BEGIN:VCALENDAR VERSION:2.0 PRODID:icalendar-ruby CALSCALE:GREGORIAN BEGIN:VEVENT DTSTAMP:20170526T132332Z 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:20170526T132332Z 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:20170526T132333Z UID:66391 DTSTART:20090817T180000 DTEND:20090817T200000 LOCATION:ARTBREAK\,3956 YONKERS \nNEW YORK\, NY 08574 SUMMARY:RO-SEY\, WM ROSE END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z 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:20170526T132333Z 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:20170526T132333Z 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:20170526T132333Z 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:20170526T132333Z 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:20170526T132333Z 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:20170526T132333Z 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:20170526T132333Z 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:20170526T132333Z UID:316887 DTSTART:20130928T000000 DTEND:20281201T000000 DESCRIPTION:

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

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

\n

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

\n

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

\n

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

\n

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

\n

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

LOCATION:MASS MoCA\, North Adams\, MA\,1040 MASS MoCA Way \nNorth Adams\, M A 01247 SUMMARY:Anselm Kiefer END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z 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:20170526T132333Z 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:20170526T132333Z 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:20170526T132333Z 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:20170526T132333Z 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:20170526T132333Z UID:427222 DTSTART:20160908T000000 DTEND:20170630T000000 DESCRIPTION:

Numbers are integral to Jewish rituals\, belief\, significan t historical dates\, and daily life. Numbers and numerology have been at th e core of Biblical understanding since the Bible was codified and possibly before. Inescapable\, numbers are the global language of humanity. In this new exhibition\, more than fifty contemporary artists explore the meaning o f numbers and their symbolism through a broad range of artistic media.

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LOCATION:HUC-JIR Museum - New York\,One West Fourth Street \nNew York\, New York 10012 SUMMARY:"Paint by Numbers"\, Marlene Adler\, DL Alvarez\, Debra Band\, Ed B aynard\, Riva Bell\, Henry Bismuth\, Matt Blackwell\, Sandra Bowden\, Ariel Burge\, Bunny Burson\, Melanie Dankowicz\, Joelle Dautricourt\, Damon Davi s\, Simon Donaldson\, Freeman Dyson\, Leonard Everett Fisher\, Larry Franke l\, Saara Gallin\, Grace Graupe-Pillard\, Barbara Green\, Laurie Gross\, Ca rol Hamoy\, Gunter Demnig & Peter Hess\, John Hirsch\, Tamar Hirschl\, Dori t Jordan Dotan\, Tobi Khan\, Judy Glickman Lauder\, John Lawson\, Andrew Pa ul Leonard\, Peachy Levy\, Margalit Mannor\, Suzi Matthews\, Richard McBee\ , David Mumford\, Jacqueline Nichols\, Tetsuya Noda\, Mark Podwal\, Archie Rand\, Tobia Ravà\, Trix Rosen\, Judy Sirota Rosenthal\, Jeffrey Schrier\, Uri Shulevitz\, Stephen Smale\, Fred Spinowitz\, Arthur Szyk\, Meryl Tarada sh\, David Wander\, Joyce Ellen Weinstein\, Ruth Weisberg\, Paul Weissman\, Donald Woodman\, Estelle Kessler Yarinsky END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:427223 DTSTART:20160908T180000 DTEND:20160908T200000 LOCATION:HUC-JIR Museum - New York\,One West Fourth Street \nNew York\, New York 10012 SUMMARY:"Paint by Numbers"\, Marlene Adler\, DL Alvarez\, Debra Band\, Ed B aynard\, Riva Bell\, Henry Bismuth\, Matt Blackwell\, Sandra Bowden\, Ariel Burge\, Bunny Burson\, Melanie Dankowicz\, Joelle Dautricourt\, Damon Davi s\, Simon Donaldson\, Freeman Dyson\, Leonard Everett Fisher\, Larry Franke l\, Saara Gallin\, Grace Graupe-Pillard\, Barbara Green\, Laurie Gross\, Ca rol Hamoy\, Gunter Demnig & Peter Hess\, John Hirsch\, Tamar Hirschl\, Dori t Jordan Dotan\, Tobi Khan\, Judy Glickman Lauder\, John Lawson\, Andrew Pa ul Leonard\, Peachy Levy\, Margalit Mannor\, Suzi Matthews\, Richard McBee\ , David Mumford\, Jacqueline Nichols\, Tetsuya Noda\, Mark Podwal\, Archie Rand\, Tobia Ravà\, Trix Rosen\, Judy Sirota Rosenthal\, Jeffrey Schrier\, Uri Shulevitz\, Stephen Smale\, Fred Spinowitz\, Arthur Szyk\, Meryl Tarada sh\, David Wander\, Joyce Ellen Weinstein\, Ruth Weisberg\, Paul Weissman\, Donald Woodman\, Estelle Kessler Yarinsky END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z 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:20170526T132333Z UID:427803 DTSTART:20160910T000000 DTEND:20170618T000000 DESCRIPTION:

This exhibition explores the dialogue between Janet Taylor P ickett&rsquo\;s artwork and that of renowned French artist Henri Matisse. E mploying a diverse range of media\, Taylor Pickett is known for using the d ress form as an iconic template to express her journey as an African Americ an woman\, daughter\, mother\, and artist. The exhibition features over 76 collages and four handmade books\, spotlighting the ongoing creative conver sation between the two artists and the profound impact of Matisse on Taylor Pickett&rsquo\;s art.

LOCATION:Montclair Art Museum\,3 South Mountain Avenue \nMontclair\, NJ 070 42 SUMMARY:Janet Taylor Pickett: The Matisse Series\, Janet Taylor Pickett END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:427804 DTSTART:20160910T120000 DTEND:20160910T170000 LOCATION:Montclair Art Museum\,3 South Mountain Avenue \nMontclair\, NJ 070 42 SUMMARY:Janet Taylor Pickett: The Matisse Series\, Janet Taylor Pickett END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:429552 DTSTART:20161220T000000 DTEND:20180107T000000 DESCRIPTION:

This exhibition features a sel ection of the finest artworks from the renowned Asia Society Museum Collect ion. Included are Chinese\, Korean\, and Japanese ceramics\, Indian and Cam bodian sculpture\, and sculptures from South and Southeast Asia and the Him alayas that show the varied imagery associated with the transmission of Bud dhism across the region.

