhaps of the sculptures of Auguste Rodin\, and even of Michelangelo&rsquo\;s belief that his figures w ere &ldquo\;freed&rdquo\; from the stone with which he worked.

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The large array of new watercolors in this exhi bition marks a significant return in Kiefer'\;s work to the elusive and sensuous medium. The exhibition&rsquo\;s title\, &ldquo\;Transition from Co ol to Warm\,&rdquo\; refers to a celebrated book of watercolors that he pro duced from 1974 to 1977\, in which cool\, blue marine land and seascapes tr ansform into warm female nudes. Kiefer'\;s fascination for eidetic proce ss\, rather than teleological outcome is underscored by the alchemical effe cts he achieves in these new works&mdash\;aleatory\, and as luminescent as the natural forms they evoke.

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The w atercolors and books are complemented by romantic landscape paintings\, in which lakes can be glimpsed through screens of trees or where surfaces of s plashed molten lead peel back to reveal the sea or landscape depicted benea th.

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&ldquo\;Transition from Cool to Warm&rdquo\; is accompanied by a fully illustrated publication with essays by Karl Ove Knausgaard and James Lawrence\, and an interview with Kiefer b y Louisa Buck.

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Anselm Kiefe r was born in 1945 in Donaueschingen\, Germany\, and lives and wor ks in France. His work is collected by museums worldwide. Recent institutio nal exhibitions include Louisiana Museum of Modern Art\, Humlebæ\;k\, Denmark (2010)\; &ldquo\;Shevirat Hakelim\,&rdquo\; Tel Aviv Museum of Art\ , Israel (2011)\; &ldquo\;Beyond Landscape\,&rdquo\; Albright-Knox Art Gall ery\, Buffalo (2013)\; Royal Academy of Arts\, London (2014)\; &ldquo\;L&rs quo\;Alchimie du livre\,&rdquo\; Bibliothè\;que nationale de France\, Paris (2015)\; Centre Georges Pompidou\, Paris (2015). In 2009\, he direct ed and designed the sets for Am Anfang (In the Beginning) at the O pé\;ra national de Paris. &ldquo\;Kiefer Rodin&rdquo\; will be on vie w at the Musé\;e Rodin\, Paris until October 2017\, subsequently trav eling to the Barnes Foundation\, Philadelphia. In November 2017\, Kiefer wi ll receive the J. Paul Getty medal for his contribution to the arts.

\n LOCATION:Gagosian Gallery- 21st St.\,522 West 21st Street \nNew York\, NY 1 0011 SUMMARY:Transition from Cool to Warm\, Anselm Kiefer END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:445106 DTSTART:20170505T180000 DTEND:20170505T200000 LOCATION:Gagosian Gallery- 21st St.\,522 West 21st Street \nNew York\, NY 1 0011 SUMMARY:Transition from Cool to Warm END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:445146 DTSTART:20170426T000000 DTEND:20170910T000000 DESCRIPTION:
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&ldquo\;Carol Rama: Ant ibodies&rdquo\; is the first New York museum survey of the work of Italian artist Carol Rama (b. 1918\, Turin\, Italy&ndash\;d. 2015\, Turin\, Italy) and the largest presentation of her work in the US to date.

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While Rama has been largely overlooked in contempo rary art discourses\, her work has proven prescient and influential for man y artists working today\, attaining cult status and attracting renewed inte rest in recent years. Rama&rsquo\;s exhibition at the New Museum will bring together over one hundred of her paintings\, objects\, and works on paper\ , highlighting her consistent fascination with the representation of the bo dy. Seen together\, these works present a rare opportunity to examine the w ays in which Rama&rsquo\;s fantastical anatomies opposed the political ideo logy of her time and continue to speak to ideas of desire\, sacrifice\, rep ression\, and liberation. &ldquo\;Carol Rama: Antibodies&rdquo\; celebrates the independence and eccentricity of this legendary artist whose work span ned half a century of contemporary art history and anticipated debates on s exuality\, gender\, and representation. Encompassing her entire career\, th e exhibition traces the development from her early erotic\, harrowing depic tions of &ldquo\;bodies without organs&rdquo\; through later works that inv oke innards\, fluids\, and limbs&mdash\;a miniature theater of cruelty in w hich metaphors of contagion and madness counteract every accepted norm. The exhibition is curated by Helga Christoffersen\, Assistant Curator\, and Ma ssimiliano Gioni\, Edlis Neeson Artistic Director\, and is accompa nied by a fully illustrated publication.

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Carol Rama was an Italian artist born in 1918 in Tur in\, where she lived for most of her life until her death in 2015. Her work has been the subject of numerous solo exhibitions and retrospectives\, inc luding the recent traveling exhibition &ldquo\;The Passion According to Car ol Rama&rdquo\; (2015&ndash\;16)\, presented at Museu d&rsquo\;Art Contempo rani de Barcelona\; Musé\;e d&rsquo\;Art Moderne de la Ville de Paris \; Espoo Museum of Modern Art\, Finland\; the Irish Museum of Modern Art\, Dublin\; and Galleria Civica d&rsquo\;Arte Moderna e Contemporanea di Torin o. Other important exhibitions include &ldquo\;Carol Rama: Bö\;se Zunge n\,&rdquo\; Kunsthalle Dü\;sseldorf (2012)\; &ldquo\;Carol Rama: L&rsqu o\;occhio degli occhi: Opere dal 1937 al 2005\,&rdquo\; Palazzo Ducale\, Ge noa (2008)\; &ldquo\;Carol Rama: Paestum\,&rdquo\; Museo Materiali Minimi d e Arte Contemporanea\, Paestum\, Italy (2007)\; &ldquo\;L&rsquo\;opera inci sa 1944&ndash\;2005\,&rdquo\; Galleria Internazionale d&rsquo\;Arte Moderna Ca&rsquo\; Pesaro\, Venice (2006)\; &ldquo\;Appassionata\,&rdquo\; Ulmer M useum\, Ulm\, Germany (2004&ndash\;05)\; the traveling exhibition &ldquo\;C arol Rama&rdquo\; (2004&ndash\;05)\, presented at Fondazione Sandretto Re R ebaudengo\, Turin\, Museo di Arte Moderna e Contemporanea di Trento e Rover eto\, Italy\, BALTIC Centre for Contemporary Art\ , Gateshead\, UK\, and Galerie im Taxispalais\, Innsbruck\, Austria\; &ldqu o\;Opere 1936-2000\,&rdquo\; Palazzo Massari\, Padiglione d&rsquo\;Arte Con temporanea\, Ferrara\, Italy (2000)\; and the traveling retrospective &ldqu o\;Carol Rama&rdquo\; (1998)\, presented at Stedelijk Museum\, Amsterdam\, and the Institute of Contemporary Art Boston. In 2003 she was awarded the G olden Lion for Lifetime Achievement at the Venice Biennale.

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\n LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SUMMARY:Antibodies\, Carol Rama END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:445147 DTSTART:20170426T110000 DTEND:20170426T180000 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SUMMARY:Antibodies END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:445148 DTSTART:20170503T000000 DTEND:20170903T000000 DESCRIPTION:
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This exhibition debuts a new body of work by the British artist.

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This exhibition brings together a selection of works by British arti st Lynette Yiadom-Boakye\, a 2013 Turner Prize finalist and one of the most renowned painters of her generation. Yiadom-Boakye&rsquo\;s lush oil paint ings embrace many of the conventions of historical European portraiture\, b ut expand on that tradition by engaging fictional subjects who often serve as protagonists of the artist&rsquo\;s short stories as well. These imagine d figures are almost always black\, an attribute Yiadom-Boakye sees as both political and autobiographical\, given her own West African heritage. Ofte n immersed in indistinct\, monochrome settings\, her elegant characters com e to life through the artist&rsquo\;s bold brushwork\, appearing both caval ier and nonchalant\, quotidian and otherworldly. In part because they inhab it neutral spaces\, her subjects&rsquo\; idle\, private moments provoke the imagination of viewers and remain open to a range of narratives\, memories \, and interpretations. This exhibition is curated by Natalie Bell\, Assist ant Curator\, and Massimiliano Gioni\, Edlis Neeson Artistic Director\, and is accompanied by a fully illustrated publication.

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Lynette Yiadom-Boakye was born in 1977 in London\ , UK\, where she lives and works. Recent solo shows include &ldquo\;A Passi on To A Principle\,&rdquo\; Kunsthalle Basel\, Switzerland (2016&ndash\;17) \; &ldquo\;Capsule 03: Lynette Yiadom-Boakye\,&rdquo\; Haus der Kunst\, Mun ich (2015)\; &ldquo\;Verses After Dusk\,&rdquo\; Serpentine Gallery\, Londo n (2015)\; and &ldquo\;Extracts and Verses\,&rdquo\; Chisenhale Gallery\, L ondon (2013). Recent group exhibitions include &ldquo\;British Art Show 8&r dquo\; (2015&ndash\;17)\; Sharjah Biennial 12 (2015)\; &ldquo\;The Encyclop edic Palace&rdquo\; at the 55th Venice Biennale (2013)\; and the second New Museum Triennial\, &ldquo\;The Ungovernables&rdquo\; (2012).

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\n LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SUMMARY:Under-Song For A Cipher\, Lynette Yiadom-Boakye END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:445149 DTSTART:20170503T110000 DTEND:20170503T180000 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SUMMARY:Under-Song For A Cipher END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:445150 DTSTART:20170503T000000 DTEND:20170910T000000 DESCRIPTION:
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This exhibition marks t he first New York museum presentation of work by Los Angeles-based artist K aari Upson (b. 1972\, San Bernardino\, CA). Encompassing drawing\, painting \, sculpture\, and video\, Upson&rsquo\;s works track open-ended\, circuito us narratives that weave elements of fantasy\, physical and psychological t rauma\, and the often-fraught pursuit of an American ideal. A decade ago\, Upson immersed herself in what became perhaps her best-known project\, whic h began with her visit to the site of a burned-down house. For the prodigio us The Larry Project (2005&ndash\;ongoing)\, she unearthed a well of projected histories\, images\, and artifacts inspired by forgotten fragm ents from the abandoned personal archive of a man whom she had never met. U pson has continued this near-obsessive forensic approach in subsequent proj ects\, such as MMDP (My Mother Drinks Pepsi)< /em> (2014&ndash\;ongoing)\, a series of videos and sculptures of fossil-li ke\, aluminum-casted Pepsi cans based on the interdependent relationship be tween herself and her mother\, and informed by commodity culture. For her e xhibition at the New Museum\, Upson will debut a new series of works that c enter around a family living in a tract house in Las Vegas. The series will explore an environment characterized by its architectural mirroring\, yet haunted by the psychological tensions inherent in striving toward an imagin ary perfect double. This exhibition is curated by Margot Norton\, Associate Curator\, and is accompanied by a fully illustrated publication.

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Kaari Upson was born in 1972 in San Bernadin o\, California\, and lives and works in Los Angeles. Her works were recentl y included in the group exhibitions &ldquo\;Adhesive Products\,&rdquo\; Ber gen Kunsthall (2016)\; &ldquo\;The Los Angeles Project\,&rdquo\; Ullens Cen ter for Contemporary Art\, Beijing (2016)\; &ldquo\;Sleepless: The Bed in H istory and Contemporary Art\,&rdquo\; 21er Haus\, Vienna (2015)\; &ldquo\;N o Man&rsquo\;s Land: Women Artists from the Rubell Family Collection\,&rdqu o\; Miami (2015)\; &ldquo\;Test Pattern\,&rdquo\; Whitney Museum of America n Art\, New York (2013)\; and &ldquo\;The Residue of Memory\,&rdquo\; Aspen Art Museum (2012).

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\n LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SUMMARY:Good thing you are not alone\, Kaari Upson END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:445151 DTSTART:20170503T110000 DTEND:20170503T180000 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SUMMARY:Good thing you are not alone END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:445152 DTSTART:20170503T000000 DTEND:20170903T000000 DESCRIPTION:
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As a sculptor\, Cameron -Weir engages diverse aesthetic styles\, merging modern\, industrial\, and natural designs that emphasize the relationship of the body to surfaces and call attention to phenomena that are both manifest and hidden. Since her e arliest works\, Cameron-Weir has drawn inspiration from the figure of the a esthete in nineteenth-century Europe as a hallmark of heightened sensory en gagement\, refined sensitivity to beauty\, transgressive sexual desire\, an d the pursuit of pleasure through artifice or illusion. Aromatic materials and fragrances such as incense are another common feature of Cameron-Weir&r squo\;s works\, and their presence alludes to a history of spiritual\, medi cinal\, or funerary practices\, as well as contemporary methods of sensory appeal.

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For her exhibition at the N ew Museum\, Cameron-Weir incorporates tools typical of a laboratory to esta blish a mood of observation and to propose a tension between scientific and occult practices. While her new works evoke a range of associations\, they are informed by her study of antiquated scientific texts about vision\, me dieval armor and torture devices\, and early-Renaissance orthopedics&mdash\ ;as well as her interest in corporeal symmetry and erogenous zones as aspec ts of the body forged through human evolution. Cameron-Weir&rsquo\;s instal lation also draws from the emerging field of sensory archaeology\, which qu estions the privileging of vision in the historical imagination\, and aims to enrich speculations about our human ancestors through diverse phenomenol ogical observations.

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&ldquo\;Elaine Cameron-Weir&rdquo\; is curated by Natalie Bell\, Assistant Curator.

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Elaine Cameron-Weir was born in 1985 in Red Deer\, Alberta\, Canada\, and lives and works in New York. She has had solo exhibitions at VENUS\, Los Angeles (2016)\; Andrea Rosen Gallery\, New York (2016)\; Ramiken Crucible\, New York (2014) \; Galerie Rodolphe Janssen\, Brussels (2014)\; White Flag Library\, St. Lo uis\, MO (2013)\; and Desaga\, Cologne\, Germany (2012). Cameron-Weirhas al so been included in group exhibitions at La Biennale de Montré\;al (2 016&ndash\;17)\; FUTURA\, Prague (2016)\; GAMeC\, Bergamo\, Italy (2014&ndash\;15)\; and the Philadelphia Museum of Art (201 4). Cameron-Weir earned a BFA from the Alberta Co llege of Art and Design and an MFA from New York University.

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\n LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SUMMARY:viscera has questions about itself\, Elaine Cameron-Weir END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:445153 DTSTART:20170503T110000 DTEND:20170503T180000 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SUMMARY:viscera has questions about itself END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:445441 DTSTART:20170608T000000 DTEND:20170923T000000 DESCRIPTION:

Responding to the unique history\, archives and architecture of Morris-Jumel Mansion t hree artists have reinterpreted archival objects into a site-specific insta llation. Ceramic objects\, jewelry and artists&rsquo\; books present a visu al interpretation based on different areas of research by each artist. This shifting focus addresses how histories drift over time and how certain his torical narratives become prominent while others recede into obscurity.

\n LOCATION:Morris-Jumel Mansion\,65 Jumel Terrace \nNew York\, NY 10032 SUMMARY:Infinite Archive\, Patrick Perry\, Sarah Rowe\, Rachel Sydlowski END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:445442 DTSTART:20170608T180000 DTEND:20170608T200000 LOCATION:Morris-Jumel Mansion\,65 Jumel Terrace \nNew York\, NY 10032 SUMMARY:Infinite Archive END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:445845 DTSTART:20170513T000000 DTEND:20170917T000000 DESCRIPTION:

Elisa Pritzker
\n< em>Selknam: Spirit\, Ceremony\, Selves

\nMay 13- September 17\, 2017
\nOpening reception and performance:
\nSaturd ay May 13\, 2017\, 2:00-5:00PM\, Performance 5:00PM

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The Selknam\, an extinct aborigine tribe of Tierra del Fuego\, is the inspiration for
\nElisa Pritzker&rsquo\;s installation at the HVCCA. Over ten years ago when Pritzker
\nvisited Patagonia\, she felt an urgency to discover th e people who had lived in
\nTierra del Fuego &ldquo\;before all the to urists came\, speaking all different languages\,
\nfrom many cultures\ ,&rdquo\; except for that of the Selknam\, whose voices were gone.

\n\n< p>
\nPritzker has created an installation that honors the tribe\, gath ered into reservations
\nin the 1940&rsquo\;s and eradicated by diseas es and cultures not their own. She began an
\nin-depth study of the Se lknam Tribe\, using source materials from anthropologists
\nand photog raphers\, among them Anne Chapman. In the 1950&rsquo\;s and 1960&rsquo\;s\nChapman documented the Selknam&rsquo\;s unique culture and recorded t heir language
\nand chants. Chapman was cured of a life threatening ai lment by Lola Kiepkja\, the
\nlast Selknam shaman alive. After intensi ve research\, Pritzker realized how much the
\nancient cultures and tr aditions had to teach and her solo show at HVCCA brings the
\nviewer & ndash\; stone by stone &ndash\; into the Selknam realm.

\n\n


\nE lisa Pritzker\, born in Argentina\, now lives in upstate New York. Her work has
\nappeared in exhibitions and museums worldwide. Brian K. Mahoney \, Chronogram
\nMagazine editor\, said\, Pritzker &ldquo\;&hellip\; ha s helped to shape the evolution of the regional
\narts scene.&rdquo\; Certainly\, Pritzker&rsquo\;s work\, installations and objects\, has reshap ed how
\nwe think about culture\, ancient\, urban\, natural or spiritu al. Looking anew at the old\,
\nElisa Pritzker&rsquo\;s installation a t the HVCCA\, provides a contemporary artist&rsquo\;s view of
\nan anc ient world.