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:20170526T132333Z 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:20170526T132333Z UID:429555 DTSTART:20161104T000000 DTEND:20170618T000000 DESCRIPTION:

In Iggy Pop Life Class\, Turner Prize‒winning artist Jeremy Deller uses the traditional life dra wing class to stage a performative event with Iggy Pop as model and subject . The exhibition presents the resulting drawings along with works from our historical collections\, chosen by Deller\, that depict the male body\, exa mining shifting representations of masculinity throughout history.
\n< br />\nThe fifty-three drawings included in the exhibition were created on February 21\, 2016\, during a one-day life drawing class\, using Pop as the unexpected model. The class was held at the New York Academy of Art and in cluded twenty-two artists drawn from New York City&rsquo\;s diverse communi ties\, ranging in age from 19 to 80\, with varying backgrounds and levels o f education and experience. The class was led by artist and drawing profess or Michael Grimaldi. The participating artists are Jeremy Day\, Jeanette Fa rrow\, Margaret Fisher\, Seiji Gailey\, Robert Hagan\, Tobias Hall\, Deirdr a Hazeley\, Patricia Hill\, Okim Woo Kim\, Maureen McAllister\, Kallyiah Me rilus\, Guno Park\, Kinley Pleteau\, Angel Ramirez\, Robert Reid\, Mauricio Rodriguez\, Danielle Rubin\, Taylor Schultek\, Charlotte Segall\, Andrew S hears\, and Levan Songulashvili.

\n\n

De ller&rsquo\;s collaboration with Pop as a nude model is essential to his co ncept. A pioneer rock musician&mdash\;as a singer\, songwriter\, musician\, and actor&mdash\;Pop began performing in the 1960s\, becoming known for st renuous and unpredictable stage performances that often left his body batte red and cut. As Deller notes\, "\;Iggy Pop has one of the most recogniz able bodies in popular culture. A body that is key to an understanding of r ock music\, and that has been paraded\, celebrated\, and scrutinized throug h the years in a way that is unusual for a man. It is also fair to say that it has witnessed a lot. It was for these reasons that I wanted him to sit for a life class."\; For Deller\, the life drawing class offered the op portunity to study his body in direct and palpable terms.

\n\n

Iggy Pop Life Class is organized by Sharon Matt Atkins\, Vice Director\, Exhibitions and Collections Management\, Broo klyn Museum.

\n\n
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Generous support for this exhibition is provided by Mike Wilki ns and Sheila Duignan\, the FUNd\, and Cristina Enriquez-Bocobo.

\n\n

The accompanying book is published by the Bro oklyn Museum in association with Heni Publishing\, London. This publication is supported by the FUNd.
\n \;

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Iggy Pop Life Class is part of A Year of Yes: Reimagini ng Feminism at the Brooklyn Museum\, a yearlong series of ten exhibiti ons celebrating the 10th anniversary of the Elizabeth A. Sackler Center for Feminist Art. Leadership support is provided by Elizabeth A. Sackler\, an anonymous donor\, the Stavros Niarchos Foundation\, the Calvin Klein Family Foundation\, and Mary Jo and Ted Shen. Generous support is also provided b y the Taylor Foundation\, the Antonia and Vladimer Kulaev Cultural Heritage Fund\, and The Cowles Charitable Trust.

\n
\n LOCATION:Brooklyn Museum of Art\,200 Eastern Parkway \nBrooklyn\, NY 11238- 6052 SUMMARY:Iggy Pop Life Class\, Jeremy Day\, Jeremy Deller\, Jeanette Farrow\ , Margaret Fisher\, Seiji Gailey\, Robert Hagan\, Tobias Hall\, Deirdra Haz eley\, Patricia Hill\, Okim Woo Kim\, Maureen McAllister\, Kallyiah Merilus \, Guno Park\, Kinley Pleteau\, ángel Ramírez\, Robert Reid\, Mauricio Rodr iguez\, Danielle Rubin\, Taylor Schultek\, Charlotte Segall\, Andrew Shears \, Levan Songulashvili END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:429556 DTSTART:20161104T110000 DTEND:20161104T180000 LOCATION:Brooklyn Museum of Art\,200 Eastern Parkway \nBrooklyn\, NY 11238- 6052 SUMMARY:Iggy Pop Life Class\, Jeremy Day\, Jeremy Deller\, Jeanette Farrow\ , Margaret Fisher\, Seiji Gailey\, Robert Hagan\, Tobias Hall\, Deirdra Haz eley\, Patricia Hill\, Okim Woo Kim\, Maureen McAllister\, Kallyiah Merilus \, Guno Park\, Kinley Pleteau\, ángel Ramírez\, Robert Reid\, Mauricio Rodr iguez\, Danielle Rubin\, Taylor Schultek\, Charlotte Segall\, Andrew Shears \, Levan Songulashvili END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:429565 DTSTART:20161105T000000 DTEND:20170730T000000 DESCRIPTION:
\n

Dia presents Hanne Darboven&rsquo\;s Kulturgeschichte 1880&ndash\;1983 (Cultural History 1880&ndash\;1983\, 1980&ndash\;83) at Dia: Chelsea at 545 West 22nd Street in New York City. \; The presentation o ffers audiences the opportunity to experience this important work from Dia& rsquo\;s permanent collection\, which has not been on view in the United St ates for over a decade.