\n\n


\nAn original performance piece\, which uses El isa Pritzker&rsquo\;s vision\, integrates music\,
\ndance\, and narrat ion\, giving the Selknam voice through the perspectives of three
\nwom en\, a female shaman\, an ethnographer\, and a mythological moon woman. The
\nperformance is at 5PM\, Saturday\, May 13th as part of the opening reception of
\nPritzker'\;s show. Performance collaborators are Mar cy B. Freedman\, art historian
\nand performance artist\; musicians/co mposers Nannette Garcia\, Maurice Minichino\;
\nand dancers Marsi Burn s and Nomi Bachar.
\n-------------------------
\nPERFORMANCE BIOS
\nMarcy B. Freedman has MAs in Art History from Princeton and the Uni versity of
\nMichigan. A visual artist\, Marcy has explored a variety of mediums. Her works and
\nperformances have been seen in more than 3 00 exhibitions around the country.
\nCollaborating with other artists is an important part of Marcy&rsquo\;s artistic life.

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\nSki n Against Metal: Nanette Garcia (voice\, percussion\, collector of junk
\ninstruments) and Maurice Minichino (piano/keys\, bass\, electronic soun ds\,
\nengineer). Life partners and creative collaborators since the l ate 80s\, they became
\ndeeply involved in the 90&rsquo\;s with Afro-C uban sacred music 2000\, the composers
\nauthored the instructional bo ok: The Sacred Music of Cuba: Bata Drumming
\nMatanzas Style. As indie artists\, the composers move from one genre to another
\nmixing influ ences\, exploring sound and recording techniques without boundaries.

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\nMarsi Burns is NYC-based dance artist who brings her physical p rowess and a love
\nof improvisation to each theatrical endeavor. Her original choreography is a
\nresponse to the visual\, aural\, and spok en-word content provided by the other
\nparticipating artists. Wearing a Selknam-inspired costume and a mask created by
\nPritzker\, Burns&r squo\; performance will enrich the stories of the three women featured in\nthe program.

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\nNomi Bachar is a performer\, choreogra pher\, writer\, human potential expert\, and
\ncoach. Her dance traini ng includes ballet\, modern\, African\, flamenco\, and
\nMediterranean dance. She created Inner Landscape Dance Theater\, a multimedia
\nper formance collective that produced women&rsquo\;s work for 15 years in New Y ork City.
\nFor this presentation of Selknam: Spirit Ceremony\, Selves \, Nomi is honored to
\nperform the role of KRAN\, the Sun-Man.

\n LOCATION:Hudson Valley Center for Contemporary Art HVCCA\,1701 Main St \n P eekskill\, NY 10566 SUMMARY:Selknam: Spirit\, Ceremony\, Selves\, Elisa Pritzker END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:445846 DTSTART:20170513T140000 DTEND:20170513T170000 LOCATION:Hudson Valley Center for Contemporary Art HVCCA\,1701 Main St \n P eekskill\, NY 10566 SUMMARY:Selknam: Spirit\, Ceremony\, Selves END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:446173 DTSTART:20170514T000000 DTEND:20170903T000000 DESCRIPTION:

Artist Steve Sitrin makes cera mic vessels for the pure joy of the creation process\, and the surprising r esults his efforts yield.

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&ldquo\;W hen I am in my studio I feel at peace\, and it is in this state that I feel most inspired\,&rdquo\; Sitrin noted. &ldquo\;There are many variables in this process which make each piece unique\, often yielding beautiful and un expected results. To me\, it is the excitement of unexpected outcomes that keeps the process interesting.&rdquo\;

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The opening reception for Steve Sitrin: Shape and Surface is S unday\, May 21 from 2 to 4 p.m. at the Hunterdon Art Museum. Everyone is we lcome to attend\; refreshments will be served.

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Sitrin works in porcelain with glazes that flow and crystallize when fired.

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&ldquo\;I take advanta ge of this movement by creating surfaces where glaze can pool and run\,&rdq uo\; Sitrin noted.

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The shapes of th e vessels created by Sitrin range from big and bold to elegant and curvaceo us. While ceramic vessels are always about shape and surface\, in Sitrin&rs quo\;s work those primary attributes are unequivocal.

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The pots that are big and bold present strong contours\; the junctures of upper and lower sections of the large bi-lobed vessels ar e unexpected. Yet surprisingly they are visually &mdash\; and physically &m dash\; stable.

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This artist has also produced pots that are voluptuous and rounded\, some with slender elongate d necks\, reminding us of past pottery traditions. Their glazes often are s ubtle\, rich\, dark and metallic\, revealing curved planes in the surface o f the vessel.

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Sitrin graduated from Rutgers University with a bachelor&rsquo\;s of science in biology. During his time at Rutgers\, he followed his passion for ceramics and spent many h ours studying and working on his art.

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Sitrin has won several awards for his work and has shown in many galleri es and museums in Pennsylvania\, New Jersey\, and upstate New York.

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This show runs until September 3.

\n LOCATION:Hunterdon Art Museum\,7 Lower Center Street \nClinton\, NJ 08809-1 303 SUMMARY:Shape and Surface\, Steve Sitrin END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:446174 DTSTART:20170514T110000 DTEND:20170514T170000 LOCATION:Hunterdon Art Museum\,7 Lower Center Street \nClinton\, NJ 08809-1 303 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:446175 DTSTART:20170514T000000 DTEND:20170903T000000 DESCRIPTION:

Concrete\, drywall\, PVC pipes \, wire\, milk crates.

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You&rsquo\;d fully expect to see these and similar materials at a construction site but not in an art museum. But the Hunterdon Art Museum&rsquo\;s latest exhibit ion The Art of Construction encourages viewers to see how common b uilding materials can be bent\, twisted and shaped to create intriguing wor ks of art.

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The exhibition opens Sun day\, May 14\; a reception and gallery talk that is open to everyone will b e held the following Sunday\, May 21 from 2 to 4 p.m.

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Lovina Purple is curating this show. The foundation for this exhibition was first laid when\, as a youngster growing up in a develo ping neighborhood\, Purple and her sister would wander through unfinished h omes\, imagining what they would be like when finished.

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&ldquo\;My sister grew up to become an architect\,&rdq uo\; Purple said\, &ldquo\;and it was through her &ndash\; and that archite ctural eye &mdash\; that I began to notice and appreciate the raw materials even more for their own aesthetic beauty.&rdquo\; A gift from her sister o f found materials from a construction site helped galvanize the idea for The Art of Construction.

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To create this show\, Purple approached artists whose works she had seen on ex hibition or in open studios. She also combed artists&rsquo\; registries to find the right blend of different\, yet similar\, materials that would comp lement HAM&rsquo\;s unique setting. The Museum is housed in a 181-year-old former grist mill.

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&ldquo\;I tried to create a connecting thread between works: a similar arc\, twist\, materi al or color that makes the whole show have a cohesiveness and its own uniqu e vibe that resonates with the show&rsquo\;s theme\,&rdquo\; she said.

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Carol Boram-Hays uses metal remains rec laimed from industrial sites and casts them within concrete\, and then colo r their surfaces. These uncanny forms are intended to suggest an animated f usion of the organic and the industrial.

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In her piece\, What&rsquo\;s the Commodity?\, artist Gail He idel addresses architectural ornament and the balance between historical pr eservation and gentrification.

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&ldq uo\;Her work directly speaks to the separatism we usually have from constru ction sites in the cities\, but instead\, invites viewers into these sites that she creates\,&rdquo\; Purple said. &ldquo\;She likes to involve her au dience and bring them a very personal experience that can be taken home and translated into action.&rdquo\;

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Al so featured in this show are works by Crystal Gregory\, Susan Meyer and Mic hael Watson.

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The Museum will conduc t three workshops featuring artists from this exhibition:

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&mdash\; Experiments in Mark Making and Block Printi ng with Susan Meyer on Sunday\, July 9. Learn more and register!

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&mdash\; Knot-Tying and Dip Dying: Macramé\; Workshop with Crystal Gregory on Saturday\, July 22.  \;Learn more and register!

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&mdash\; Hands-On Workshop and Pr esentation: Community Engagement and Public Art Projects with Gail Heidel o n Saturday\, Aug. 12. \;Learn more and register!

\n LOCATION:Hunterdon Art Museum\,7 Lower Center Street \nClinton\, NJ 08809-1 303 SUMMARY:The Art of Construction\, Carol Boram-Hay\, Crystal Gregory\, Gail Heidel\, Susan Meyer\, Michael Watson END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:446176 DTSTART:20170514T110000 DTEND:20170514T170000 LOCATION:Hunterdon Art Museum\,7 Lower Center Street \nClinton\, NJ 08809-1 303 SUMMARY:The Art of Construction END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:446177 DTSTART:20170514T000000 DTEND:20170903T000000 DESCRIPTION:

What better place for an art e xhibition about water than at a Museum on the banks of a river?

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The Hunterdon Art Museum welcomes Richard Wengenroth: Water to Paper beginning Sunday\, May 21 with an opening r eception from 2 to 4 p.m. There will be an artist talk and refreshments\; e veryone is welcome.

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The exhibition will focus specifically on rivers Wengenroth painted in Sussex County\, New Jersey.

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Wengenroth holds a special connection with this section of New Jersey. Before joining the military\, he enjoyed idyllic summer days in a simple wooden cottage built by his Germ an immigrant grandfather on Culver&rsquo\;s Lake in Frankford Township. Yea rs later\, work brought him to Manhattan\, but he never forgot that rural o asis in northwestern New Jersey. He returned to Culver&rsquo\;s Lake and fo und a rare century-old farmhouse which he purchased as a vacation home. A l ong-neglected barn was converted to an attractive light-filled studio.

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&ldquo\;Weather permitting\, it was my practice to work en plein air at one of a group of familiar sites in the area\,&rdquo\; Wengenroth noted. &ldquo\;During winter months\, ink wash drawings and color studies were developed into large-scale paintings. I have described these painting\, not as transcriptions of nature\, but int erpretive responses which incorporate both abstract and metaphorical concer ns.&rdquo\;

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Wengenroth is an accomp lished artist who has been painting and exhibiting for more than 50 years. He has won numerous awards\, and his work has been featured in solo and gro up exhibitions in the United States\, France and Germany. His art is repres ented in more than 100 public and private collections.

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&ldquo\;There is a special connection because of the Mu seum&rsquo\;s location on the banks of the South Branch of the Raritan\, bu t certainly anyone who enjoys nature and who appreciates painting will want to see his work\,&rdquo\; said Marjorie Frankel-Nathanson\, executive dire ctor of the Museum\, who is curating the show along with Ellen Siegel.

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&ldquo\;Richard makes beautiful paintin gs that combine realism and abstraction\,&rdquo\; Nathanson added. &ldquo\; We are very excited to be introducing our audience to his work.&rdquo\;

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Wengenroth has had a storied academic career. He has taught drawing\, painting and art history\, did organization al work and program development at Ohio Wesleyan University\, University of Kentucky and City University of New York.

\n LOCATION:Hunterdon Art Museum\,7 Lower Center Street \nClinton\, NJ 08809-1 303 SUMMARY:Water to Paper\, Richard Wengenroth END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:446178 DTSTART:20170514T110000 DTEND:20170514T170000 LOCATION:Hunterdon Art Museum\,7 Lower Center Street \nClinton\, NJ 08809-1 303 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:446179 DTSTART:20170617T000000 DTEND:20170903T000000 DESCRIPTION:

The Hunterdon Art Museum teach ers will showcase their diverse talents in oil and acrylic painting\, photo graphy\, ceramics and more in our Faculty Exhibition which runs from June 1 7 through September 3.

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Faculty arti sts participating in this year&rsquo\;s show are: Karin Abromaitis\, April Anderson\, Megan Becker\, Maureen Chatfield\, Duffy Dillinger\, Wendy Halls trom\, Rion Hoffman\, Donna Lish\, Cara London\, Bill Macholdt\, Stephen Mc Kenzie\, Kathleen Metaxas\, Bascha Mon\, Nancy Ori\, Oscar Peterson\, Eric Rhinehart\, Judith Shevell\, Lena Shiffman\, Ann Tsubota and Whitney Wether ill.

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&ldquo\;The Hunterdon Art Muse um&rsquo\;s mission &mdash\; to connect people with contemporary art\, craf t\, and design in ways that educate\, challenge\, and inspire &mdash\; is p erhaps best exemplified by the Museum&rsquo\;s faculty\,&rdquo\; said Marjo rie Frankel Nathanson\, our executive director. &ldquo\;Whether teaching a child&rsquo\;s first art class or a workshop to accomplished artists who wi sh to learn a specific technique\, our faculty excels. We&rsquo\;re proud t o highlight their work in this exhibition.&rdquo\;

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About 35 artists who teach on-site in the Museum&rsquo\;s s tudios or off-site in area schools\, juvenile justice facilities or other c ommunity programs were invited to participate in the exhibition.

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&ldquo\;The exhibition highlights the incredi ble talents of the artists teaching at HAM\,&rdquo\; said April Anderson\, our education coordinator. &ldquo\;After viewing the exhibition\, we hope p eople will be inspired to learn from these talented teachers and will enrol l in one of of terrific classes or workshops.&rdquo\;

\n LOCATION:Hunterdon Art Museum\,7 Lower Center Street \nClinton\, NJ 08809-1 303 SUMMARY:HAM Faculty Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:446180 DTSTART:20170617T110000 DTEND:20170617T170000 LOCATION:Hunterdon Art Museum\,7 Lower Center Street \nClinton\, NJ 08809-1 303 SUMMARY:HAM Faculty Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:446281 DTSTART:20170506T000000 DTEND:20170930T000000 DESCRIPTION:

Talwar Gallery is d elighted and honored to present its first exhibition of Arpita Singh. The s olo presentation\, Tying down time features works from 1973 to 198 2 and are on view for the first time.

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The works in Tying down time&mdash\;pr edominantly abstract compositions on paper\, principally reliant on line an d primarily monochromatic&mdash\;create an aesthetic bridge linking Singh&r squo\;s early work with her better-known figurative paintings since the lat e 1980s. The works allow a rare insight into the formal foundations of Sing h&rsquo\;s oeuvre\, revealing both a serious curiosity about line\, depth a nd space\, and a playful improvisation&mdash\;a willingness to suspend cert ainty in the search for new. These tendencies continue into and indeed sust ain Singh&rsquo\;s later practice are first glimpsed here: the short\, impu lsive and repetitive stroke of the pen\, and later the brush\; the tendency for these marks to converge and condense\, building up into form or coales cing into pattern. Dense yet fragile textured surfaces seem to just hold to gether\, as if concealing the turbulence below. Tracing the past as well as foreshadowing the future\, the works in Tying down time point to Singh&rsquo\;s engagement with textiles\, a result of her time spent as a d esigner at the Weaver&rsquo\;s Service Centre in Delhi during the 1960s. Ca lling on and then expanding the structure of warp and weft\, Singh&rsquo\;s works make use of the relative openness of the page&mdash\;becoming record s of a remarkable period of freedom in her practice\, spurred on by the des ire\, excitement and uncertainty of experimentation.

\n\n< p style="text-align: justify\; font-size: 11.5px\;">The aesthetic value of the body of works in Tying down time is compounded further by their status as objects&mdash\;the materiality that allows them to register time as much as to represent it. The tears\, punctures and scratched surfaces original to the moment of creation\, merge at times with stains\, watermarks and rup tures\, visible markers of transition over the last four decades. The effec t of the many relocations and disruptions that give contour to Singh&rsquo\ ;s career and life\, these traces have been purposely retained by the artis t\, allowed to mingle with her own pen strokes and color washes. In embraci ng these marks of time as much as those of her hand\, Singh assents that th ey not only express the work&rsquo\;s past life\, its origin\, but its dest inies as well.

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Singh has long been celebrated for the large\, figurative paintings th at followed the rich period of innovation considered in this exhibition. Vi brantly colorful and iconographically dense\, these works gesture towards m ythology and folklore\, while drawing on the expressiveness of the line and textures evident in Tying down time. Singular in their allusion t o contemporary Indian life\, Singh&rsquo\;s works forge a unique visual voc abulary and narrative sensibility that have had major influence on the gene rations of artists who have followed her.

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Arpita Singh was born in 1937 in West Benga l\, India\, and moved with her family to Delhi in 1946\, where she has sinc e lived and worked. She attended School of Art\, Delhi Polytechnic\, and af ter graduating\, she worked as a textile designer at the Weaver&rsquo\;s Se rvice Centre\, part of the Handloom Board of India. Her work has been featu red in exhibitions around the world\, including the Royal Academy of Arts\, London\; The Pompidou Centre\, Paris\; Museo Nacional de Centro Reina Sofi a\, Madrid\; Peabody Essex Museum\, Salem\, MA\; Museum of Fine Arts (MFA)\ , Boston\, MA\; Kiran Nadar Museum of Art (KNMA)\, New Delhi\; Fukuoka Asia n Art Museum\, Japan\; Kunstmuseum Bern\, Switzerland\; Asia Society\, New York\; Art Gallery of New South Wales (AGNSW)\, Sydney\; Rose Art Museum\, Waltham\, MA\; Lalit Kala Akademi\, New Delhi\; National Gallery of Modern Art (NGMA)\, Mumbai &\; New Delhi.

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Arpita Singh lives and works in New Delhi\, Ind ia.