\n

Cultural History 1880&ndash\;1983 features 1\,590 framed works on paper and 19 sculptural objects. The framed works on paper include photographs of doorwa ys\, daily newsmagazine covers\, images of cameras and Hollywood celebritie s\, touristic postcards\, the contents of an exhibition catalogue on postwa r art\, and documentation of prior installations of the work. The specifici ty of the materials chosen embodies a blending of the personal and the publ ic\, telling the story of society at large\, while also presenting an autob iography of Darboven herself. From the covers of Der Spiegel with their emphasis on war and brutality\, to the racial overtones seen in the s lave figures and rainmaker sculptures\, to the postcards presenting a bucol ic and pastoral prewar Germany\, there is a narrative of trauma and recover y that runs throughout Darboven&rsquo\;s work. For the viewer\, \;C ultural History 1880&ndash\;1983 can be an all-encompassing and overwh elming experience\, physically impossible to take in at once. It is the mag num opus of an artist whose work remains lesser known than her Minimalist a nd Conceptual peers\, particularly so within the United States.&nbs p\;

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LOCATION:Dia Art Foundation\,535–545 West 22nd Street \nNew York\, NY 10011 SUMMARY:Kulturgeschichte 1880-1983\, Hanne Darboven END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:429566 DTSTART:20161105T000000 DTEND:20170730T000000 DESCRIPTION:
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Dia presents an exhibition of Kishio Suga&rsquo\;s work at Dia:Chelsea at 541 West 22nd Street in New York City. Suga is a founding member of Mono-ha (School of Things)\, which emerged in Japan in the 1960s and 1970s and dev eloped in parallel with Postminimal and Land art in the United States and A rte Povera in Europe&mdash\;movements at the core of Dia&rsquo\;s permanent collection. Curated by Jessica Morgan and Alexis Lowry\, this is \;Sug a&rsquo\;s first solo museum show in the United States. \;

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In this exhibition\, Suga responds to the buildin g&rsquo\;s unique history as a marble-cutting facility by recreating his&nb sp\;Placement of Condition \;(1973)\, a signature installation of cut stones that lean precariously away from each other\, but are bound together with wire into a mutually dependent and stable network. This work is on view alongside a selection of other significant historical installati ons and new works conceived specifically for Dia that explore issues of bal ance and structure and that respond to the physical parameters of the space . His new commission investigates material equilibrium through a series of interweaving metal rods that are perched on top of wooden uprights.  \;

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LOCATION:Dia Art Foundation\,535–545 West 22nd Street \nNew York\, NY 10011 SUMMARY:Solo Exhibition\, Kishio Suga END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:430698 DTSTART:20161001T000000 DTEND:20170531T000000 DESCRIPTION:

The Edward Hopper House is pleased to present the restaging of Edward Hopper&rsquo\;s bedroom. The bedroom in which Hopper spent the fi rst 28 years of his life is transformed into a showcase designed in period style by Architectural Digest featured designer\, Ernest de la Torre\, and architect\, Walter Cain.

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 \; \; \; \; \; \;  \; \; \; \; \; \; \; \; \; \;  \; \; \; \; \; \; \; \; \; \; \;&nb sp\; \; \; \; \; \; \; \; \; \; \;& nbsp\; \; \; \; \; \; \; \; \; \; \ ;

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The staging of Hopper&rsquo\;s bedroom is a fitting acknowledgeme nt of the profound impact the space had on his artistic development. Growin g up with a view of the Hudson River from his bedroom window\, young Edward Hopper was inevitably drawn to its banks. He would spend hours at the vill age docks and shipyards\, sketching and watching the building and rigging o f boats. The activity on the river is captured in many of Hopper&rsquo\;s e arly drawings and paintings\, and boats and seascapes remained common subje cts in his art throughout his life.

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 \;

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Also central to his artistic development was the so-called &ldquo\;Hudson River light&rdqu o\; of Nyack. The strong rays of morning sunlight streaming through the eas t facing windows of his bedroom would create shifting patterns of light and shadow on the floor and walls. Hopper incorporated these tangible blocks o f sunlight into early paintings and many of his later masterpieces. Visitor s to this showcase will be able to appreciate all the unique features of th e bedroom that so inspired Edward Hopper and led him on his creative path.& nbsp\; Due to the historic nature of the house and other limitations\, the second floor room is only accessible by the stairs. \;

LOCATION:Edward Hopper House\,82 North Broadway \nNyack\, NY 10960US SUMMARY:Renowned designer Ernest de la Torre and architect Walter Cain to r eimagine Edward Hopper’s bedroom in his Nyack home END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:430699 DTSTART:20161001T180000 DTEND:20161001T200000 LOCATION:Edward Hopper House\,82 North Broadway \nNyack\, NY 10960US SUMMARY:Renowned designer Ernest de la Torre and architect Walter Cain to r eimagine Edward Hopper’s bedroom in his Nyack home END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:431239 DTSTART:20161020T000000 DTEND:20170529T000000 DESCRIPTION:
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This exhibition of Renaissance mai olica\, drawn exclusively from The Met's world-renowned collection\, will c elebrate the publication of Maiolica\, Italian Renaissance Ceramics in The Metropolitan Museum of Art by Timothy Wilson. As Wilson writes\, " Painted pottery\, at its most ambitious\, is a serious form of Italian Rena issance art\, with much to offer those interested in the wider culture of t his astoundingly creative period." This creativity was applied to a vast ra nge of practical objects. The exhibition will include tableware and serving vessels\, desk ornaments\, storage containers\, devotional objects\, as we ll as sculpture\, all made in painted and tin-glazed earthenware.

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The maiolica tradition flourished from the 15t h to the 17th century. Italian potters transformed techniques they owed to the Islamic world into something entirely unprecedented\, and in turn laid the foundations for similar pottery traditions across Europe. Potters and p ottery painters exploited innovations of the Renaissance goldsmith\, sculpt or\, and painter in what was a relatively humble medium. That it was owned by the social elite of Italy\, however\, testifies to its artistic value.\n

This exhibition will explore how the d ifferent functions of Renaissance maiolica dictated the ways painted potter y was seen and decorated. Groups of objects will be installed in displays s uggestive of their use. An assembly of storage jars will give a sense of a pharmacy's shelves. Among the tableware on display will be istoriato plates and dishes&mdash\;their surfaces covered with scenes from mytholo gy and ancient history&mdash\;from some of the most important services comm issioned by leading Italian families. The exhibition will also show maiolic a-makers using ceramic\, paint\, and glaze to compete with other art forms\ , including a Madonna and Child that imitates a framed panel paint ing and a Lamentation group that likely once functioned as a sculp ted altarpiece\, the largest known example of sculptural maiolica to surviv e.

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The publication is made po ssible by The Metropolitan Museum of Art's Friends of European Sculpture an d Decorative Arts\, The Peter Jay Sharp Foundation\, Marica and Jan Vilcek\ , and Ceramica-Stiftung Basel.