\n LOCATION:Talwar Gallery - NY\,108 East 16th Street \nNew York\, NY 10003 SUMMARY:Tying down time\, Arpita Singh END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:446480 DTSTART:20170429T000000 DTEND:20170904T000000 DESCRIPTION:

Socrates Sculpture Park is ple ased to present New York&rsquo\;s first institutional solo exhibition of Na ri Ward (b. Jamaica\; lives in New York). The exhibition\, Nari Ward: G.O.A .T.\, again\, features a series of six newly commissioned outdoor artworks that were created on site and on view April 29 &ndash\; September 4\, 2017. The will take place on Saturday\, June 3\, from 3-7 PM.

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Ward recasts tropes of outdoor structures &ndash\; th e monument\, the playground\, lawn ornaments\, architectural barriers\, and the advertising sign &ndash\; into surreal and playful creations. Nari War d: G.O.A.T.\, again examines how hubris creates misplaced expectations in A merican cultural politics. This exhibition also brings new insight into the artist&rsquo\;s exploration of identity\, social progress\, the urban envi ronment\, and group belonging.

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G.O. A.T. is an acronym for Greatest of All Time\, a phrase commonly used in Ame rican sports\, made famous by Muhammad Ali\, and in hip-hop\, most notably\ , as the title of Queens native LL Cool J&rsquo\;s best-selling album. The title alludes to the African-American experience and political theater &nda sh\; common themes in Ward&rsquo\;s work.

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The figure of the goat features prominently in Nari Ward: G.O.A.T.\, again as the artist&rsquo\;s articulation of social dynamics\, conjuring t he animal&rsquo\;s attributes and symbolic connotations\, from an ambitious climber of great heights to an outcast. A flock of goats cast from lawn or naments traverse the landscape\, both in groups and as solitary individuals \, manifesting the show&rsquo\;s title. The appropriation of the word goat\ , turning an insult into a moniker for excellence\, demonstrates the power of wordplay\, while the modifier again implies historical repetition. Scape goat\, a forty-foot long hobby toy further develops the goat metaphor and h ighlights another strand of the show: the satirization of virility\, mascul inity\, and monument.

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The visual an chor of the show is Apollo/Poll\, a towering sign that reads &lsquo\;APOLLO &rsquo\;\, the letters &lsquo\;A&rsquo\; and &lsquo\;O&rsquo\; blinking on and off to spell out &ldquo\;POLL.&rdquo\; The red LED-lit letters echo tha t of the iconic neon beacon hanging over Harlem&rsquo\;s Apollo Theater\, a renowned venue for African American musicians and entertainers. Ward imagi nes the sign as a reflection on the enterprise and art of self-promotion\, performance\, originality\, and the meaning of communal acceptance.

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For each work &ndash\; six in total &ndash \; individual perspective\, proximity and movement affect how it is interpr eted.
\n \;<\;<\; read about each project >\;>\;
\n&n bsp\;<\;<\; download the exhibition checklist >\;>\;

\n\n

Nari Ward: G.O.A.T.\, again spans Socrates Sculpt ure Park&rsquo\;s five-acre landscape as the Park&rsquo\;s first presentati on of a single artist in its 30-year history. Ward\, who transforms discard ed or familiar materials into formal innovations that address society&rsquo \;s most urgent questions\, underscores the Park&rsquo\;s mission of integr ating contemporary art into daily life and as a space for cultural exchange and transformation.

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SUPPORT
\ nNari Ward: G.O.A.T.\, again is organized by Socrates Sculpture Park and cu rated by Jess Wilcox\, Director of Exhibitions. The exhibition is made poss ible with generous support from the Lambent Foundation\, Henry Luce Foundat ion\, and the Shelley &\; Donald Rubin Foundation\; with additional supp ort provided by Lehmann Maupin\, New York and Hong Kong\; Galleria Continua \, San Gimignano / Beijing / Les Moulins / Habana\; Roberta and Steven Denn ing\; and Spacetime\, C.C. The exhibition is also supported\, in part\, by public funds from the NYC Department of Cultural Affairs in partnership wit h the City Council\, and the New York State Council on the Arts with the su pport of Governor Andrew M. Cuomo and the New York State Legislature.

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CONCURRENT NARI WARD EXHIBITION
\n& nbsp\;On April 26\, the Institute of Contemporary Art/Boston opened Nari Wa rd: Sun Splashed\, the most significant exhibition of the artist&rsquo\;s w ork to date. Sun Splashed includes artworks made from soda pop bottles\, sh oelaces\, shopping carts\, and a fire escape&mdash\;materials that speak to the artist&rsquo\;s distinctive experimentation and resonate with social\, political\, and cultural meaning. The exhibition focuses on vital points o f reference for Ward including his native Jamaica\, citizenship and migrati on\, and African-American history and culture\, to explore the dynamics of power and politics in society. Sun Splashed is organized by Pé\;rez A rt Museum Miami Associate Curator Diana Nawi. The Boston presentation\, on view through September 4\, is coordinated by Ruth Erickson\, ICA Associate Curator\, with Jessica Hong\, Curatorial Associate.

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MEDIA CONTACT
\n \;Katie Denny Horowitz
\nkd@socratessculpturepark.org
\n718-956-1819 x102

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\n LOCATION:Socrates Sculpture Park\,3201 Vernon Boulevard (at Broadway) \nLon g Island City\, NY 11106US SUMMARY:G.O.A.T.\, again\, Nari Ward END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:446481 DTSTART:20170603T150000 DTEND:20170603T190000 LOCATION:Socrates Sculpture Park\,3201 Vernon Boulevard (at Broadway) \nLon g Island City\, NY 11106US SUMMARY:G.O.A.T. END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:446507 DTSTART:20170719T000000 DTEND:20170910T000000 DESCRIPTION:

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SUMMERTIME SALON 2017

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The Robin Rice Gallery is pleased to present the annual Summertime S alon\, a photographic exhibition. This year&rsquo\;s opening reception will be held on Wednesday\, July 19th\, from 6 to 8 pm. The show will run throu gh September 10\, 2017.

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For many\, Summertime is a fondness broug ht on whilst relishing in the lingering mist of the crispy ocean breeze. Ea ch summer\, Rice curates her favorite show\, The Summertime Salon\, and tra nsports us to a world where we can delve into this very summer sentiment. W ith it&rsquo\;s smells\, sounds\, and architecture New York City might rede fine what we know as a summer&rsquo\;s day\, but Rice\, with her intricate curation\, brings our classic understanding of summer to the city.

\n\n< p>The two\, long walls of the gallery are mosaicked\, top to bottom\, and f rom side to side\, and photographs\, are stacked to cover the gallery walls . Each year\, the Summertime Salon matures and Rice&rsquo\;s annual masterp iece is revealed to showcase an exhibition stronger than the year before. T he show is a haven of what the Robin Rice Gallery stands for\, a community of art and experience. This annual exhibition allows for Rice to feature th e works of the gallery artists as well as welcome a few newcomers.

\n\n< p>The largest annual exhibition\, the Summertime Salon is carefully pieced together\, and the results are always breathtaking. The works of 51 gallery artists\, all of whom have an individually distinctive style\, come togeth er to form a cohesive end product. Rice has a close relationship with the w orks of her photographers\, and strategically curates and layouts out the s how in a way that enhances each individual work. Details from one image wil l compliment the one that follows\, until the works become one unit

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This year&rsquo\;s invitational image\, Gralfex by Luciana Pampalone\, f eatures a woman dressed in all white\, shielding herself from the blinding sun with a sunhat\, secured to her head with a polka-dot harness\, while pr eparing a vintage Graflex camera to take a picture. The image is generation ally amorphous\, it could be capturing a moment from just yesterday or we c ould be peeking at an era from the past. The relationship between the viewe r and the subject is incredibly intimate\, as if she is preparing to captur e a moment beyond our boundaries of vision\, but one that we are immersed i n.

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Ted Adams\, Thomas Alleman\, Nenad Amodaj\, Dorothee Brand\, T odd Burris\, Roger Camp\, Lynda Churilla\, Lance W. Clayton\, Paul Dagys\, Richie Fahey\, Stewart Ferebee\, Mindaugas Gabrenas\, Barbara Gentile\, Isa bella Ginanneschi\, Gladys\, Victoria Goldman\, Sarah Hadley\, Ron Hamad\, Kristen Hatgi\, Patricia\, Heal\, Benjamin Heller\, Melissa Incampo\, H. Na zan Isik\, Pete Kelly\, Haik Kocharian\, Tanya Arianne Malott\, Everett McC ourt\, Patricia McDonough\, Micheal McLaughlin\, RJ Muna\, Rosanne Olson\, Luciana Pampalone\, Brian Pearson\, Bill Phelps\, Jose Picayo\, Lauren Pisa no\, Dalton Portella\, Amy Postle\, Leonardo Pucci\, Kim Reierson\, Robin R ice\, Kevin Ryan\, David Saxe\, Gesi Schilling\, Keith Sharp\, Mark Sink\, Gordon Stettinius\, Robert Stivers\, Kathryn Szoka\, Ron Tarver\, Silvia La reo-Vazquez\, Tina West.

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To view a small selection of the 100 ima ges exhibited\, please direct yourself to \;robinricegallery.com. For more information please conta ct Robin Rice at (212) 366-6660.&rdquo\;

\n LOCATION:Robin Rice Gallery\,325 West 11th Street \nNew York\, NY 10014-622 3 SUMMARY:Summertime Salon 2017\, Ted Adams\, Thomas Alleman\, Nenad Amodaj\, Dorothee Brand\, Todd Burris\, Roger Camp\, Lynda Churilla\, Lance W. Clay ton\, Paul Dagys\, Richie Fahey\, Stewart Ferebee\, Mindaugas Gabrenas\, Ba rbara Gentile\, ISABELLA GINANNESCHI\, Gladys\, Victoria Goldman\, Sarah Ha dley\, Ron Hamad\, Kristen Hatgi\, Heal\, Benjamin Heller\, Melissa Incampo \, H. Nazan Isik\, Pete Kelly\, Haik Kocharian\, Silvia Lareo-Vazquez\, Tan ya Arianne Malott\, Everett McCourt\, Patricia McDonough\, Micheal McLaughl in\, RJ Muna\, Rosanne Olson\, Luciana Pampalone\, Patricia\, Brian Pearson \, Bill Phelps\, Jose Picayo\, Lauren Pisano\, Dalton Portella\, Amy Postle \, Leonardo Pucci\, Kim Reierson\, Robin Rice\, Kevin Ryan\, David Saxe\, G esi Schilling\, Keith Sharp\, Mark Sink\, Gordon Stettinius\, Robert Stiver s\, Kathryn Szoka\, RON TARVER\, Tina West. END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:446508 DTSTART:20170719T180000 DTEND:20170719T200000 LOCATION:Robin Rice Gallery\,325 West 11th Street \nNew York\, NY 10014-622 3 SUMMARY:Summertime Salon 2017 END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:446633 DTSTART:20170617T000000 DTEND:20170822T000000 DESCRIPTION:

AMSTERDAM WHITNEY GALLERY\, loc ated on the Ground Floor of 531 West 25th Street\, Chelsea\, New York City\ , is proud to show in its JUNE 17-AUGUST 22\, 2017 Exhibition leading Conte mporary Master Artists whose work explores the abstract\, figurative and na tural worlds.  \;This special &ldquo\;Mid-Summer Night&rsquo\;s Dream&r dquo\; exhibition\, highlighted by the Gala Champagne Reception on Saturday \, June 24th\, are reveries to the sun and moon\,offering a magical tribute which will enchant the senses of both art acquisitors and art aficionados alike. Reflecting a masterful incandescent renewal and hypnotic regeneratio n of the visual realm\, these acclaimed international and spellbinding mast ers define the cultural pulse of the modern art world. Illuminating with sy mphonic synchronicity\, these talented artists translate abstract thoughts and familiar scenes into a unique perspective\, orchestrated by a bravura o f brushstrokes accompanied by kaleidoscopic hues. Pulsating with dynamic sy nergy and expressive artistic creativity\, these artists render a visual le xicon of sophisticated\, eclectic and often joyful representations of the w orld\, as they shine the spotlight on a unique\, universal artistic languag e\, creating dazzling panoramas of visual delight that are infused with a d ivine creative spirit.

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JUNE 17-AUGUST 22\, 2017 Exhibition  \; \;  \;  \;  \;  \;  \;  \;   \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \; &nb sp\;  \;  \;  \;  \;  \;  \;  \;  \;  \ ;  \;  \;  \;  \;  \;  \;  \;  \;  \; & nbsp\;  \;  \;  \;  \;  \;  \;  \;  \; &nbs p\;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \; \;

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Gala Champagne Reception &\; \;"\;MID-SUMMER NIGHT'\;S D REAM"\; Soiree : \;

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 \;  \; SATURDAY\,   \;JUNE 24\, 2017  \;3:00-5:00 \;pm

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 \ ;

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 \;

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 \; \; \;SPECTRAL  \; CELEBRATIONS

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 \;  \;  \;AASE BIRKHAU G

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 \;  \;  \;ANN GORES

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 \;  \; ADRIENNE KYROS

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 \;

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DREAMS of the LABYRINTH

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 \; & nbsp\;DIANE HOLLAND

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 \;  \;ANNA FRANKLIN

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 \;  \;XINGYA  \;YANG

\ n\n

 \;

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LIGHT from HEAVEN &\; EARTH

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 \; APP

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 \; MARK JAMES FO RD

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 \; JUDITH MONT

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 \; HASNA SAL

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 \;

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KALEIDOSCO PIC FANTASIES

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 \; TOYO CONTIN

\n \n

 \; NICK KACIC-MIOSIC

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 \; N ARGIS KHALID

\n LOCATION:Amsterdam Whitney Gallery\,531 West 25th Street Ground Floor\nNew York\, NY 10001US SUMMARY:Amsterdam Whitney Gallery's JUNE Exhibition\, APP\, Aase Birkhaug\, Toyo Contin\, Mark James Ford\, Anna Franklin\, Ann Gores\, DIANE HOLLAND\ , Nick Kacic-Miosic\, Nargis Khalid\, Adrienne Kyros\, Judith Mont\, Hasna Sal\, Xingya Yang END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:446634 DTSTART:20170624T030000 DTEND:20170624T050000 LOCATION:Amsterdam Whitney Gallery\,531 West 25th Street Ground Floor\nNew York\, NY 10001US SUMMARY:Amsterdam Whitney Gallery's JUNE Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z 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:20170820T083316Z UID:446843 DTSTART:20170528T110000 DTEND:20170528T170000 LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:Slip END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z 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:20170820T083316Z 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:20170820T083316Z UID:446846 DTSTART:20170121T000000 DTEND:20180101T000000 DESCRIPTION:

Designed for the 140-foot-long wall in MASS MoCA&rsquo\;s Hunter Center Mezzanine\, New York-based artist Chris Domenick&rsquo\;s new work\, 5 O D A Y S\, rethinks the dec orative and mass-produced character of traditional wallpaper with a hybrid interpretation of his own. The large-scale work on drawing paper combines s imple screen-printing processes with painting\, collage\, and drawing\, and references Cy Twombly&rsquo\;s cycle of ten monumental paintings titled Fifty Days at Iliam (1978).

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Domenick&rsquo\;s varied art practice includes sculpture\, painting\, works on paper\, and performance\, in which he creates works that inhabit multip le mediums or disciplines including both fine art and design. He adopts mat erials and gestures informed by quotidian American public spaces\, suburban culture\, and everyday objects\, and often works directly with the archite cture of a given site. Domenick&rsquo\;s work also focuses on mark-making o f all kinds\, from the line of a pen to the scratches in a linoleum counter top\, a material Domenick often uses as a canvas in his object-like paintin gs.

\n LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:5 O D A Y S\, Chris Domenick END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z 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:20170820T083316Z 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:20170820T083316Z UID:446935 DTSTART:20170628T000000 DTEND:20170825T000000 DESCRIPTION:

Sunset Dé\;c or

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En ton absence \, vois-tu\, les choses devenaient encore plus claires qu&rsquo\;elles ne

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l&rsquo\;é\;taient so us le feu de ton regard gai.

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A lain Jouffroy

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In January of 1976\, not long before his death\, Marcel Broodthaers prepared two photographs of his recent show Dé\;cor: A Conquest by Marcel Broodthaers (I CA\, London\, 1975) to send his friend Alain Jouffroy. The photographs show ed two views of one of the artist&rsquo\;s last Dé\;cors&mdash\; the stagelike installation pieces he had begun creating in 1974. One p hotograph depicted a 19th centurythemed room featuring a gigantic stuffed p ython\, two liquor barrels\, and a 19th century pistol\; the other room\, d evoted to the 20th century\, included a row of M-16 machine guns and a lawn table and chairs positioned underneath an umbrella. Most of the objects we re props that had come from Bapty &\; Co Ltd\, Stage and Film Warlike St ores\, a specialist purveyor of deactivated guns for war films\, and the fu rniture from Heals Tottenheim Court Road.

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The result was one of the most overtly politicized pieces of his car eer&mdash\;and one of the most fertile. The exhibition Sunset Dé\ ;cor recalls this late work of Marcel Broodthaers and its wide range o f cultural and political references to the social context of its time\, inc luding the declining genre of Western movies of the late 1960&rsquo\;s and the uncertain ending of the Vietnam War. Given that for Broodthaers the Dé\;cors weren&rsquo\;t originally ends in themselves but rathe r temporary stage-sets\, this exhibition also allows us to see his practice as a backdrop for other artistic inquiries and political narratives that w ere to be reframed and played out.