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LOCATION:The Metropolitan Museum of Art\,1000 Fifth Ave. \nNew York\, NY 10 028-0918 SUMMARY:Renaissance Maiolica: Painted Pottery for Shelf and Table END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:431240 DTSTART:20161020T100000 DTEND:20161020T173000 LOCATION:The Metropolitan Museum of Art\,1000 Fifth Ave. \nNew York\, NY 10 028-0918 SUMMARY:Renaissance Maiolica: Painted Pottery for Shelf and Table END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:433149 DTSTART:20170505T000000 DTEND:20170527T000000 DESCRIPTION:


\nAfter working on a series of personal narratives enc ompassing women\, sexuality\, power dynamics and social interaction at Kala Art Institute in Berkeley\, California\, Skye Schirmer began a series of w orks she called Blinded by Truisms. &ldquo\;These crass yet intimate statem ents have evolved out of my previous narrative work to offer a blunt insigh t into specific moments in time\, but moments that can be relatable to the viewer. It is with these truisms I unapologetically vocalize the messy\, hu morous\, serious and bold members of my life as a woman and as an artist.&r dquo\;

\n LOCATION:Ink Shop Printmaking Center & Olive Branch Press\,330 E. MLK Jr. S t. 2nd Floor\nIthaca\, NY 14850 SUMMARY:Blinded by Truisms\, Skye Schirmer END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:433150 DTSTART:20161110T170000 DTEND:20161110T200000 LOCATION:Ink Shop Printmaking Center & Olive Branch Press\,330 E. MLK Jr. S t. 2nd Floor\nIthaca\, NY 14850 SUMMARY:Blinded by Truisms END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:433231 DTSTART:20170505T000000 DTEND:20170527T000000 DESCRIPTION:

Scout received her BFA from Alfred University in 2011\, and spent 2012 developing work as the Kahn-Family Fellow at the Ink Shop Printm aking Center. She moved to Brooklyn to pursue an internship at Dieu Donne\, a prominent paper studio in Manhattan where she currently works.

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The Ring is a visual narration of childhood and time spent on a family' \;s farm in Ithaca\, NY. The work for this series will be in her wonderful style of freeform line on paper using simple monoprinting techniques and wi ll explore materials such as colored pencil and oil pastel.

\n LOCATION:Ink Shop Printmaking Center & Olive Branch Press\,330 E. MLK Jr. S t. 2nd Floor\nIthaca\, NY 14850 SUMMARY:In the Ring\, Scout Dunbar END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:433232 DTSTART:20161111T170000 DTEND:20161111T200000 LOCATION:Ink Shop Printmaking Center & Olive Branch Press\,330 E. MLK Jr. S t. 2nd Floor\nIthaca\, NY 14850 SUMMARY:In the Ring END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z 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:20170526T132333Z UID:435710 DTSTART:20170301T000000 DTEND:20170801T000000 DESCRIPTION:

★OPENING RECEPTION 1/3 5th FAREWELL Comic Show + Fum iaki Asai

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 \;

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-Gallery 1-

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5 th FAREWELL Comic Show

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Participati ng Artists

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Gerardo R. Casas (Curator)

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Ellen Stedfeld (Co-curator)

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Matthew Noel Paquette (Co-curator)\n\n

Jose Feliciano

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Ryan J. Zalis

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Patrick Sinnott\n\n

Kelly M. Teaman

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Joel M. Casimiro

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Lina Lee

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January Bacus

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Michelle Peluso

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Melanie Harris

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Burnest Griffin IV

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Rashawn &ldquo\;Inu&rdquo\; Love

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Justin Jones

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Jeff Maksuta

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David Shear

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Rich ard P. Wojcicki

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Angelika Erne

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Anon Cadieux

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Ch ristopher Cook

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Jada

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Tara Hayes

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Emmanuel &ldqu o\;Art Screams Life&rdquo\; Knigh

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Gerard Thelemaque

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Gre gory Silverman

\n\n

Derwin Roberson

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Xinmei Liu

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Nao aki Funayama

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Yuki Kano

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Cherry &ldquo\;Zeze&rdquo\; Yiu< /p>\n\n

Yosuf Gurung

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Shogo Miyasaka

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Yunshan Yang

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James Vega

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Anthony J. Quintessenza

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Sophocles Plok amakis

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Angela

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 \;

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-Gallery 2-

\n\n

Artist: Fumiaki Asai

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Title: Fumiaki Asai solo exhibition

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Biography:  \n\n

Fumiaki Asai was born in Aichi Prefecture and grew up in Shiga Pre fecture. He started his creative activity since 2011. The starting point of his creative activities was when he received a shock in color while viewin g the Mexican scenery\, landscape\, and more in a TV program. He began his creative activities the next day. His production activities are mainly pain tings. He taught himself how to paint. He directly expresses his emotions t hat come out of his mind. He does not keep it to himself. Therefore\, color and techniques will come out of his subconscious. And he will come out to see the color in his head. Asai was interested in overseas. He stayed in Au stralia for about one week after graduating from high school. He have recei ved a big shock from all the differences he felt with his five senses at th at time. He started to feel the want to work abroad in his heart. He receiv es inspirations from American culture and British rock music. When he sees his work\, he hopes that people will see his work without too much thinking and simply feel something out of it. His work represents his person.

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\n LOCATION:Ouchi Gallery\,170 Tillary St. suite 105\nBrooklyn\, NY 11201 SUMMARY:★OPENING RECEPTION 1/3 5th FAREWELL Comic Show + Fumiaki Asai★\, Co mic Show Participating Artists + Fumiaki Asai END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:435711 DTSTART:20170301T190000 DTEND:20170301T220000 LOCATION:Ouchi Gallery\,170 Tillary St. suite 105\nBrooklyn\, NY 11201 SUMMARY:★OPENING RECEPTION 1/3 5th FAREWELL Comic Show + Fumiaki Asai★ END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z 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:20170526T132333Z UID:437227 DTSTART:20170201T000000 DTEND:20170530T000000 DESCRIPTION:

The Genius of Geoffrey Holder

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Fe bruary 1\, 2017- May 30\, 2017

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Gallery Hours: Monday-Saturday\, 1 0:00am - 6:00pm

\n\n

Free and Open to the public.