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Just as the different plots and storylines that emerge from Dé\;c or: A Conquest by Marcel Broodthaers and the ensuing film\, La Bat aille de Waterloo (1975)&mdash\;made present through artistic tributes by Leonor Antunes and Cerith Wyn Evans\, and other objects and ep hemera&mdash\;set up a symmetry between the colonial drive of the 19th century and the imperial politics that prevailed well into the 20th ce ntury\, the works in this exhibition draw a sustained connection between th e interior and exterior\, the near and the far\, and the domestication of w ar and the politics of representation and their spectacularization&mdash\;f or example\, in works such as those by Gertrude Kä\;sebier\, SUPERFLEX and Fiona Banner.

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Sunset D&eacu te\;cor provides a framework in which artworks\, documents and objects articulate disparate topics - from the inscription of politics into the Ar cadian landscapes\, captured by 19th century North American phot ographers Eadweard Muybridge\, Carleton E. Watkins and Timothy H. O&rsquo\; Sullivan\, and contemporary artist Trevor Paglen to the development of a ra ilroad system built upon the expropriation of the land in the Western terri tories and the subsequent fate of these routes of commerce\, as in works by Lothar Baumgarten and Danh Vo\; from the exploitation of natural resources up to the point of extinction\, as seen in Jean Marie Perdrix\, Hiroshi Su gimoto and David Wojnarowicz&rsquo\;s works\, to the principles of self-emp owerment giving way to redemptive violence for the sake of civilization\, i n the works of Marco Esparza and Joachim Koester.

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At a time when populations\, cultures and the environment ar e fighting to resist conservative thinking and political assault\, Suns et Dé\;cor puts into perspective the instrumentalization\, now a s then\, of nature\, the individual and the land for the production of a sy mbolic order in the name of freedom\, civilization and democracy.

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Artists in the exhibition: Leonor Antunes\, Fiona Banner\, Lothar Baumgarten\, Marcel Broodthaers\, Ma rco Esparza\, Cerith Wyn Evans\, Gertrude Kä\;sebier\, Joachim Koester\ , Eadweard Muybridge\, Timothy H. O&rsquo\;Sullivan\, Trevor Paglen\, Jean- Marie Perdrix\, Hiroshi Sugimoto\, SUPERFLEX\, Danh Vo\, Carleton E. Watkin s and David Wojnarowicz.

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Ma gali Arriola is an art critic and independent curator currently li ving in Mexico City. She was curator at Fundació\;n Jumex Arte Contem porá\;neo between 2011 and 2014\, where she curated exhibitions of ar tists such as James Lee Byars (co-produced with MoMA-PS1)\, Guy de Cointet and Danh Vo\, as well as collective shows displaying works from the Jumex C ollection. She was Chief Curator of Museo Tamayo between 2009 and 2011\, Mu seo Carrillo Gil in Mé\;xico City from 1998 to 2001 and visiting cura tor at the Wattis Institute for Contemporary Art in San Francisco in 2006. In 2008\, she curated the 8th Panama Biennial. Arriola has extensively writ ten for books\, and catalogues and has contributed to publications such as Frieze\, Artforum\, Mousse\, Manifesta Journal\, The Exhibitionist\, among others.

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Please join us at the openi ng reception on Wednesday\, June 28th from 6-8 pm.

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For further information please contact Linda Pellegrini\, D irector of Communications\, linda@mariangoodman.com\, call 212- 977-7160\, or visit our website at www.mariangoodman.com.

\n LOCATION:Marian Goodman Gallery\,24 West 57th Street \nNew York\, NY 10019 SUMMARY:Sunset Décor\, Leonor Antunes\, Fiona Banner\, Lothar Baumgarten\, Marcel Broodthaers\, Marco Esparza\, Cerith Wyn Evans\, Gertrude Käsebier\, Joachim Koester\, Eadweard Muybridge\, Timothy H. O’Sullivan\, Trevor Pagl en\, Jean-Marie Perdrix\, Hiroshi Sugimoto\, Superflex\, Danh Vo\, Carleton E. Watkins\, David Wojnarowicz END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:446936 DTSTART:20170628T180000 DTEND:20170628T200000 LOCATION:Marian Goodman Gallery\,24 West 57th Street \nNew York\, NY 10019 SUMMARY:Sunset Décor END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:447066 DTSTART:20170524T000000 DTEND:20171103T000000 DESCRIPTION:

The spectacular art installation entitled \;Babel\, \;an iconic work by Alabama artist Jim Neel\, \;is on view at the new Kohler Experience Center in New York. Babel is the centerpiece of the new satellite gallery space curated by the Kohler Arts Center'\;s Arts/Industry Program in the dazz ling New York showroom.  \;The KOHLER Experience Center is located at 6 West 22st Street in Manhattan&rsquo\;s Flatiron district.

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The Wisconsin-based Arts Center will rotate works crea ted by artists during their time in the celebrated "\;Arts/Industry Res idency Program."\; Founded in 1974\, it is a unique collaboration betwe en the Kohler Company and the John Michael Kohler Arts Center that allows a rtists to explore the use of industrial technologies in the creation of new bodies of work.  \;It is undoubtedly one of the most important ongoing collaborations between art and industry in the United States \;fosteri ng the intersection of creative practice and industrial process.

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Babel was created during Neel&rsquo\;s 2008 Arts/Industry residency in the Kohler Co. Pottery. Neel slip-cast 50 l arge-scale\, vitreous china chimpanzees\, then outfitted the figures to be battle-ready and arranged them in military formation. Exploring mankind&rsq uo\;s compulsion to go to battle\, Babel speaks to what Neel says is the human species&rsquo\; historical tendency to be &ldquo\;slow learner s\,&rdquo\; and the ongoing state of warfare between human communities. Mad e from unglazed ceramic\, Neel&rsquo\;s stalwart army conjures a ghostly mi litary force. \;Selections from this installation will be on view in th e showroom&rsquo\;s main window on West 22nd Street.

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&ldquo\;The work by Neel represents the many draws of the Ar ts/Industry residency program for artists\,&rdquo\; said Kristin Plucar\, A rts/Industry program manager at the John Michael Kohler Arts Center. &ldquo \;The Kohler Co. factory is an environment singularly suited to support art ists in the creation of works they may not be able to accomplish in their h ome studios. This satellite gallery space will showcase the work that resul ts from this extraordinary collaboration\, and the Arts Center deeply appre ciates this demonstration of Kohler Co.&rsquo\;s ongoing commitment the cre ative arts.&rdquo\;

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About Arts /Industry: Arts/Industry is an artist residency program of the Joh n Michael Kohler Arts Center. It is made possible by major support from Koh ler Co. Participating artists receive travel\, housing\, a stipend\, featur ed exhibitions at the John Michael Kohler Arts Center\, and 24/7 access to studios in the Kohler Co. Foundry and Pottery facilities in Kohler\, Wis. R esidencies typically last from two to six months.

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The KOHLER Experience Center is a new global r etail concept created to serve the fast-growing segment of architecture and interior design professionals working on projects around the world and to offer consumers on-site product immersion making it easier than ever to exp erience and buy KOHLER products. The Manhattan flagship is the first to ope n globally\, with London\, Los Angeles\, Singapore\, Shanghai\, Hong Kong\, Bangkok and Taipei opening later in the year. Each KEC will showcase a pie ce from the Kohler Arts Industry Program.

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KOHLER Experien ce Center (KECNYC)

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6 West 22nd Street\, New York \, NY 10010

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212-337-3224\; www.kohlerexperiencecenterny c.com

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\nMore information about Arts/Industry c an be found at jmkac.org/artsindustry.

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The John Michael K ohler Arts Center

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Founded in 1967\, the John Michael Koh ler Arts Center is a catalyst for creative exchanges between artists and lo cal\, national\, and international audiences. Central to its mission is pro moting understanding and appreciation of the work of self-taught and contem porary artists through the curation of original exhibitions\, commissioning new works of art\, interactive learning\, and the presentation of music\, theatre\, and dance.

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The Arts Center&rsquo\;s collection focuses primarily on works by artist-environment builders\, self-taught and folk ar tists\, and works created in the Arts/Industry residency program. Today\, w ith well over 20\,000 individual works of art by 30 different art-environme nt builders in the collection\, the Arts Center is the world&rsquo\;s leadi ng center for research and presentation of this work.

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Looking to the future\, the Arts Center will continue to generate innovative explorati ons in the arts and foster engagement among diverse communities to nourish and enrich the lives of all.

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Admission to the John Michael Kohler Arts Center is by voluntary donation. The Arts Center is supported by corp orate and foundation donors\, government grants\, and its many members. It is a 501(c)3 (nonprofit) organization\; donations are tax deductib le. The Arts Center is not an entity of Kohler Co. or its subsidiaries. Mor e information about the Arts Center can be found at jmkac.org or by calling 920-458-6144.

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 \;

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John Michael Kohler Arts Center

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608 New York Ave.\, Sheboygan\, WI

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920.458.6144 \; www.jmkac.org

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Hours

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Mondays\, Wednesdays\, Fridays: 10 a.m. to 5 p.m.

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Tuesdays and Thursdays: 10 a.m. to 8 p.m.

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Saturdays and S undays: 10 a.m. to 4 p.m.

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\n LOCATION:Kohler Experience Center\,6 West 22nd Street\, \nNew York\,\, New York 10010US SUMMARY:New Kohler Experience Center Includes New Gallery Space Featuring Works by John Michael Kohler Arts Center’s Arts/Industry Artists\, Jim Neel END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:447067 DTSTART:20170522T043000 DTEND:20170522T060000 LOCATION:Kohler Experience Center\,6 West 22nd Street\, \nNew York\,\, New York 10010US SUMMARY:New Kohler Experience Center Includes New Gallery Space Featuring Works by John Michael Kohler Arts Center’s Arts/Industry Artists END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:447269 DTSTART:20170606T000000 DTEND:20170826T000000 DESCRIPTION:
The first ever exhib ition of original Spider-Man artwork by John Romita and other significant a rtists including Steve Ditko\, Todd McFarlane\, John Buscema\, Ross Andru\, Gil Kane\, Ron Frenz\, Keith Pollard\, John Romita Jr. and others. The exh ibit runs from June 6th through August 26th\, 2017. \;
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An opening reception to the p ublic will be held on Friday June 9th at 7:30PM.
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Spide r-Man is the well- known signature character of the Marvel universe\; creat ed by Stan Lee and Steve Ditko at the nadir of the comics field in August o f 1962 in the last issue of Amazing Fantasy #15. Fan reaction was promising and Lee decided to take a chance and published Spider-Man as a stand- alon e comic. Unlike the fun\, yet two dimensional super heroes of the 1930s and 40s\, Lee scripted his new characters with flaws\, insecurities\, and nuan ced personalities. These new style comics proved to be popular with fans\, and readers as old as college age began to follow the exploits of these fam ed but flawed super heroes. \;
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Ditko soon left Mar vel and Spider-Man fans wondered who would take over his quirky and often a wkwardly drawn hero. Enter artist John Romita. Romita\, a graduate of Manha ttan&rsquo\;s School of Industrial Art was already a veteran of comics and had worked in the industry since 1947. Overcoming his initial trepidation f rom taking over a strip that was drawn by the idiosyncratic Ditko\, Romita soon &lsquo\;stopped trying to mimic Ditko&rsquo\; and gave Spider-Man and his cast of characters his own warmer\, friendlier\, appealing and more ele gant portrayal which would propel Spider-Man and his cast of well- known ch aracters and villains to worldwide fame and multi-media acceptance as &lsqu o\;the&rsquo\; super hero symbol of the '\;swinging &lsquo\;60s'\; po p culture.  \;
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Romita&rsquo\;s lush and appealing artwork was also significant as his style soon became the blueprint for wha t would become the Marvel house look. Indeed\, a few years later\, in 1973\ , Romita would become the art director for the entire line of Marvel Comics . Romita&rsquo\;s impact on Marvel Comics in general and on Spider-Man in p articular cannot be overstated\; much like Walt Disney refined and nurtured a mouse and a house look into a powerhouse brand\, Romita assisted Lee in doing much the same\, Lee on the words\, and Romita on the look of both the spider and the house line. No wonder Disney would acquire Marvel Comics so me years later. Romita would be recognized for his contribution to his indu stry by being inducted into the Will Eisner Comic Book Hall of Fame in 2002 . \;
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This exhibition features art from throughout Romita&rsquo\;s initial Spider-Man run. Featured are ('\;twice up'\;) pages from early in the run and their large size and clean presentation ar e a joy to behold. Significant pages are exhibited here for the first time\ , including Spider-Man&rsquo\;s battles with the Green Goblin\, the Rhino\, Doctor Octopus and many others. There are many pages featuring Romita&rsqu o\;s beautiful presentation of Mary Jane Parker and Gwen Stacy\, including the original early finished drawings. Also featured are the first 2 weeks o f John Romita'\;s amazing Spider-Man strip run as well as several of his earliest larger Sunday strips. There are select pages from Steve Ditko\, t he quirky creator who gave Spider-Man his oblique beginning with fantastic and detailed layouts and cinematic pacing.  \;Other featured Spider-Man artists will include Todd McFarlane who rebooted Spider-Man&rsquo\;s look in 1988 to much fan acclaim\, and notable artists such as Ross Andru\, John Buscema\, Ron Frenz\, Gil Kane\, Keith Pollard\, and John Romita Jr\, &nbs p\;who all contributed their considerable talents in illustrating this icon ic character. \;
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The exhibition also includes rare art from the original Spider-Man newspaper strip\, advertising and other i llustrative work. It is the largest\, and most comprehensive exhibition of Spider-Man art ever seen anywhere in the world. \;
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The art is on loan from the collection of Spider-Man and Romita expert Mik e Burkey\, and the show is arranged and curated by Comic Art Specialist Rob Pistella. \;
\n LOCATION:Society of Illustrators\,128 East 63rd Street \nNew York\, NY 1002 1 SUMMARY:The Art of Spider-Man\, Ross Andru\, John Buscema\, Steve Ditko\, R on Frenz\, Gil Kane\, Todd McFarlane\, Keith Pollard\, John Romita\, John R omita Jr. END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:447270 DTSTART:20170609T193000 DTEND:20170609T213000 LOCATION:Society of Illustrators\,128 East 63rd Street \nNew York\, NY 1002 1 SUMMARY:The Art of Spider-Man END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:447271 DTSTART:20170607T000000 DTEND:20170826T000000 DESCRIPTION:

The Society is proud to presen t a rare opportunity to view some of the greatest fantasy masterpieces of o ur time. Presenting a grouping of illustrations of imaginative literature f rom the Korshak Collection\, on display in Gallery 1 &\; 2.  \;

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"\;As a young man I was fortunate e nough to grow up with great art in my bedroom. My father\, Erle Korshak\, w as the publisher of a pioneering science fiction book company\, Shasta Publ ishers. Shasta ushered in the transition of important science fiction liter ature from magazines printed on cheap pulp paper to hardcover\, library-qua lity books. Much of that art lived with us at our house and at the company office in Chicago.

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In particular\, the J. Allen St. John illustration for the 1941 Amazing Stories magazine co ver of John Carter battling the Dead in "\;The City of Mummies"\; l ured me into a fantastic world that I never knew existed. I read and enjoye d the Edgar Rice Burroughs story behind the illustration but for me\, the&n bsp\;illustration \;itself gave me a sense of wonder I had never previo usly experienced.

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So began a lifelo ng love affair with illustration art. This collection is a vision of the&nb sp\;fantastic. It is one of great illustrators\, as well as illustrations t hat had a great influence on imaginative literature."\;

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- Stephen Korshak\, collector \;

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An Opening Reception will be held on Fri day\, June 16th. Open to the public beginning at 7:30PM. Learn mor e...

\n LOCATION:Society of Illustrators\,128 East 63rd Street \nNew York\, NY 1002 1 SUMMARY:The Korshak Collection: Illustrations of Imaginative Literature\, V irgil Finlay\, William R. Flint\, Frank R. Paul\, Gustaf Tenggren END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:447272 DTSTART:20170616T193000 DTEND:20170616T213000 LOCATION:Society of Illustrators\,128 East 63rd Street \nNew York\, NY 1002 1 SUMMARY:The Korshak Collection: Illustrations of Imaginative Literature END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:447475 DTSTART:20170622T000000 DTEND:20170928T000000 DESCRIPTION:

Women continue to Root Down and Rise Up in new exhibit opening June 22nd at Riverdale Gallery

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Elisa Contemporary Art is pl eased to present "\;Rooted Down and Rising Up"\;. This thr ee-woman show features artists Amy Cheng\, Sara V. Cole an d Michelle Gagliano. It will open on June 22nd and run thr ough September 28th. Our artists draw their influences from nature &ndash\; the flowers\, leaves and vines &ndash\; deeply rooted in the world all aro und us to portray the complex connections into the human mind\, body\, soul \, and spirit.