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 \;

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Miller Gallery

\n\n

Jamaica Center for Arts &\; Learning (J CAL)

\n\n

161-04 Jamaica Ave.

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Jamaica\, NY 11432 \;

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718-658-7400

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As a choreograph er\, designer\, director\, and actor\, Holder is well represented in all of the research and circulating collections of The New York Public Library fo r the Performing Arts. In this exhibition\, he is honored for his career in dance and theater\, his Tony Award-winning work as director and costume de signer for The Wiz\, and contributions to the repertory of the Alvin Ailey American Dance Theater and Dance Theater of Harlem. \;

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 \ ;

\n LOCATION:Jamaica Center for Arts and Learning\,161-04 Jamaica Ave. \nJamaic a\, NY 11432 SUMMARY:The Genius of Geoffrey Holder END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:437228 DTSTART:20170201T100000 DTEND:20170201T180000 LOCATION:Jamaica Center for Arts and Learning\,161-04 Jamaica Ave. \nJamaic a\, NY 11432 SUMMARY:The Genius of Geoffrey Holder END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:437612 DTSTART:20170209T000000 DTEND:20170526T000000 DESCRIPTION:

*EXTEND ED THROUGH MAY 26\, 2017*

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David Krut Projects is pleased to present /'\;atmes\,fir/\ , a group exhibition featuring three emerging abstract artists from South A frica: Mongezi Ncaphayi\, Robyn Penn\, &\; Jacob Van Schalkwyk. In this exhibition&ndash\;which takes its title from the phonetic spelling of the w ord Atmosphere&ndash\;all three artists respond to the dynamic climate of c ontemporary South Africa\, primarily through the use of painterly abstracti on.

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Mongezi Ncaphayi\, a painter-pr intmaker and accomplished jazz musician\, uses splashes of color amidst rep eated lines\, patterns and forms that undulate like sounds and rhythm&ndash \;harkening to the modernist relationship of painting to jazz. Notably map- like\, Ncaphayi&rsquo\;s paintings\, prints and drawings are made using mem ory and intuition to retrace the contours of his large collection of maps.< /p>\n\n

Robyn Penn\, another painter-printm aker from Johannesburg\, has been long fixated on the subject of the cloud and the dire situation surrounding the Earth&rsquo\;s atmosphere. Over time \, her cloud depictions have gone from hyperrealistic to scratchy\, energet ic\, gestural\, nebulous compositions of marks made using a sophisticated y et often acidic use of color. Her newest etchings and prints exist somewher e between the beautiful and the brutal\, where skyscapes of color and line become politically charged meditations on climate change denial.

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Using lithographic ink\, Jacob van Schalkwyk mends scenes of color. From CMYK scale to ultra-violet\, the palette is pul led from natural and artificial landscapes seen in Cape Town. In the studio \, these colors are mixed in large batches\, then rolled\, splashed\, dripp ed\, or splattered upon the surface of the paper. One may recognize the bri ght orange of a construction zone barrel\, the pale pink of a beach Sunset\ , the tar black of asphalt\, the pewter of a kicked stone. These random ins tances of color coalesce\, crisscross\, and merge into a sense of place: de composition\, 3am\, noise\, the guessing and second guessing of the studio.

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For more information please contac t info@davidkrut.com.

\n LOCATION:David Krut Projects\,526 West 26th Street\, #816 \nNew York\, NY 1 0001 SUMMARY:/'atmes\,fir/\, Mongezi Ncaphayi\, Robyn Penn\, Jacob van Schalkwyk END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:437613 DTSTART:20170209T180000 DTEND:20170209T200000 LOCATION:David Krut Projects\,526 West 26th Street\, #816 \nNew York\, NY 1 0001 SUMMARY:/'atmes\,fir/ END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:437747 DTSTART:20170201T000000 DTEND:20170530T000000 DESCRIPTION:

As a ch oreographer\, designer\, director\, and actor\, Holder is well represented in all of the research and circulating collections of The New York Public L ibrary for the Performing Arts. In this exhibition\, he is honored for his career in dance and theater\, his Tony Award-winning work as director and c ostume designer for The Wiz\, and contributions to the repertory of the Alv in Ailey American Dance Theater and Dance Theater of Harlem. \;< /p>\n LOCATION:Jamaica Center for Arts and Learning\,161-04 Jamaica Ave. \nJamaic a\, NY 11432 SUMMARY:The New York Public Library for the Performing Arts presents The Ge nius of Geoffrey Holder\, Geoffrey Holder END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:437748 DTSTART:20170203T190000 DTEND:20170203T210000 LOCATION:Jamaica Center for Arts and Learning\,161-04 Jamaica Ave. \nJamaic a\, NY 11432 SUMMARY:The New York Public Library for the Performing Arts presents The Ge nius of Geoffrey Holder END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:437825 DTSTART:20170216T000000 DTEND:20170529T000000 DESCRIPTION:

On February 16\, 2017\, Neue G alerie New York will open "\;Alexei Jawlensky\,"\; the first full m useum retrospective in the United States devoted to the work of the Russian -born Expressionist artist Alexei Jawlensky (1864-1941). Jawlensky moved to Munich in 1896\, where he became an integral member of the artistic avant- garde that advanced important developments in Expressionism and abstraction . The show is organized by independent curator Vivian Endicott Barnett\, au thor of volumes of Vasily Kandinsky&rsquo\;s catalogue raisonné and expert on German and Russian modern art. The Neue Galerie is the sole venue for t he exhibition\, which will be on view through May 29\, 2017.

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The exhibition will include approximately 75 pain tings ranging in date from 1900 to 1937 and will explore the chronological and thematic development of Jawlensky&rsquo\;s work. It is comprised of loa ns from public and private collections worldwide. The exhibition will begin with early figure paintings\, still-lifes\, and landscapes\, and continues with a series of paintings created between 1914 and 1921 known as Vari ations\, which evolved from the view from the artist&rsquo\;s window i nto expressions of pure color. The exhibition will follow with a selection of semi-abstract works known as Mystical Heads\, Savior&rsquo\ ;s Faces\, and Abstract Heads\, which reduce the human face t o simple geometric forms and contrasting colors. The exhibition will conclu de with the artist&rsquo\;s late Meditations and Still-Lifes\, a series of spiritual paintings created towards the end of his life\, which stem from the piety of his Russian Orthodoxy.

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Alexei Jawlensky was born in Torzhok in the province of T ver in 1864 and attended school in Moscow before studying painting with the Russian realist painter Ilya Repin in St. Petersburg. Growing increasingly disenchanted with realism\, and after meeting the artist Marianne von Were fkin\, Jawlensky moved to Munich\, where he and Kandinsky studied with Anto n Ažbè. Jawlensky was deeply influenced by the work of the Fauves after se veral trips to France\, where he became familiar with the art of Paul Céza nne\, Paul Gauguin\, Henri Matisse\, and Vincent van Gogh.

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In 1908\, Jawlensky joined Kandinsky\, Werefkin\, a nd Gabriele Münter for several weeks to paint in the Bavarian town of Murn au\, south of Munich\, where they lived. The following year\, Jawlensky\, K andinsky\, and others formed the Neue Künstlervereinigung München\, an ar tists&rsquo\; association. Jawlensky was friendly with Paul Klee\, August M acke\, Franz Marc\, and artists associated with Der Blaue Reiter. At the st art of World War I\, Jawlensky fled to Switzerland\, where he remained for seven years. In 1921\, Jawlensky relocated to Wiesbaden in southern Germany \, where he lived and worked until his death in 1941. Though Jawlensky&rsqu o\;s oeuvre is not well known in the United States\, he exhibited widely du ring his time and exerted a strong influence on key developments in modern art.

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A fully-illustrated catalogue\ , published by Prestel Verlag\, will accompany the exhibition\, featuring c ontributions by leading scholars in the field\, including Vivian Endicott B arnett\, Angelica Jawlensky Bianconi\, Jill Lloyd\, and Roman Zieglgänsber ger.

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This exhibition is made possib le 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:Solo Exhibition\, Alexei Jawlensky END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:437826 DTSTART:20170216T110000 DTEND:20170216T180000 LOCATION:Neue Galerie Museum for German and Austrian Art\,1048 Fifth Avenue \nNew York\, NY 10028 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:437840 DTSTART:20170324T000000 DTEND:20170604T000000 DESCRIPTION:
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\n< p style="text-align: justify\;">Over some two decades\, Arthur and Eileen N ewman assembled a collection of landscapes and still lifes painted between 1845 and 1880. Inspired by the natural beauty of the Hudson River Valley re gion and the emotional intensity of the scenes captured by painters of the first self-consciously &ldquo\;American&rdquo\; school of art\, the Newmans acquired works by artists including Thomas Cole\, Frederic Edwin Church\, and Martin Johnson Heade.

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In 2015\, Arthur and Eileen Newman generously gifted 15 magnificent Hudson River Sch ool paintings from their collection to the New-York Historical Society. The se new acquisitions\, shown alongside selected examples from New-York Histo rical&rsquo\;s holdings\, are displayed together for the first time since t hey hung on the walls of the Newmans&rsquo\; Manhattan home.

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In conjunction with pieces from the Newman beques t\, New-York Historical presents The Hudson River Portfolio\, a co llection of 19th-century prints by John Hill\, who engraved a selection of Hudson River Valley landscapes by Irish-born artist William Guy Wall&mdash\ ;considered a forerunner to the Hudson River School. This special installat ion will feature Hill&rsquo\;s prints as well as original nature studies by Wall.

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

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Media sponsor:
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\n LOCATION:New York Historical Society\,170 Central Park West \nNew York City \, NY 10024 SUMMARY:A Hudson River School Legacy: The Newman Bequest and Other Gifts END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:437841 DTSTART:20170324T100000 DTEND:20170324T200000 LOCATION:New York Historical Society\,170 Central Park West \nNew York City \, NY 10024 SUMMARY:A Hudson River School Legacy: The Newman Bequest and Other Gifts END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:438210 DTSTART:20170211T000000 DTEND:20170611T000000 DESCRIPTION:

On February 11\, 2017\, the Bruce Museum in Greenwich\, Connecticut\, op ens its newest exhibition\, Canvas and Cast: Highlights from the Bruce Museum&rsquo\;s Art Collection. Featuring 35 paintings and 7 sculpture s from the Bruce&rsquo\;s growing collection\, the show celebrates long-tim e favorites and many recent acquisitions representing significant moments i n the history of art from the 16th through the 20th centuries. This exhibit ion\, organized by Peter C. Sutton\, The Susan E. Lynch Executive \; Di rector\, and curated by Courtney Skipton Long\, Zvi Grunberg Postdoctoral F ellow 2016/17 at the Bruce Museum\, examines art historical themes includin g sculpted and painted portraits\, narrative scenes and statues\, landscape s\, still lifes\, and genre scenes.

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For over a century\, the collecti on at the Bruce Museum has grown steadily and been developed carefully thro ugh donations and purchases. After Robert Moffat Bruce bequeathed his home as well as a few portraits to the Town of Greenwich in 1908\, the Bruce Mus eum hosted its first exhibition of art four years later. At the time\, the Greenwich Press noted that it was a welcome change to see &ldquo\; a long gallery hung with paintings from the best works of local artists.&rd quo\;

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&ldquo\;In this latest exhibition of the Museum&rsquo\;s \; artworks \, we are especially pleased to be able to reveal for the first time some o f the most recent additions to the Bruce collection\,&rdquo\; remarked Sutt on\, &ldquo\;including the deftly sculpted bas-relief bronze of Robert Loui s Stevenson by Augustus Saint-Gaudens\, a fine coastal scene by Alfred Thom son Bricher\, and a spring landscape by the Danish artist Peder Mø\;r k Mø\;nsted\, which were purchased just a few months ago.&rdquo\; &nb sp\; \;

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Canvas and Cast explores artists&rsquo\; handling of diff erent media &ndash\; bronze\, marble\, oil\, pastel\, acrylic and collage & ndash\; through examples of 16th-century Dutch portraiture\, 19th-century A merican figural sculpture\, academic style painting\, and French and Americ an landscapes from the turn of the 20th century.