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The featured artists utilize a range of creative mediums and styles. California artist Sara V. Cole\, debuting with Elisa Contemporary Art\, uses layers of torn and hand cut paper leaves and botanical shapes sometimes up to 300 pieces\, collaged with acrylic paints. According to Cole\, "\; I utilize hybridized botanical shapes to visualize the interactions of nature and the human cond ition&hellip\;I am searching for balance ...to find the mindful middle grou nd that can sustain both the bountiful and destructive nature of our humani ty."\;

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Virginia artist\, M ichelle Gagliano\, combines imaginary &lsquo\;natural&rsquo\; forms with te xtural patinas creating breathtaking panoramas that both evoke timeless pri vate visions and invoke universal themes and emotions. According to Gaglian o\, &ldquo\;My current body of work further reduces and deconstructs th e landscape\, reflecting and refracting the prism of light and soul in a co ntemporary concept&hellip\; I see my work as a kind of mapping of natural beauty. Maps themselves to me are like veins of the earth\, like th e body itself.&rdquo\;

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Chinese artist\, Amy Cheng\, works with oil on paper and on Canvas using patterns from around the world. According to Cheng\, "\;I align myself with the long tradition of geometric and floral ornamentation the Far Eastern\, Middle Eastern\, &\; European craftsmen have long employed. They did so with the implicit understanding that pattern &\; repetition\, which are endemic in nature\, are primal in their rhythmic connection to the human ne rvous system."\;

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 \;About the Artists:

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Amy Cheng

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Amy Cheng was born in Taiwan\, rai sed in Brazil\, Oklahoma and Texas. She received a BFA from the University of Texas at Austin\, and an MFA from Hunter College\, City University of Ne w York. She has exhibited her paintings nationally and internationally\; he r work is held in a number of corporate and public collections. She has com pleted a number of public art commissions including projects at the Seattle -Tacoma International Airport\, the Howard St. El Station in Chicago\, IL\, the Cleveland Street Subway Station in Brooklyn\, NY\, the 25th Avenue Sub way Station in Brooklyn\, NY\, the Lambert-St. Louis International Airport MetroLink Station\, the Jacksonville International Airport\, FL\, the Slaus on Bus Station\, Los Angeles\, CA\, traffic box coverings in downtown Odess a\, TX\, and the Valley Regional Transit Station in Boise\, ID.

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She received a Fulbright Teaching Fellowship t o Renmin University\, Beijing\, People&rsquo\;s Republic of China in 2017\, a P.S. 122 Painting Center Fellowship in New York City for a ten month res idency in 2011-12\, and a Senior Lecture/ Research Fulbright fellowship to Brazil in 2008. She has been awarded two New York Foundation for the Arts P ainting Fellowships\, and an Arts International travel grant to China. She is a Professor in the Art Department at the State University of New York at New Paltz.

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Sara V. Cole

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Sara V. Cole currently live s and works in San Jose\, CA. She is a nationally represented\, internation ally exhibited author\, teacher and fine art painter. Cole has participated in the San Francisco Museum of Modern Art Bi-annual Auction and several Ne w York Art Fairs and has placed work in the permanent collections of Hilton Hotels\, the Microsoft Collection\, Stanford University\, the MGM Grand in Las Vegas\, the Ritz Carlton in Laguna Niguel\, the Grand Hyatt in Atlanta \, Iberia Bank in Louisiana\, and De Anza College in Cupertino.

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Cole has an extensive list of exhibition histo ry including New York City'\;s Asian Cultural Center Gallery\, group exh ibitions from Seattle\, Washington to Metz\, France. Cole is in the private collections of many patrons including that of Actress Sela Ward. As a life time proponent of social action and community service\, Cole has donated wo rks and volunteered with several non-profit organizations'\; fund raisin g auctions for nearly two decades.

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Cole earned her BFA in ceramic sculpture and installation/performance art w ith a minor in art history in 2002. In 2006\, she completed her MFA in pain ting and drawing. In 2007 she studied graduate level Non-Western Contempora ry Art History\, all at San Jose State University in San Jose\, California.

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Michelle Gagliano

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Contemporary oil painter\, Michel le Gagliano has been painting for over 25 years and has shown across the co untry\, including artist residencies\, solo exhibitions\, group shows\, mus eum exhibitions\, and private installations. Her work is held in numerous p rivate and corporate collections throughout the United States\, Europe and Asia.

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Born in Jamestown\, New York\ , Gagliano studied painting at North Texas State University with painter Ve rnon Fisher. She has a degree in painting from Plymouth State University\, Plymouth\, New Hampshire\, and currently lives and works in Scottsville\, V irginia.

\n LOCATION:Elisa Contemporary Art Gallery\,5622 Mosholu Avenue (near 256th St reet/Riverdale Library)\nRiverdale\, NY 10471 SUMMARY:Rooted Down\, Rising Up: Three Female Artists Reimage Nature\, Amy Cheng\, Sara V. Cole\, Michelle Gagliano END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:447481 DTSTART:20170620T000000 DTEND:20170901T000000 DESCRIPTION:

EXTENDED!
\nThrough Fri day\, September 1\, 2017

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SUMMER HOURS: MON&ndash\;FRI 1 0-6

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I find mushrooms inc redible &hellip\; their sole function is to lift their spores out of the gr ound to be carried away by the wind. So why do they have this immense varie ty of shapes\, colors\, and constituents\, some of them psychoactive? As fa r as we know\, they don&rsquo\;t communicate with other mushrooms above the ground\, and they don&rsquo\;t use these toxins to protect themselves. The re&rsquo\;s something else going on that we don&rsquo\;t understand.\n&mdash\;Carsten Hö\;ller

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Gagosian is pleased to present &ldquo\;Reason\,&rdquo\; recent work by Cars ten Hö\;ller\, his first exhibition in New York since the New Museum su rvey in 2011.

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Towering mushroom col lages\, a maze of mirrored panels\, abstract paintings\, hyperreal little f ishes\, an environment for children in the form of a huge dice: Hö\;lle r unites art\, play\, and phenomenology to transform the gallery into a lab oratory of reason and the incomprehensible. With a professional formation i n the natural sciences\, Hö\;ller has long been fascinated by the uniqu e attributes and behaviors of people\, fungi\, and animals. The Giant T riple Mushroom (2015) sculptures combine enlarged cross-sections of th ree different species\, fungal hybrids that seem at once empirical and surr eal. Fly agaric mushrooms always make up at least half of these sculptures\ ; like many of Hö\;ller&rsquo\;s topics\, they are both formally and co nceptually captivating\, incarnations of &ldquo\;irrationality with a metho d.&rdquo\; When ingested\, they can induce hallucinogenic effects&mdash\;as seen in Muscimol (1996)\, an early video of the artist under the influence. Flying Mushrooms (2015) is a giant stabile with moving parts\, which turns when its lowest arm is pushed\, causing a crop of seven fly agaric replicas to orbit slowly through the air\, living up to their n ame. Each mushroom is cut vertically down the middle\, then reassembled so that one half is upright and the other upended\, the distinctive white-spot ted red caps spinning like propellers at either end of their stems.

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Hö\;ller searches for reason only to e scape or disprove it. He allows experience to surpass meaning\, and provide s a model for infinity through radical simplicity. While his Divisions pain tings\, animal works\, and neon objects embody this model\, Revolving D oors (2004/16) repeats the mirrored image endlessly\, creating a m ise-en-abî\;me that engulfs those who enter it in a multitude of ever-changing reflections.

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Carsten Hö\;ller was born in 1961 in Brussels\, Belgium to Ger man parents and lives in Stockholm\, Sweden\, and Biriwa\, Ghana. Instituti onal exhibitions include the 50th Biennale di Venezia (2003)\; "\;Carst en Hö\;ller: One Day One Day\,"\; Fä\;rgfabriken\, Stockholm (2 003)\; 7th Biennale de Lyon (2003)\; "\;Carsten Hö\;ller: Half Fict ion\,"\; Institute of Contemporary Art\, Boston (2003)\; "\;Carsten Hö\;ller: 7\,8 Hz\,"\; Le Consortium\, France (2004)\; "\;Cars ten Hö\;ller: Une exposition à\; Marseille\,"\; Musé\;e d'\;Art Contemporain\, Marseille (2004)\; 51st Biennale di Venezia (200 5)\; "\;Carsten Hö\;ller: Test Site\,"\; Tate Modern\, London ( 2006)\; "\;Carsten Hö\;ller: Amusement Park\,"\; MASS MoCA\, No rth Adams\, MA (2006)\; "\;Carsten Hö\;ller: Carrousel\,"\; Kun sthaus Bregenz\, Austria (2008)\; "\;Carsten Hö\;ller: The Double C lub\,"\; Fondazione Prada\, London (2008)\; 28th Bienal de Sã\;o Paulo (2008)\; "\;Carsten Hö\;ller: Double Slide\,"\; Museum of Contemporary Art\, Zagreb\, Croatia (2009)\; 53rd Biennale di Venezia (200 9)\; 8th Gwangju Biennale (2010)\; "\;Carsten Hö\;ller: Divided Div ided\,"\; Museum Boijmans van Beuningen\, Rotterdam (2010)\; "\;Car sten Hö\;ller: Soma\,"\; Hamburger Bahnhof\, Museum fü\;r Gegen wart\, Berlin (2010)\; "\;Carsten Hö\;ller: Double Carousel with Z& ouml\;llner Stripes\,"\; MACRO- Museo d&rsquo\;Arte Contemporanea Roma\ , Italy (2011)\; "\;Carsten Hö\;ller: Experience\,"\; New Museu m of Contemporary Art\, New York (2011)\; 11th Sharjah Biennale (2013)\; &q uot\;Carsten Hö\;ller: LEBEN\,"\; Thyssen-Bornemisza Art Contempora ry\, Vienna (2014)\; 8th Berlin Biennial for Contemporary Art (2014)\; 10th Gwangju Biennale (2014)\; "\;Carsten Hö\;ller: Golden Mirror Carou sel\,"\; National Gallery of Victoria\, Melbourne (2014&ndash\;15)\; 56 th Biennale di Venezia (2015)\; "\;Carsten Hö\;ller: Decision\,&quo t\; Hayward Gallery\, London (2015)\; and &ldquo\;Carsten Hö\;ller: Dou bt\,&rdquo\; Pirelli HangarBicocca\, Milan (2016).

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Hö\;ller&rsquo\;s Slide at the ArcelorMittal Orbit< /em>\, an addition to Anish Kapoor&rsquo\;s ArcelorMittal Orbit (2 012) commissioned in 2016\, is permanently installed at Queen Elizabeth Oly mpic Park\, London. This fall\, a new monumental slide will be installed pe rmanently at the Aventura Mall in Florida.

\n LOCATION:Gagosian Gallery- 24th St.\,555 West 24th Street \nNew York\, NY SUMMARY:Reason\, Carsten Höller END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:447482 DTSTART:20170619T180000 DTEND:20170619T200000 LOCATION:Gagosian Gallery- 24th St.\,555 West 24th Street \nNew York\, NY SUMMARY:Reason END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:447491 DTSTART:20170526T000000 DTEND:20170903T000000 DESCRIPTION:

This landmark exhibition celeb rates the 70th anniversary of the renowned photo agency Magnum Photos creat ed by Robert Capa\, Henri Cartier-Bresson\, George Rodger\, and Chim (David Seymour) in 1947. Tracing the ideas and ideals behind the founding and dev elopment of the legendary cooperative\, curator Clé\;ment Ché\; roux\, formerly photography curator at the Centre Pompidou\, now senior cur ator of photography at SFMoMA\, explores the history of the second half of the 20th century through the lens of 75 masters\, providing a new and insig htful perspective on the contribution of these photographers to our collect ive visual memory.

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Featuring group and individual projects\, the exhibition will include over two hundred prin ts as well as books\, magazines\, videos\, and rarely before seen archival documents. \;Among many others\, it will feature the work of Christophe r Anderson\, Jonas Bendiksen\, Henri Cartier-Bresson\, Cornell and Robert C apa\, Chim (David Seymour)\, Raymond Depardon\, Bieke Depoorter\, Elliott E rwitt\, Martine Franck\, Leonard Freed\, Paul Fusco\, Cristina Garcia Roder o\, Burt Glinn\, Jim Goldberg\, Joseph Koudelka\, Sergio Larrain\, Susan Me iselas\, Wayne Miller\, Martin Parr\, Marc Riboud\, Alessandra Sanguinetti\ , W. Eugene Smith\, Alec Soth\, Chris Steele-Perkins\, Dennis Stock\, Mikha el Subotzky\, and Alex Webb.

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The ex hibition is a co-production between ICP and Magnum Photos. It is curated by Clé\;ment Ché\;roux\, with Clara Bouveresse and ICP Associate Curator Pauline Vermare. The accompanying catalogue is published by Thames &\; Hudson.

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ICP&rsquo\;s presentation of Magnum Manifesto is supported in part by an award from the National Endowment for the Arts\, an d by public funds from the New York City Department of Cultural Affairs in partnership with the City Council. \; \; \; \;

\n LOCATION:International Center of Photography (ICP) Museum\,250 Bowery \nNew York\, NY 10012 SUMMARY:Magnum Manifesto\, Christopher Anderson\, Jonas Bendiksen\, Robert Capa\, Henri Cartier-Bresson\, Chim (David Seymour)\, Cornell\, Raymond Dep ardon\, Bieke Depoorter\, Elliott Erwitt\, Martine Franck\, Leonard Freed\, Paul Fusco\, Burt Glinn\, Jim Goldberg\, Joseph Koudelka\, Sergio Larrain\ , Susan Meiselas\, Wayne Miller\, Martin Parr\, Marc Riboud\, Cristina Garc ia Rodero\, Alessandra Sanguinetti\, W. Eugene Smith\, Alec Soth\, Chris St eele-Perkins\, Dennis Stock\, Mikhael Subotzky\, Alex Webb END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:447507 DTSTART:20170601T000000 DTEND:20170916T000000 DESCRIPTION:
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We are thrilled to announce the exhibition of the comp lete series of fifty-seven paintings from Maira Kalman&rsquo\;s lauded 2005 edition of the illustrated The Elements of Style shown together f or the first time in New York. Kalman discovered the modest but revered ref erence compiled by William Strunk and E.B. White and known to generations o f aspiring writers and English students at a used bookstore around 2002. Sh e found it so amusing and subject to visual interpretation that it became h er most beloved project to date.

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At the time of publication it also became an original opera written by the yo ung prodigy Nico Muhly in collaboration with Kalman\, and commissioned by t he New York Public Library. It was performed in the main reading room at th e NYPL in October 2005 and subsequently at Lincoln Center and the Dia Found ation in Beacon.

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Of the many painti ngs that are strategically deployed throughout the book\, there are many co mplex and almost always humorous relationships to the text. Here are three examples\; she depicts a romantic couple seated out of doors with the femal e looking longingly away from her man to illustrate the text about comparat ive pronouns &ldquo\;Polly loves cake more than she loves me.&rdquo\; A gui lty expression accompanies a basset hound in the caption on parenthetic phr ases &ldquo\;Well\, Susan\, this is a fine mess you are in.&rdquo\; The use of a singular verb in the context of a group is demonstrated by the senten ce &ldquo\;None of us is perfect&rdquo\;\, illustrated by a strangely
\ndisconnected group of individuals.

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Kalman is the author of 25 illustrated books for both children and adults \, but this is the one she holds closest to her heart. Many of Kalman&rsquo \;s books have been exhibited at the gallery during the fifteen years we ha ve represented her\, including the Principles of Uncertainty\, Food Rul es\, Girls Standing on Lawns\, etc.\, and sold to individual collector s\, but Kalman has chosen to keep The Elements together\, and we w ill be offering this body of work in its entirety as one work.

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Kalman applies her creative skills to many plat forms. She and her son Alex
\ncollaborated on an installation currentl y up at the Metropolitan Museum entitled &ldquo\;Sarah Berman&rsquo\;s Clos et.&rdquo\; She also recently designed a workout/ performance for the Met\, executed a mural for the Russ and Daughters Café\; at the Jewish Mus eum\, performed as a duck in the Peter and the Wolf production with Isaac M izrahi at the Guggenheim\, designed an installation and exhibition for the newly renovated Cooper Hewitt and is currently working on publications for the NYPL\, the Gertrude Stein archive and the Frick Collection. She recentl y completed a series of three illustrated books for MoMA in collaboration w ith the photography department and Daniel Handler. She is currently working on a full-length ballet with John Heginbotham doing text\, sets\, costumes \, animations\, and performing that premier this summer at Jacob&rsquo\;s P illow.

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\n LOCATION:Julie Saul Gallery\,535 West 22 St. \nNew York\, NY 10011 SUMMARY:The Elements of Style\, Maira Kalman END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:447508 DTSTART:20170601T180000 DTEND:20170601T200000 LOCATION:Julie Saul Gallery\,535 West 22 St. \nNew York\, NY 10011 SUMMARY:The Elements of Style END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:447509 DTSTART:20170601T000000 DTEND:20170916T000000 DESCRIPTION:

Darling Dorset is a valentine to the beautiful region on the Southwest part of the UK where Maira Kalman travelled to look at luscious early summer gardens\, visit and reside in ol d houses\, and observe her fellow wanderers. This series of paintings was c ommissioned by Departures Magazine\, and published in the May/June 2017 iss ue and the eleven gouache paintings will be shown at the gallery from June 1 to September 16. With her generous and witty eye\, Kalman embraces her fa vorite subjects: landscape\, still life\, a faucet or frayed chair- always lovingly.

\n LOCATION:Julie Saul Gallery\,535 West 22 St. \nNew York\, NY 10011 SUMMARY:Darling Dorset\, Maira Kalman END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:447519 DTSTART:20170603T000000 DTEND:20170901T000000 DESCRIPTION:

Koenig &\; Clinton is delig hted to inaugurate our new Bushwick location with the gallery&rsquo\;s firs t exhibition of Brooklyn-based artist\, Albert Herter. On view are 45 vivid ly colored works on paper that have been culled from six discrete series th at were drawn over the course of the past year.