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This exhibition also focuses on the treatment of form and composition across time. For instance\, Ca nvas and Cast looks at the refined handling of the human form in Willi am-Adolphe Bouguereau&rsquo\;s painting Faun and Bacchante (1860) and Auguste Rodin&rsquo\;s bronze-cast sculpture The Kiss (1886). This pairing is juxtaposed with the work of Expressionist and Abstract Expr essionist artists\, such as Jack Levine and Robert Rauschenberg\, who quest ioned traditional notions of formal composition almost a century later. Lev ine&rsquo\;s Mars Confounded (1946) evokes a traditional Classical landscape with reclining nudes\, but renders them in a satirical fashion. Likewise\, Rauschenberg&rsquo\;s Greyhound Nightmare (1981) incorp orates recognizable\, representational imagery\, but reconfigured in fantas tical juxtapositions.

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Canvas and Cast: Highlights from the Bruce Museum&rs quo\;s Art Collection runs through June 11\, 2017 and is generously su pported by The Charles M. and Deborah G. Royce Exhibition Fund and the Connecticut Office of the Arts. \;

\n LOCATION:Bruce Museum\,1 Museum Drive \nGreenwich\, CT 06830 SUMMARY:Canvas and Cast: Highlights from the Bruce Museum’s Art Collection\ , William Merrit Chase\, Robert Rauschenberg and many more\, Theodore Robin son\, Auguste Rodin END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z 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:20170526T132333Z UID:438453 DTSTART:20160305T000000 DTEND:20170805T000000 DESCRIPTION: LOCATION:Art New York\,Pier 94 \nNew York\, NY US SUMMARY:Art New York 2016 END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:438643 DTSTART:20170301T000000 DTEND:20170611T000000 DESCRIPTION:

Appealing to art connoisseurs and animal lovers alike\, this collection of 46 small bronze sculptures fro m the 19th and 20th centuries encompasses all manifestations of the animali er movement. The exhibition moves from the romantic wild beasts of the inve ntor of the genre\, Antoine-Louis Barye\, to the horses and domestic animal s that were favored by some of his most important followers\, Jules Mê \;ne and Rosa Bonheur. It also includes important examples of animal art by 20th-century American artists Herbert Haseltine and Charles Russell\, as w ell as by emerging contemporary artists.

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This exhibition comes to the Arkell from The Georgia Museum of Art.\n LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SUMMARY:Animals in Bronze: The Michael and Mary Erlanger Collection of Anim alier Bronzes from the Georgia Museum of Art END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:438644 DTSTART:20170301T100000 DTEND:20170301T170000 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SUMMARY:Animals in Bronze: The Michael and Mary Erlanger Collection of Anim alier Bronzes from the Georgia Museum of Art END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:438725 DTSTART:20170317T000000 DTEND:20170611T000000 DESCRIPTION:

he formation of self and the i ndividual&rsquo\;s place in a turbulent society are among the key themes re flected in the work of the artists selected for the 2017 Whitney Biennial. The exhibition includes sixty-three participants\, ranging from emerging to well-established individuals and collectives working in painting\, sculptu re\, drawing\, installation\, film and video\, photography\, activism\, per formance\, music\, and video game design.

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The Whitney Biennial is the longest running survey of contemporary a rt in the United States\, with a history of exhibiting the most promising a nd influential artists and provoking lively debate. The 2017 Biennial is th e Museum&rsquo\;s seventy-eighth in a continuous series of Annual and Bienn ial exhibitions initiated by Gertrude Vanderbilt Whitney in 1932. It is the first to be held in the Whitney&rsquo\;s downtown home at 99 Gansevoort St reet\, and the largest ever in terms of gallery space.

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The 2017 Whitney Biennial is co-curated by Christopher Y. Lew and Mia Locks.

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The film prog ram is organized by Christopher Y. Lew\, Mia Locks\, and Aily Nash.

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Read more \;about the 20 17 Biennial curators and advisors.

\n LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SUMMARY:Whitney Biennial 2017\, Group Show END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:438726 DTSTART:20170129T110000 DTEND:20170129T210000 LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SUMMARY:Whitney Biennial 2017 END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z 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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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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\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:20170526T132333Z 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:20170526T132333Z UID:439038 DTSTART:20170207T000000 DTEND:20170731T000000 DESCRIPTION:
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HIPPO BALLERINA NYC PUBLIC ART  \;UNVEILING

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< span data-term="goog_1379885945" tabindex="0">TUESDAY\, FEB 7\, 2017 : \;1:30 to 2:00 p.m.

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Cynthia Harvey and Students from American Ballet Theatre'\;s \;

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Jacqueline Kennedy Onassis School

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WHAT:

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Unveiling ceremony for the NYC Park'\;s Art in the Parks installati on of artist \;Bjorn \;Skaarup'\;s colossal bronze sculpture\,&n bsp\;Hippo Ballerina\, 2016\, on public view from \;Feb 7 through July 31\, 2017.\n

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Photo-op with&n bsp\;Hippo Ballerina (installation mockup image above)\, artist Bj orn \;Skaarup\, former ABT Principal Dancer Cynthia Harvey\, Artistic D irector of the \;American Ballet Theatre Jacqueline Kennedy Onassis (AB T JKO) School\, and seven ABT JKO School students ages 13 - 17.

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WHO:

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Bjorn Skaarup\ , artist

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Wi lliam Castro\, NYC Parks Manhattan Borough Commissioner

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Cynthia Harvey\, Artistic Dire ctor\, \;ABT JKO School

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Ron Cavalier\, President\, Cavalier Galleries

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WHERE:

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Dante Park

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64th Street a nd Broadway\, New York City

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WHEN:

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Tu esday\, Feb 7\, 1:30 to 2:00 p.m.

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Brief 2-minute welcoming remarks will be prov ided at 1: 30 p.m. by the following:

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Artist Bjorn Skaarup\; Cynthia Harvey\, ABT JKO S chool Artistic Director\; William Castro\, NYC Parks Manhattan Borough Comm issioner\, and Ron Cavalier\, President\, Cavalier Galleries.