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In keeping with his previous series\, Herter&rsquo\;s most rec ent work features compact and elaborate scenes filled with de-constructed f igures that have been staged in a surreal space. Ornate compositions common ly include two or three bodies enmeshed in dialogue or in confrontation. Am idst the dense scape of detail\, boundaries between figure and ground\, hum an and nature\, threaten to disappear.

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From a distance\, Herter&rsquo\;s detailed freehand ink and watercolor drawings might resemble those of Old Masters drawings. Closer inspection gr ants passage through a portal into the interior lives of the cast. Mechanic ally hinged and dramatically costumed\, Herter peels back the surface to re nder subcutaneous drives and expose competing desires of his characters. Ra belaisian excess reveals the swift accumulation of jouissance.

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Determined yet vulnerable\, Herter&rsquo\;s tro upe initially resemble marionettes that are incapable of grasping their own strings\, and yet latent potentials seem to lurk in the very framing of th e engagement. The frozen scene is one moment of many in which a wide array of vectors move around and through the figure as actors are transformed int o actants.

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On Saturday\, July 15\, Wetware will present a long-format sound performance. Roxy Farman and Matth ew Morandi&rsquo\;s collaborative response to Herter&rsquo\;s works on view begins at 6PM.

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Albert Herter ( b. 1980\, San Francisco) holds a BFA in new genres from the San Francisco A rt Institute\, where he focused primarily on video\, installation\, and per formance. His work has also been the subject of solo exhibitions at San Fra ncisco City Hall and Partisan Gallery\, San Francisco. Herter has participa ted in group exhibitions at: JOAN\, Los Angeles\; Art in General\, New York \; Derek Eller\, New York\; Spiral Gallery\, Los Angeles\; and Arthouse\, M cAllen\, TX. A pairing of the artist&rsquo\;s drawings and writings were re cently published by Comfortable On a Tightrope and Museums Press under the title &ldquo\;In the Curtyard: Orchestrated Reduction of the Fantasm&r dquo\;. His drawings have also been featured in The Third Rail and Lacanian Ink. In addition to his artistic practice\, Herter i s a practicing Lacanian psychoanalyst. He lives and works in Brooklyn.

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For further information please co ntact info@koenigandclinton.com or call (212) 334-9255. Hours of operation are Thursday&ndash\;Sunday\, 11AM&ndash\;6PM and by appointment at 1329 Wil loughby Avenue in Brooklyn.

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Artist Statement: In the OrchORd

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&ldquo\;&hellip\;(Lacan&rsquo\; s) first formula for the fantasm indicates that it is located in a strictly imaginary dimension: a &larr\; a. Secondly\, Lacan points out that the pre valence of an image for a subject corresponds to a lack in the symbolic sys tem. Even though I have no time to develop this now\, the idea can already be found in Lacan&rsquo\;s work that when a lack arises in the signifying c hain\, which can be written as barred A\, that an image\, an imaginary-leve l element can become prevalent. Thirdly\, and as an example of what I just said\, let us take a look at the first way in which Lacan accounts for the figure of the superego. At that time\, he said\, exactly\, that when there is a lack in the symbolic chain that arises from the imaginary level\, the obscene figure of the superego appears.&rdquo\; \;&ndash\;Jacques-Alain Miller\, The Axiom of the Fantasm

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&ldquo\;Man is always given whole\, in an image of his creation th at he cannot situate in time&rsquo\;s passing. Of necessity\, this image is total: man has tools\, he works\, he imposes sexual restrictions on himsel f\; he has a horror of sexually derived or excremental defilements which is hard to express\, just as he has a horror of death and the dead. We shall see\, moreover that his aversions are ambiguous\, that they allow for rever sals. In theory\, we must envisage the transition from animal to man as a d rama\, which we can take as having lasted and as having had ups and downs\, but whose unity we must grant. In the beginning there is necessarily\, if not a quick drama\, then a set of coherent peripeteia\; we will never be ab le to say what happened\, but we know the outcome of this drama had the val ue of an irrevocable decision. This is the true sense of a lasting effect\, which extends through time to us\, and is till the motive of the activity we pursue.&rdquo\; &ndash\;Georges Bataille\, The Accursed Share Volume II

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Aggression is always inter special and it was an evolutionary boon because it acted as a territorial s pacer.

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Ritual and sign as a means t o avoid slaughter.

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Surface aggressi on\, like the face of the mandrill displaying color and form that appear to carry meaning\, to be meaningful as such. The pomp revolves around an axis \, fixed lines that count as zero but which\, only by their being\, define and produce the field and all the action which will unfold upon it. \;T he word came and marked the land and made it into a territory. It marked th e bodies and fractured them into anatomy.

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Satirical portrayals of the occasion when the imaginary realm of mea ty effervescence was pierced by the symbolic.

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The orchard is a microcosm or model of a synchronal space\, a sl ice of spacetime without narrative depth or history. It is a flash when a c ertain contingent word was infused with a charge of libido and became axiom atic.

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&ndash\;Albert Herter

\n LOCATION:Koenig & Clinton\,1329 Willoughby Ave. \nBrooklyn\, NY 11237US SUMMARY:The Quincunx Aspect\, Albert Herter END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:447520 DTSTART:20170603T180000 DTEND:20170603T200000 LOCATION:Koenig & Clinton\,1329 Willoughby Ave. \nBrooklyn\, NY 11237US SUMMARY:The Quincunx Aspect END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:447530 DTSTART:20170629T000000 DTEND:20170925T000000 DESCRIPTION:

Neue Galerie New York is pleas ed to present "\;Richard Gerstl\,"\; the first museum retrospective in the United States devoted to the work of the Austrian Expressionist (18 83-1908). This exhibition is co-organized with the Schirn Kunsthalle Frankf urt\, and will be on view at the Neue Galerie through September 25\, 2017.< /p>\n\n

Gerstl was an extremely original ar tist whose psychologically intense figure paintings and landscapes constitu te a radically unorthodox oeuvre that defied the reigning concepts of style and beauty during his time. The long-standing secrecy surrounding Gerstl&r squo\;s dramatic and untimely suicide at the age of 25\, and the scandalous love affair that preempted his death\, only further magnify the legend tha t has flowered around this lesser known\, but influential member of Vienna& rsquo\;s artistic avant-garde at the turn of the twentieth century. The sho w is organized by Expressionist scholar Jill Lloyd\, who has assembled seve ral important exhibitions for the Neue Galerie\, including "\;Van Gogh and Expressionism"\; in 2007\, "\;Ferdinand Hodler: View to Infinit y"\; in 2012\, and "\;Munch and Expressionism"\; in 2016.

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Approximately 55 paintings and works on paper will be on display\, including portraits\, frontal nude figures\, hig hly gestural group portraits\, landscapes\, and comparative works by Gerstl &rsquo\;s artistic contemporaries. A special gallery will be devoted to Ger stl&rsquo\;s relationship with the leading Austrian composer Arnold Sch&oum l\;nberg\; the artist&rsquo\;s friendship with Schö\;nberg abruptly end ed in 1908 upon the disclosure of the love affair between Gerstl and Sch&ou ml\;nberg&rsquo\;s wife Mathilde. Although Gerstl&rsquo\;s extant body of w ork comprises only approximately 90 works\, his groundbreaking style is cen tral to the development of the Expressionist movement of fin-de-siè\; cle Vienna.

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A fully illustrated cat alogue\, published by Hirmer\, will accompany the exhibition featuring cont ributions by leading scholars in the field\, including Raymond Coffer\, Jan e Kallir\, Diethard Leopold\, Jill Lloyd\, Ingrid Pfeiffer\, Maria Sitte\, and Karol Winiarczyk.

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This exhibiti on is made possible in part by the Neue Galerie President&rsquo\;s Circle.< /p>\n LOCATION:Neue Galerie Museum for German and Austrian Art\,1048 Fifth Avenue \nNew York\, NY 10028 SUMMARY:Solo Exhibition\, Richard Gerstl END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:447531 DTSTART:20170629T110000 DTEND:20170629T180000 LOCATION:Neue Galerie Museum for German and Austrian Art\,1048 Fifth Avenue \nNew York\, NY 10028 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:447559 DTSTART:20170504T000000 DTEND:20170904T000000 DESCRIPTION:

The Costume Institute'\;s s pring 2017 exhibition examines the work of fashion designer Rei Kawakubo\, known for her avant-garde designs and ability to challenge conventional not ions of beauty\, good taste\, and fashionability. The thematic show feature s approximately 140 examples of Kawakubo'\;s womenswear for Comme des Ga rç\;ons dating from the early 1980s to her most recent collection\, m any with heads and wigs created and styled by Julien d'\;Ys.

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The galleries illustrate the designer'\;s r evolutionary experiments in "\;in-betweenness"\;&mdash\;the space b etween boundaries. Objects are organized into nine aesthetic expressions of interstitiality in Kawakubo'\;s work: Absence/Presence\, Design/Not Des ign\, Fashion/Anti-Fashion\, Model/Multiple\, Then/Now\, High/Low\, Self/Ot her\, Object/Subject\, and Clothes/Not Clothes. Kawakubo breaks down the im aginary walls between these dualisms\, exposing their artificiality and arb itrariness.

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#MetKawakubo

\n LOCATION:The Metropolitan Museum of Art\,1000 Fifth Ave. \nNew York\, NY 10 028-0918 SUMMARY:Rei Kawakubo/Comme des Garçons: Art of the In-Between END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:447569 DTSTART:20170627T000000 DTEND:20171217T000000 DESCRIPTION:
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Over the past decade\, mobile phone cameras have changed how photographs are mad e\, used\, and looked at. Photography has become a fluid\, instantaneous\, ephemeral means of communication\, an act closer to speaking than to writin g. Whereas the camera once functioned chiefly as a tool for preserving the past\, today people are using mobile phones to share their visual experienc e in real time and with unprecedented intimacy.

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Talking Pictures: Camera-Phone Conversations Between Artis ts will highlight this novel aspect of photographic communication by i nviting 12 pairs of artists to conduct visual dialogues with one another on their phones\, sending still images and brief videos back and forth in a g ame of visual ping-pong. The completed dialogues will be presented in the g alleries in various forms\, including video monitors\, exhibition prints\, and photo books available for visitors to page through.

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\n LOCATION:The Metropolitan Museum of Art\,1000 Fifth Ave. \nNew York\, NY 10 028-0918 SUMMARY:Talking Pictures: Camera-Phone Conversations Between Artists END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083316Z UID:447570 DTSTART:20170627T100000 DTEND:20170627T173000 LOCATION:The Metropolitan Museum of Art\,1000 Fifth Ave. \nNew York\, NY 10 028-0918 SUMMARY:Talking Pictures: Camera-Phone Conversations Between Artists END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083317Z UID:447615 DTSTART:20170624T000000 DTEND:20170903T000000 DESCRIPTION:

Paintings from the Arkell Museum marking the Bicentennial An niversary of the Erie Canal.

\n LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SUMMARY:Mingling the Waters: 200 Years on the Erie Canal END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083317Z UID:447616 DTSTART:20170624T120000 DTEND:20170624T170000 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SUMMARY:Mingling the Waters: 200 Years on the Erie Canal END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083317Z UID:447617 DTSTART:20170624T000000 DTEND:20170903T000000 DESCRIPTION:

Portraits of Suffragists by Ch ristine Heller recognizing the Centennial Anniversary of New York State wom en achieving the Right to Vote.

\n LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SUMMARY:‘Truth is the Only Safe Ground to Stand Upon’ END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083317Z UID:447618 DTSTART:20170624T120000 DTEND:20170624T170000 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SUMMARY:‘Truth is the Only Safe Ground to Stand Upon’ END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083317Z UID:447647 DTSTART:20170617T000000 DTEND:20170916T000000 DESCRIPTION:

Reception &\; Artist Talks: Thursday\, June 22\, 6 &ndas h\; 8pm

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International Print Center New York (IPCNY) announces the fifty-sixth presentation of its New Prints Program\, a biannual\, juried open call for prints cre ated in the preceding twelve months. Titled Just Under 100 \, the exhibition was selected by artist Katherine Bradfor d\, and features 94 artists from both the United States and abroad. Countries represented in the exhibition include Croatia\, France\, Italy\, Serbia\, and Thailand\, as well as Cana da\, the United Kingdom\, and the United States.

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Katherine Bradford (American\, b. 1942) is a n artist living and working in New York City. Best known for her radiant\, unearthly paintings and monotypes\, she was awarded a Guggenheim Fellowship in 2011 and has exhibited at CANADA\, Sperone Westwater\, Planthouse\, and Edward Thorp Gallery\, New York\; and Adams and Ollman Gallery\, Portland OR. She is Senior Critic in the Graduate program at the Yale School of Art.

\n LOCATION:IPCNY International Print Center New York\,508 W.26th St. Rm 5A \n New York\, NY 10001 SUMMARY:Just Under 100: New Prints 2017/Summer\, Golnar Adili\, Andranik Ar outiounian\, Martin Azevedo\, Felipe Baeza\, Bob Barancik\, Mark Barry\, An ne Beresford\, Kathleen Bonanni\, Caeli Carr-Potter\, Veronica Ceci\, Liz C halfin\, Tiberiu Chelcea\, Allie Christisen\, Ella Coon\, Jonas Criscoe\, S age Dawson\, Mark Dion\, Nancy Doniger\, Craig Drennen\, Louise Eastman\, T imothy Evans\, Michelle Farro\, Joe Fattori\, Gro Finne\, Robert Fitzmauric e\, Joanne Freeman\, Jess Frost\, Tara Geer\, Leslie Giuliani\, Klara Gloso va\, Trisha Gupta\, Libby Hague\, Takuji Hamanaka\, Amber Hany\, Lois Harad a\, Dominica Harrison\, Yuji Hiratsuka\, Cooper Holoweski\, Cary Hulbert\, Su-Li Hung\, Sophia Isaak\, Martha Ives\, Frances Jetter\, Warranutchai Kaj aree\, Susan Kaprov\, Neah Kelly\, Petra Kriletić\, Rejin Leys\, Ernesto Or tiz Leyva\, Joseph Lupo\, Beauvais Lyons\, Renee Magnanti\, Erica Mao\, Leo nardo Marenghi\, Paolo Marino\, Michael Menchaca\, Katie Michel\, Carrie Mo yer\, Pierre Muckensturm\, Kristin Powers Nowlin\, Giuseppe Pernigotti\, Se rena Perrone\, Snezana Petrovic\, Adam Pitt\, Chayan Pol-asa\, Michael Pris co\, John Rapczak\, Jolynn Reigeluth\, Minna Resnick\, Mark Rice\, Ross She ehan\, Jess Sheridan\, David Sheskin\, Nomi Silverman\, Wendy Small\, Erin Smith\, Janis Stemmermann\, Elisabeth Stevens\, Valerie Syposz\, Eszter Szi ksz\, Rhiannon Skye Tafoya\, Julia Talcott\, Saralene Tapley\, Lina Tegtmey er\, McKinzie Trotta\, Phumelele Tshabalala\, Jeanne Verdoux\, Vilja Virks- Lee\, Elsa Lama von Buchwald\, Alejandro Waskavich\, Carol Wax\, Karen Whit man\, Peter Williams\, Jan Wurm\, Hai Fei Xie\, JooHee Yoon\, Tomas Zemla\, Jeremy Zini END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083317Z UID:447648 DTSTART:20170622T180000 DTEND:20170622T200000 LOCATION:IPCNY International Print Center New York\,508 W.26th St. Rm 5A \n New York\, NY 10001 SUMMARY:Just Under 100: New Prints 2017/Summer END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083317Z UID:447649 DTSTART:20170608T000000 DTEND:20170825T000000 DESCRIPTION:
The Coffins of Paa Joe an d the Pursuit of Happiness
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& nbsp\;
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524 West 24th s treet
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Opening reception: Thursday \, June 8th\, from 6-8pm
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The School\, 25 Broad St reet\, Kinderhook\, NY
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Opening re ception: Saturday\, June 24th\, from 2-6pm
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Transportation is provided from Manhattan\, please vis it www.jackshainman.com/june24 for more information.
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Jack Shainman Gallery is pleased to announce The Coffins of Paa Joe and the Pursuit of Happiness\, two inter-related shows at the gallery&rsquo\;s Chelsea location a nd The School located in Kinderhook\, NY.
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 \;Serving as the centerpiece of the large- scale exhibition\, The Gold Coast Slave Castles of Paa Joe honor the Ghanai an legacy of abebuu adekai\, or fantasy coffins. The ornate sarcop hagi celebrate death and the afterlife\, sculpted in the form of objects re presentative of the deceased and their interests. In the 1950s\, abebuu adekai were used only by chiefs and priests\, but more recently have become a growing trend in surrounding areas of Ghana\, attracting the atten tion of contemporary art museums and galleries worldwide. In 2004\, Claude Simard\, the late co-founder of Jack Shainman Gallery\, commissioned thirte en coffins in the form of European castles erected along the Gold Coast in the 15th century\, which served as holding pens for America-boun d slaves. These sculptures memorialize the captives in the custom of ab ebuu adekai\, and recall the bleak American history that helped to int egrate human suffering with Western tradition.
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Paa Joe transforms the practical coffin into a work of art\, and he\, as the carpenter and craftsman\, becomes a custodian of the spirit . This transcendental shift from the material to the metaphysical is the po int of convergence for the works included in this exhibition. From the earl iest artifacts on display\, decorative Neolithic Chinese pottery\, to the m ost contemporary works by Nina Chanel Abney\, David Altmejd\, Kerry James M arshall\, and Lynette Yiadom-Boakye\, to name a few\, the artists presented here address in their own distinct way the notion of art as celebration\, as a vehicle for personal salvation\, or more broadly\, creating beauty out of&mdash\;or despite&mdash\;one&rsquo\;s surroundings. This diverse collec tion of works and objects reflect the wide-ranging influences that guide th e gallery&rsquo\;s program.
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The u niversal drive to make art facilitates opportunity to reflect on the comple xities of existence\, offering perspectives of possibility\, hope\, and fre edom\, and a departure from the mundane. Bringing together works and object s from across historical period\, culture\, or geography\, the exhibition p resents the religiously inspired 17th century oil paintings of F rancisco Pacheco to the Fauvist works of Jacques Villon\, the anti-National ist drawings of George Grosz to the gregarious busts of John Ahearn. These artworks from past and present express the joys of making and collecting\, excavate lost narratives\, and explore timeless themes that recur throughou t history\, from portraiture\, to the motif of the Trinity and the enduring story of David and Goliath.
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Conc urrently on view this summer through September 24\, 2017 is If I Had Po ssession Over Judgement Day: Collections of Claude Simard at the Tang Museum at Skidmore College\, which presents a parallel exhibition from the collection of the gallery&rsquo\;s late co-founder. Acquired both abroad an d from within the United States\, the diversity of the works spans an exten sive range of medium\, to country of origin and subject matter.
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Gallery hours at 524 West 24th Street are Tu esday through Saturday from 10am to 6pm. Summer hours commence June 26th\, and are Monday through Friday\, 10am to 6pm. 513 West 20th Street is open b y appointment only June 6 - September 7\, 2017. The School is open on Satur days from 11am to 6pm. For additional information and photographic material please contact the gallery at: \;info@jackshainman.com
\n LOCATION:Jack Shainman Gallery 24th Street\,524 West 24th Street \nNew York \, NY 10011 SUMMARY:The Coffins of Paa Joe and the Pursuit of Happiness\, Nina Chanel A bney\, John Ahearn\, David Altmejd\, Max Beckmann\, Huma Bhabha\, Nick Cave \, Sebastián de Llanos y Valdés\, Rodrigo de Villandrando\, Francisco de Zu rbarán & Workshop\, Liz Deschenes\, Moira Dryer\, Max Ernst\, Walker Evans\ , Beverly Fishman\, Nan Goldin\, Geroge Grosz\, Arturo Herrera\, David Hock ney\, Zhang Huan\, Alfredo Jaar\, Paa Joe\, Hayv Kahraman\, Margaret Kilgal len\, Sherrie Levine\, Kerry James Marshall\, Jackie Nickerson\, Toyin Ojih Odutola\, Michelangelo Pistoletto\, Milton Resnick\, Collier Schorr\, Aaro n Siskind\, Becky Suss\, Robert Therrien\, Mickalene Thomas\, Wolfgang Till mans\, Siebren Versteeg\, Jacques Villion\, Lynette Yiadom-Boakye END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083317Z UID:448098 DTSTART:20170608T180000 DTEND:20170608T200000 LOCATION:Jack Shainman Gallery 24th Street\,524 West 24th Street \nNew York \, NY 10011 SUMMARY:The Coffins of Paa Joe and the Pursuit of Happiness END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083317Z UID:447656 DTSTART:20170526T000000 DTEND:20170903T000000 DESCRIPTION:

To honor the centennial of Ame rica&rsquo\;s involvement in World War I\, the New-York Historical Society presents a special exhibition examining this monumental event through the e yes of artists. World War I Beyond the Trenches explores how artis ts across generations\, aesthetic sensibilities\, and the political spectru m used their work to depict\, memorialize\, promote\, or oppose the divisiv e conflict.

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Featuring more than 55 artworks\, the exhibition includes John Singer Sargent&rsquo\;s masterpiece  \;Gassed\, which has never traveled to New York before\; Chil de Hassam&rsquo\;s \;The Fourth of July\, 1916\, a recent gift from Chairman Emeritus Richard Gilder\; and powerful works by George Bello ws\, Georgia O&rsquo\;Keeffe\, Horace Pippin\, and Claggett Wilson\, among other American artists. World War I Beyond the Trenches \;was organized by the Pennsylvania Academy of the Fine Arts as World War I a nd American Art. The New York presentation features artifacts from New -York Historical'\;s collection that provide rich historical context\, s uch as World War I propaganda posters\, a soldier&rsquo\;s illustrated lett ers\, contemporary sheet music\, uniforms and military gear\, a battlefield diorama with vintage toy soldiers from the recently-acquired Robert C. Pos tal Collection of Toy Soldiers\, and a contemporary artwork by artist Debra Priestly.

\n LOCATION:New York Historical Society\,170 Central Park West \nNew York City \, NY 10024 SUMMARY:W​orld War I Beyond the Trenches​\, George Bellows\, Childe Hassam\ , Georgia O’Keeffe\, Horace Pippin\, Debra Priestly\, John Singer Sargent\, Claggett Wilson END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083317Z UID:447662 DTSTART:20170623T000000 DTEND:20180107T000000 DESCRIPTION:

Commemorating the 100th annive rsary of his birth\, \;American Visionary: John F. Kennedy'\;s L ife and Times \;brings together 77 images that capture the dramati c scope of Kennedy&rsquo\;s life culled from the John F. Kennedy Presidenti al Library\, the John F. Kennedy Library Foundation\, Getty Images\, privat e collections\, and the Kennedy family archives.

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No single politician was photographed more than Kennedy&mdash \;from his first congressional bid as a decorated war hero in 1946 and his fairy tale marriage to Jacqueline Bouvier in 1953 to his run for the White House in 1960\, his subsequent role as commander in chief\, and his tragic death in Dallas in 1963. Documentary photographers such as Ed Clark\, Ralph Crane\, Philippe Halsman\, Jacques Lowe\, Steve Schapiro\, and Sam Vestal captured the optimism and challenges of the early 1960s in some of the fine st and most vivid images of the period. Many of the photographs on display are iconic while others are lesser known and explore Kennedy'\;s private life. \;American Visionary: John F. Kennedy&rsquo\;s Life and Time s \;is presented by the Smithsonian American Art Museum in coopera tion with the John F. Kennedy Library and Foundation. The exhibition is als o on view at the Smithsonian American Art Museum from May 3 - September 17.

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American Visionary: John F. Kennedy &rsquo\;s Life and Times \;is presented by the Smithsonian America n Art Museum in cooperation with the John F. Kennedy Library and Foundation . Generous support for the exhibition has been provided by the Governance I nstitute and the Blanche and Irving Laurie Foundation. Additional support h as been provided by Stephen Kennedy Smith\, Wiener Schiller Productions and Getty Images. The presentation in Washington\, D.C.\, is made possible by the Margery and Edgar Masinter Exhibitions Fund and the Bernie Stadiem Endo wment Fund.

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Exhibitions at the New- York Historical Society are made possible by Dr. Agnes Hsu-Tang and Oscar T ang\, the Saunders Trust for American History\, the New York City Departmen t of Cultural Affairs\, and the New York 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:American Visionary: John F. Kennedy's Life and Times END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083317Z UID:447663 DTSTART:20170623T100000 DTEND:20170623T200000 LOCATION:New York Historical Society\,170 Central Park West \nNew York City \, NY 10024 SUMMARY:American Visionary: John F. Kennedy's Life and Times END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083317Z UID:447664 DTSTART:20170630T000000 DTEND:20171009T000000 DESCRIPTION:

The New-York Historical Societ y celebrates the feisty charm and audacious spirit of Eloise\, who continue s to be a picture book superstar more than 60 years after her debut. \; Eloise at the Museum \;reveals the creative collaboration betw een cabaret star Kay Thompson (1909&ndash\;1998) and the young illustrator Hilary Knight (b. 1926) that brought the precocious character to life. The exhibition showcases more than 75 objects\, ranging from original manuscrip t pages to sketchbooks\, portraits\, photographs\, and vintage dolls. Organ ized by The Eric Carle Museum of Picture Book Art in Amherst\, MA\, where i t debuted earlier this year\, New-York Historical&rsquo\;s presentation ful ly immerses visitors into Eloise&rsquo\;s world with evocations of the gran d lobby of the Plaza Hotel\, her bedroom―complete with a storytelling corne r―and her bubbly &ldquo\;bawthroom\,&rdquo\; where she often made mischief.  \;A host of family activities bring the Plaza&rsquo\;s most famous res ident to life throughout the exhibition'\;s run\, inviting young visitor s to explore the exhibition in creative ways.  \;

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Support for Eloise at the Museum is provided by The May and Samuel Rudin Family Foundation\, Inc. Exhibitions at New-York Historical are made possible by Dr. Agnes Hsu-Tang and Oscar Tang\, the Sau nders Trust for American History\, the New York City Department of Cultural Affairs\, and the New York State Council on the Arts with the support of G overnor Andrew Cuomo and the New York State Legislature.

\n LOCATION:New York Historical Society\,170 Central Park West \nNew York City \, NY 10024 SUMMARY:Eloise at the Museum\, Hilary Knight END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083317Z UID:447665 DTSTART:20170630T100000 DTEND:20170630T200000 LOCATION:New York Historical Society\,170 Central Park West \nNew York City \, NY 10024 SUMMARY:Eloise at the Museum END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083317Z UID:447666 DTSTART:20170818T000000 DTEND:20171015T000000 DESCRIPTION:

Art was a business and a calli ng for photographer Editta Sherman (1913-2013). After her husband&rsquo\;s death in 1954\, she worked tirelessly to maintain the portrait photography business that they had established. Working&mdash\;and living&mdash\;in one of the artist studios above Carnegie Hall for more than 60 years\, Sherman charmed her celebrity clients with a vivacity and warmth that was reflecte d in the portraits of her subjects. Her creativity carried over to other av enues\, serving as the historically clad muse to photographer Bill Cunningh am in his Facades project and performing &ldquo\;The Dying Swan&rd quo\; ballet for Andy Warhol\, among other projects.

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Recently donated to New-York Historical by several of her children and grandchildren\, 60 selections from the Editta Sherman archive will be on view in the Joyce B. Cowin Women&rsquo\;s History Gallery\, sho wcasing Sherman&rsquo\;s signature style as she photographed luminaries suc h as A Tree Grows in Brooklyn author Betty Smith\, actor Yul Brenn er\, playwright Lillian Hellman\, and many others. The exhibition is curate d by Marilyn Satin Kushner\, curator and head\, Department of Prints\, Phot ographs\, and Architectural Collections.

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Exhibitions at the New-York Historical Society are made possible by D r. Agnes Hsu-Tang and Oscar Tang\, the Saunders Trust for American History\ , the New York City Department of Cultural Affairs\, and the New York 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:The Duchess of Carnegie Hall: Photographs by Editta Sherman\, Editt a Sherman END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083317Z UID:447667 DTSTART:20170818T100000 DTEND:20170818T200000 LOCATION:New York Historical Society\,170 Central Park West \nNew York City \, NY 10024 SUMMARY:The Duchess of Carnegie Hall: Photographs by Editta Sherman END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083317Z UID:447675 DTSTART:20170210T000000 DTEND:20170906T000000 DESCRIPTION:

Jackson Pollock&rsquo\;s Alchemy (1947)\, a celebrated icon of postwar abstraction that Peggy Guggenheim acquired thr ough her financial support of the artist\, is on view for the first time in the United States since 1969. A team of conservators from the Guggenheim a nd Italian organizations has completed scientific analysis and treatment of the painting in Florence. In the Sackler Center for Arts Education\, video footage and interactive kiosks display three-dimensional imaging\, element al mapping\, x-radiography\, and non-destructive analytical techniques to i dentify the painting&rsquo\;s pigments and binders. This didactic exhibitio n on one of Pollock&rsquo\;s earliest poured paintings draws visitors into the world of an art conservator\, allowing them to comprehend the physical properties of the materials the artist used to create Alchemy and how he applied them to the canvas.

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The story of \;Alchemy is inseparable from Peggy Guggenheim\, whose patronage throughout Pollock&rsquo\;s brief yet brilliant career sign ificantly contributed to the history of postwar American art. She virtually discovered the artist with her series of one-man shows at Art of This Cent ury\, her influential museum/gallery on New York&rsquo\;s Fifty-Seventh Str eet. Guggenheim was captivated by Pollock&rsquo\;s raw talent\, and she dev oted considerable energy to promoting and selling his work. After first inc luding the artist in a series of group exhibitions during the museum/galler y&rsquo\;s first season (1942&ndash\;43)\, Guggenheim offered Pollock a sol o exhibition and commissioned from him a 20-foot-long mural for the vestibu le of her East Sixty&ndash\;First Street duplex. She also provided Pollock with a monthly stipend&mdash\;the only artist she would support financially in a long-term arrangement. This unprecedented level of assistance for an emerging artist permitted Pollock to quit his job as custodian at the Museu m of Non-Objective Painting (later to become the Solomon R. Guggenheim Muse um) to devote himself entirely to painting. For the next five years\, Peggy Guggenheim subsidized Pollock\, which in turn allowed her to acquire signi ficant holdings of his art.

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Pollock was given three more solo exhibitions at Art of This Century before it clo sed in May 1947. Following this\, Guggenheim returned permanently to Europe where\, once settled in Venice\, her integral role in establishing his car eer continued. She introduced his work to a European audience at the 1948 V enice Biennale and organized his first European exhibition\, at the Museo C orrer in Piazza San arco\, Venice\, during the summer of 1950. She consolid ated the artist&rsquo\;s reputation through the donations of paintings to l eading museums from Tel Aviv to San Francisco. Today\, the Peggy Guggenheim Collection houses the largest collection of Pollock works assembled in Eur ope. Alchemy is the undisputed masterpiece of those works Guggenhe im chose to keep for Venice. Pollock was\, as Guggenheim readily acknowledg ed\, the most important artist in her life\, and her &ldquo\;most honorable achievement.&rdquo\; He in turn owed much to her\, as one of the first to believe in his genius.

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Jackson Poll ock&rsquo\;s Alchemy (1947) is currently on view as part of the ex hibition Visionaries: Creating a Modern Guggenheim.

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Carol Stringari\, Deputy Director and Chief Conservator\, Solomo n R. Guggenheim Foundation
\nLuciano Buemi Pensabene\, Conservator\, P eggy Guggenheim Collection
\nSusan Davidson\, Senior Curator\, Collect ions and Exhibitions\, Solomon R. Guggenheim Museum

\n LOCATION:Solomon R. Guggenheim Museum\,1071Fifth Ave. \nNew York\, NY 10128 -0173 SUMMARY:Exploring Alchemy\, Jackson Pollock END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083317Z UID:447676 DTSTART:20170630T000000 DTEND:20171004T000000 DESCRIPTION:
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In 1892 José\;phin Pé\;ladan (1858&ndash\ ;1918)\, a Rosicrucian\, author\, and critic\, organized the first Salon de la Rose+Croix. This annual exhibition in Paris showcased mystical Symbolis t art\, particularly a hermetic\, numinous vein of Symbolism that was favor ed by Pé\;ladan and dominant during the 1890s\, a time when religious and occult practices often intertwined. Mysterious\, visionary\, and mythi cal subjects\, often drawn from literary sources\, prevailed in the art at the salons. Images of femmes fragiles and fatales\, andro gynous creatures\, chimeras\, and incubi were the norm\, as were sinuous li nes\, attenuated figures\, and antinaturalistic forms. Cosmopolitan in reac h\, the salons featured artists from Belgium\, Finland\, France\, Italy\, t he Netherlands\, Spain\, and Switzerland\, such as Antoine Bourdelle\, Jean Delville\, Rogelio de Egusquiza\, Charles Filiger\, Ferdinand Hodler\, Fer nand Khnopff\, Alphonse Osbert\, Armand Point\, Gaetano Previati\, Georges Rouault\, Carlos Schwabe\, Alexandre Sé\;on\, Jan Toorop\, Ville Vall gren\, and Fé\;lix Vallotton. Mystical Symbolism: The Salon de la Rose+Croix in Paris\, 1892&ndash\;1897 will capture a fascinating\, t ransnational cross section of artists&mdash\;some well known\, others less so&mdash\;and invite a fresh look at and new scholarship on late 19th-centu ry Symbolist art.

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Organized by Vivien Greene\, Se nior Curator\, 19th- and Early 20th-Century Art\, with the assistance of Yl inka Barotto\, Curatorial Assistant\, Mystical Symbolism will feat ure about 40 works culled from the six Salon de la Rose+Croix exhibitions a s well as pertinent historical documents. A musical component with pieces b y Erik Satie and others will complement the presentation and underscore how composers played key roles in the development of the movement. The exhibit ion will highlight central artworks shown at each salon in order to tease o ut themes such as the role of Orpheus\, the adulation of the Primitives\, a nd the cult of personality that developed around figures including Richard Wagner and Pé\;ladan himself. These carefully chosen works and groupi ngs\, in turn\, will allow for an in-depth exploration of the diverse and s ometimes opposing concepts that informed Symbolism in the 1890s. A fully il lustrated catalogue will comprise essays on the salon and its main themes ( Greene)\; the contemporary reception of the salon (Jean-David Jumeau-Lafond \, independent scholar)\; and the connections between Symbolists tenets and those of early 20th-century avant-garde artists (Kenneth E. Silver\, Profe ssor of Art History\, New York University). It will also contain a selected bibliography and artist entries authored by emerging scholars.

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Furniture courtesy of Roche Bo bois.
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Additional support provided by the Swiss Arts Council Pro Helvetia.

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\n LOCATION:Solomon R. Guggenheim Museum\,1071Fifth Ave. \nNew York\, NY 10128 -0173 SUMMARY:Mystical Symbolism: The Salon de la Rose+Croix in Paris\, 1892–1897 END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083317Z UID:447677 DTSTART:20170630T100000 DTEND:20170630T194500 LOCATION:Solomon R. Guggenheim Museum\,1071Fifth Ave. \nNew York\, NY 10128 -0173 SUMMARY:Mystical Symbolism: The Salon de la Rose+Croix in Paris\, 1892–1897 END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083317Z UID:447685 DTSTART:20170622T000000 DTEND:20170820T000000 DESCRIPTION:

Ugo Rondinone: I ♡ John Gi orno is a sprawling\, multi-part exhibition that presents the extraord inary life and work of the poet\, artist\, activist and muse\, John Giorno. Encompassing thirteen venues around Manhattan and featuring paintings\, fi lms\, sound installations\, drawings\, archival presentations and a video e nvironment\, this retrospective includes work both by Giorno himself\, as w ell as work that he has inspired.

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< em>I ♡ John Giorno is also a work of art by Giorno&rsquo\;s husband\, the Swiss artist Ugo Rondinone\, who has been creating sculptures\, paintin gs\, drawings and multi-media installations for almost three decades. With this project\, Rondinone presents a prismatic portrait assembled from thoug htful arrangements of the materials\, experiences and relationships that ha ve defined Giorno&rsquo\;s astonishingly wide-ranging artistic career. Fore most\, though\, the project is a joyous celebration of Giorno&rsquo\;s ubiq uitous presence in contemporary culture\, as well as his myriad contributio ns to it.

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Rondinone&rsquo\;s homage to his life partner\, Ugo Rondinone: I ♡ John Giorno\, is the lat est\, and by far\, the most ambitious collaboration of Giorno&rsquo\;s care er. The project unfolds in eighteen chapters\, each a distinct exhibition s ited in a non-profit or alternative space in Manhattan. Every chapter takes the form of an immersive installation designed by Rondinone and dedicated to a body of work\, an interest\, a relationship or a collaboration that ha s marked Giorno&rsquo\;s life. \; This includes his poetry\, painting\, sound work and performance\; his recording projects\, and his founding of Giorno Poetry Systems\; his AIDS activism\; his Tibetan Buddhism and his va st personal archive that comprises a history of radical art and poetry in N ew York during the second half of the twentieth century. Several installati ons feature portraits of Giorno by different generations of filmmakers\, pa inters\, videographers and musicians. One consists of a single work: a mult i-channel video installation by Rondinone consisting of multiple images of Giorno performing one of his recent epic poems.

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Ugo Rondinone: I ♡ John Giorno is a unique artistic a nd curatorial experiment. The cooperation between so many disparate nonprof it and alternative institutions in New York in the presentation of a single project is similarly unprecedented. The singularity of this monumental hyb rid of artwork and exhibition is testament to the breadth\, variation\, and longevity of Giorno&rsquo\;s ongoing career\, as well as Rondinone&rsquo\; s artistic vision. Those lucky or stalwart enough to visit all eighteen cha pters of the exhibition will come away with an idea of both of these artist s&rsquo\; achievements. \; In its size and ambition\, I ♡ John Gior no can be seen as a citywide work of public art. At the same time\, it is an intimate expression of love and inspiration between two artist partn ers. It is an astonishing gesture of love on Giorno&rsquo\;s part to give t he sum total of his life&rsquo\;s work to Rondinone as material for his own artwork. Perhaps it is equal only to Rondinone&rsquo\;s conception of an a rtwork as big as Manhattan to do justice to that gift. \;&ndash\; Laura Hoptman

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SLEEP AND OTHER WORKS
\nAndy Warhol

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SLEEP AND OTHER WORKS at Swiss Institute presents John Giorno&rsquo\;s relationship with A ndy Warhol as both lover and muse. Giorno first saw Warhol&rsquo\;s work in 1962 in an exhibition which included Warhol&rsquo\;s famous Campbell&rsquo \;s Soup Can works at the Sidney Janis Gallery in New York. Giorno met Warh ol later that year at his first solo show at the Stable Gallery\, and the t wo became close friends and lovers. Warhol went on to depict Giorno in mult iple contexts\, from his short films made at private parties and on weekend s with friends to a series of Sc reen Tests (1964&ndash\;1966) t hat were themselves an extension of Warhol&rsquo\;s insatiable obsession wi th portraits. In a static\, silent\, black-and-white style\, with neither n arration nor action\, these filmed faces evoke photographs\, and their tigh t\, close-up composition and formal pose derive from early photo booth port raits made by Warhol in 1963\, which are also on view.

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Giorno and War hol&rsquo\;s monumental collaboration is  \;Sleep\, Warhol& rsquo\;s first long film. Giorno describes the creation of the work: &ldquo \;In August 1963\, Andy started shooting Sleep. It was an easy shoot. I loved to sleep. I slept all the time\, twelve hours a day every da y. It was the only place that felt good: complete oblivion\, resting in a w arm dream world\, taking refuge in the lower realms. Everything awake was h orrible. Andy would shoot for about three hours\, until 5 A.M when the sun rose\, all by himself.&rdquo\;

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After a month of shooting\, Wa rhol was faced with editing a large number of rolls of film. He ultimately decided to loop some of the shots he had made\, remembering a concert organ ized by John Cage in 1963 of Erik Satie&rsquo\;s 1893 piece Vexations\, where an 80-second composition was repeated over more than 18 hours. Ac cording to Giorno\, at the official premiere of Sleep at the Gramerc y Arts Theater in January 1964\, Warhol used Vexations to accompany the screening. Giorno describes the work&rsquo\;s appearance: &ldquo\;Andy was terrified that it would be perceived as a gay movie\, perceived as a ga y man&rsquo\;s filming another gay man. That&rsquo\;s why Sleep look s like what it does\; it doesn&rsquo\;t even look like a man half the time. It looks like light and dark\, like an abstract painting.&rdquo\;

\n\n< p style="text-align: justify\;">ABOUT JOHN GIORNO
\nBorn in 1936\, Gio rno is an artistic innovator who has been defying assumptions of poet\, per former\, political activist\, Tibetan Buddhist\, and visual artist since he emerged upon the New York art scene in the late 1950s. In the 1960&rsquo\; s\, he began producing multi-media\, multi-sensory events concurrent with W arhol&rsquo\;s Exploding Plastic Inevitable. He worked with Rauschenberg&rs quo\;s Experiments in Art and Technology (E.A.T) in 1966\, and with Bob Moo g in 1967-68. His breakthroughs in this area include Dial-A-Poem\, which wa s first exhibited in 1968 at the Architectural Society of New York\, and wa s exhibited in the MoMA&rsquo\;s Information exhibition in 1970. His contri butions are significant to many culturally defining moments: the Beat gener ation\, Pop Art\, Punk\, Pictures Generation\, and the hip-hop era. His wor k is included in the collections of the Museum of Modern Art\, New York\; C entre Georges Pompidou\, Paris\; Musé\;e National d´\;Art Modern e\, Paris\; and Queensland Art Gallery/Gallery of Modern Art\, Brisbane\; a mong others.

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ABOUT UGO RONDINONE&nb sp\;
\nUgo Rondinone (b. 1964\, Brunnen\, Switzerland) is a renowned m ixed-media artist who lives and works in New York. Recent solo shows includ e: vocabulary of solitude\, Museum Boijmans Van Beuningen\, Rotter dam\; I John Giorno\, Palais de Tokyo\, Paris\; arti sts and poets\, Secession\, Vienna\; breathe walk die\, Rockb und Art Museum\, Shanghai\; we run through a desert on burning feet\, a ll of us are flowing our faces look twisted at the Art Institute of Ch icago\; and seven magic mountains\, Nevada\, organized by Art Prod uction Fund and the Nevada Museum of Art. His work is in the collections of MoMA\, New York\, the ICA\, Boston\, the San Francisco Museum of Modern Ar t\, the Walker Art Center\, Minneapolis\, and the Dallas Museum of Art\, am ong others.

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Ugo Rondinone: I ♡ John Giorno \;is made possible in part by public funds from the Sw iss Arts Council Pro Helvetia. The I ♡ John Giorno organizing comm ittee gratefully acknowledges generous support from Van Cleef &\; Arpels and the Andy Warhol Foundation for the Visual Arts. Thanks to Almine Rech Gallery\, Brussels\, London\, New York and Paris\; Elizabeth Dee Gallery\, New York\; Esther Schipper\, Berlin\; Galerie Eva Presenhuber\, New York an d Zü\;rich\; Gladstone Gallery\, Brussels and New York\; Galerie Kamel Mennour\, London and Paris\; Kukje Gallery\, Seoul\; and Sadie Coles\, Lond on for production support. Additional thanks to Ophelia and Bill Rudin as w ell as the General Consulate of Switzerland in New York for their gracious contribution\, and to agnè\;s b. for in kind support.

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PRESS CONTACT
\nEvan Lenox &\; Nadine John son
\nEvan@nadinejohnson.com
\nNadine@nadinejohnson.com
\n21 2-228-5555

\n LOCATION:Swiss Institute\,102 Franklin Street \nNew York\, NY 10013 SUMMARY:I ♡ John Giorno\, Ugo Rondinone END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083317Z UID:447689 DTSTART:20170609T000000 DTEND:20171023T000000 DESCRIPTION:

Calder: Hype rmobility focuses on the extraordinary breadth of movement and sound i n the work of Alexander Calder. This exhibition brings together a rich cons tellation of key sculptures and provides a rare opportunity to experience t he works as the artist intended&mdash\;in motion. Regular activations will occur in the galleries\, revealing the inherent kinetic nature of Calder&rs quo\;s work\, as well as its relationship to performance and the theatrical stage. Influenced in part by the artist&rsquo\;s fascination and engagemen t with choreography\, Calder&rsquo\;s sculptures contain an embedded perfor mativity that is reflected in their idiosyncratic motions and the perceptua l responses they provoke.

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In the early 1930s\, Calder invented an entirely new mode of art\, the mobile&mdash\;a kinetic form of sculpture in which carefully balanced comp onents manifest their own unique systems of movement. These works operate i n highly sophisticated ways\, ranging from gentle rotations to uncanny gest ures\, and at times\, trigger unpredictable percussive sounds. \; Calder: Hypermobility encompasses major examples of Calder& rsquo\;s work including early motor-driven abstractions\, sound-generating< span> \;Gongs\, and standing and hanging mobiles.

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In collaboration with the Calder Foundation\, the exhibition will feature an expansive series of perf ormances and events\, including a number of episodic\, one-time demonstrati ons of rarely seen works\, as well as new commissions\, which will bring co ntemporary artists into dialogue with Calder&rsquo\;s innovations and illum inate the many ways in which his art continues to challenge and inform new generations.

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The exhi bition is organized by Jay Sanders\, Engell Speyer Family Curator and Curat or of Performance\, with Greta Hartenstein\, senior curatorial assistant\, and Melinda Lang\, curatorial assistant.

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Major support for Calder: Hypermobility is provided by the D alio Foundation\, the Jerome L. Greene Foundation and the Philip and Janice Levin Foundation.
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\nGenerous support is provided by Fairfax D orn and Marc Glimcher\, Irma and Norman Braman\, the Fisher Family\, Norman and Melissa Selby\, and Michelle Smith.
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\nAdditional support is provided by the Mitzi and Warren Eisenberg Family Foundation

\n LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SUMMARY:Calder: Hypermobility\, Alexander Calder END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083317Z UID:447690 DTSTART:20170609T110000 DTEND:20170609T210000 LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SUMMARY:Calder: Hypermobility END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083317Z UID:447691 DTSTART:20170707T000000 DTEND:20171009T000000 DESCRIPTION:
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In her work\, Bunny Rogers draws from a personal cosmology to e xplore universal experiences of loss\, alienation\, and a search for belong ing. Her layered installations\, videos\, and sculptures begin with wide-ra nging yet highly specific references\, from young-adult fiction and early 2 000s cartoons\, like Clone High\, to autobiographical events and violent me dia spectacles\, such as the 1999 Columbine High School shooting. Rogers&rs quo\;s techniques are equally idiosyncratic. She borrows from theater costu ming\, design\, and industrial furniture manufacturing\, and often crafts h er work by hand. This hybrid approach gives Rogers&rsquo\;s objects and spa ces a distinct texture\; they read simultaneously as slick and intimate\, h ighly constructed but also sincere. \;

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For her first museum solo show in the United States\, Rogers will create a new body of work. The exhibition will be on view in t he John R. Eckel\, Jr. Foundation Gallery on the Museum'\;s first floor\ , which is free and open to the public.

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This exhibition is organized by assistant curator Elisab eth Sherman and curatorial assistant Margaret Kross.

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Major support for Bunny Rogers is provided by John R. Eck el\, Jr. Foundation.
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\nGenerous support is provided by Jackson Tang.

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\n LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SUMMARY:Solo Exhibition\, Bunny Rogers END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083317Z UID:447692 DTSTART:20170707T110000 DTEND:20170707T210000 LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083317Z UID:447695 DTSTART:20170714T000000 DTEND:20171001T000000 DESCRIPTION:

Hé\;li o Oiticica: To Organize Delirium is the first full-scale retrospective in the United States of the Brazilian artist&rsquo\;s work. One of the mos t influential artists of the twentieth century\, Oiticica&rsquo\;s early wo rk began with formal\, geometric investigations in painting and drawing and soon moved into large scale "\;spatial reliefs\,"\; exploding his two-dimensional works into three-dimensional compositions. For the artist\, these works were completed only when viewers interacted with them. That ai m reached fruition as his career advanced and his work took on an increasin gly immersive nature\, transforming the viewer from a spectator to an activ e participant. The exhibition will include some of these large scale instal lations\, including \;Tropicalia and \; Eden. Oiticica spent a formative time in New York in the 19 70s\, engaging with the city and other artists\, and extended his work into filmmaking\, slide show environments\, and concrete poetry before returnin g to Brazil. In addition to viewing original works on display\, visitors wi ll be invited to wear and manipulate exhibition copies of the artist&rsquo\ ;s interactive works.

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Hé\;lio Oiticica: To Organize Delirium \;is curated by Lynn Zelevansky\, The Henry J. Heinz II Director\, Carnegie Museum of Art\; Elisabeth Sussman\, Curator and Sondra Gilman Curator of Photography\, Whi tney Museum of American Art\; James Rondeau\, President and Eloise W. Marti n Director\, The Art Institute of Chicago\; and Donna De Salvo\, Deputy Dir ector for International Initiatives and Senior Curator\, Whitney Museum of American Art\; with Anna Katherine Brodbeck\, associate curator\, Carnegie Museum of Art.

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This e xhibition is organized by the Whitney Museum of American Art\, New York\; C arnegie Museum of Art\, Pittsburgh\; and The Art Institute of Chicago.

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Support for the national tour of this e xhibition is provided by The Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts.

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In New York\, generous support is provided by Art&\;Art Collection\, Tony Bechara\, Renata and Claudio Garcia\, and the Juliet Lea Hillman Simon ds Foundation.

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Additional support i s provided by the Evelyn Toll Family Foundation.

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Generous endowment support is also provided by The Keith Hari ng Foundation Exhibition Fund.

\n LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SUMMARY:To Organize Delirium\, Hélio Oiticica END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083317Z UID:447696 DTSTART:20170714T110000 DTEND:20170714T210000 LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SUMMARY:To Organize Delirium END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083317Z UID:447697 DTSTART:20170714T000000 DTEND:20171001T000000 DESCRIPTION:
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The emerging artist Willa Nasatir (b. 1990) creates photographs routinely informed by a cinematic vocabulary\, inspired by the shifting la ndscape and individuals who inhabit New York\, where she works and lives. & nbsp\;Nasatir&rsquo\;s compositions routinely function as part-still life\, part-portrait (notably without bodies)\, evoking a surreal otherworldly en vironment&mdash\;a realm that&rsquo\;s familiar yet simultaneously difficul t to pin down.
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\nNasatir&rsquo\;s photographs begin as makeshift sculptures\, quickly assembled in her studio from an array of une xpected\, disparate objects ranging from decorative fans to a car headlight . She alters and combines these found objects\, which she photographs and r e-photographs\, subjecting the surfaces to dramatic material and light effe cts. The resulting works are hand-manipulated images that become psychologi cally charged and difficult to discern\; the viewer is left to parse out un resolved narratives that the image only implies.
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\nFor this ex hibition\, Nasatir presents a significant new body of work in addition to a selection of earlier works\, produced over the past few years.

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This exhibition is organized by Jane Panetta\, Associate Curator. \;

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\n LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SUMMARY:Solo Exhibition\, Willa Nasatir END:VEVENT BEGIN:VEVENT DTSTAMP:20170820T083317Z UID:447698 DTSTART:20170714T110000 DTEND:20170714T210000 LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SUMMARY:Solo Exhibition END:VEVENT END:VCALENDAR