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Hippo Ballerina NYC Public Art Installation Details

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Hippo Ballerina \;will be plant ing her sizable slippered feet across from Lincoln Center beginning \;< span data-term="goog_1379885949" tabindex="0">February 7. Part of NY C Parks'\; Art in the Parks Program\, the over 15-foot tall\, copper tut u-clad bronze sculpture by Danish artist Bjorn Skaarup (Skaarup'\;s firs t US public art installation) will be on public view through \;July 31\, 2017. \;

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Hippo Baller ina Companion Exhibition

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Over 15 fellow animal bronze sculptures including a balancing bear\, scootering cheetah\, and pogoing kangaroo will dazzle visi tors with their fancy footwork as part of Cavalier Gallery'\;s companion exhibition\, \;Bronze Creatures Great and Small\, opening&nbs p\;the same day nearby at 3 West 57 Street\, and on view through \;March 17\, 2017.

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For the ins tallation and exhibition press release\, \;click here\, and video on the making of Hippo Ballerina\, \;click here.

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Dance With Hippo Ballerina Photo Contest

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From \;Feb. 7 to March 31\, 2017\, visitors who follow \;@Dancewithhippoball erina \;on Instagram\, and post their photos \;posing with  \;Hippo Ballerina \;on their Instagram pages using the hashtag #Dancewi thhippoballerina will have the chance to win a limited-edition \;Hi ppo Tightrope Dancer \;etching by the artist\, and two tickets to a ballet performance at Lincoln Center. Photo contest entry rules: \;photo contest. \;For more info: \;www.facebook.com/Dancewithhippoballerin a.

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Hippo Ballerina Unve iling Partners

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Cavalier Galleries

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Cavalier Galleries was founded in 1986 by Ronald C avalier Jr.\, who was introduced to the art world by his father\, owner of the Cavalier Renaissance Foundry whose clients has included the Met\, MoMA\ , and Hirshorn museums.  \;Located in New York City\; Greenwich\, CT\; and Nantucket\, MA\, Cavalier Galleries has organized outdoor sculpture pla cements for the public to enjoy\, including the 2014 installation of Jim Re nnert'\;s \;sculpture\, \;THINK BIG\, at Union Square P ark. \;www.cavali ergalleries.com

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NYC Parks'\; Art in the Parks

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NYC Parks'\; Art in the Parks program has consistently fostered the creation and installation of t emporary public art in parks throughout the five boroughs. Since 1967\, NYC Parks has collaborated with artists and arts organizations to produce over one thousand public artworks in New York City parks. \;www.nyc.gov/parks/art

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American Ballet Theatre Jacqueline Kennedy Onassis School

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The American Ballet Theatre Jacqueline Kennedy Onassis School aims to provide the highest quality ballet training\, consistent with the styli stic requirements of American Ballet Theatre\, and to provide dancers with a rich knowledge of classical technique and the ability to adapt to all sty les and techniques of dance.

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\n The ABT Jacqueline Kennedy Onassis School serv es approximately 415 students and encompasses a \;Pre-Professional Divi sion for dancers ages 12-18 and a Children'\;s Division \;for dancer s ages 3-12. Classes include classical ballet technique\, pointe\, partneri ng\, men'\;s class\, character\, modern technique\, variations and Pilat es. In addition\, students participate in the ABT JKO School Wellness Lectu re Series\, designed to educate students and their parents on subjects faci ng aspiring professional dancers. \;www.abt.org

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Press Contacts:

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Nicole St raus Public Relations

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Cecilia Bonn\, \;212-734-9754\, \;917-434-4406\, \;Cbonn@nyc.rr.com

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NYC Parks

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Maeri Ferguson\, \;212 -360-1311\ , \;Maeri .Ferguson@parks.nyc.gov

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American Ballet Theatre

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Ke lly Ryan\, Director of Press and Public Relations
\n 212-477.3030 ext. 3235 \, \;KRyan@abt.org

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 \;\n LOCATION:Dante Park\,64th Street and Broadway \nNew York\, NY 10023US SUMMARY:Hippo Ballerina NYC Public Art Installation\, Bjorn Skaarup END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:439039 DTSTART:20170207T133000 DTEND:20170207T140000 LOCATION:Dante Park\,64th Street and Broadway \nNew York\, NY 10023US SUMMARY:Hippo Ballerina NYC Public Art Installation END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:439158 DTSTART:20170304T000000 DTEND:20170617T000000 DESCRIPTION:

Gladstone Gallery is pleased t o present an exhibition of historical works realized by Italian artist Mimm o Rotella from 1953 to 1962. Representing a sea change in the artist&rsquo\ ;s practice\, the compositions on view are some of the first examples of Ro tella&rsquo\;s pioneering dé\;collage and retro d&rsquo\ ;affiche techniques\, methods that would become integral to Rotella&rs quo\;s artistic pursuit of continually engaging with mass media&rsquo\;s ow n promotional materials.

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Following his return to Rome from a residency at Kansas City University in 1952\, Rot ella consciously abandoned abstract painting as his primary form of express ion. Stirred by the presence of movie and advertising posters around the ci ty &ndash\; and inspired by a cadre of other artists in the Italian capital at this time\, such as Alberto Burri\, Robert Rauschenberg\, Salvatore Sca rpitta\, and Cy Twombly &ndash\; Rotella began to rip banners and placards from walls and utilize them as the source material for his now-notorious as semblages. These works take two distinct forms: in the dé\;collag es\, Rotella piled and glued advertisements face-up before tearing awa y and incising individual layers\, thereby creating intentional and acciden tal expressionist juxtapositions of bold words\, pop cultural images\, and various hues. By contrast\, the artist&rsquo\;s retro d&rsquo\;affiches \, using only the posters&rsquo\; often-untouched versos\, showcase a concern with materiality à\; la Art Informel\, as evidenced by the vi sible traces of glue\, rust\, plaster\, and dust present in these compositi ons.

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Hardly a veneration of popular tastes\, Rotella&rsquo\;s works collapse any semblance of cultural hierarc hy onto itself. Famous actors and consumer products all receive equal billi ng in the artist&rsquo\;s arrangements. Similar to his American Pop Art cou nterparts\, Rotella&rsquo\;s excavation of wide-ranging social figures root s the dé\;collages in the time of their creation\, while sim ultaneously underscoring the ephemerality of the present moment.

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Mimmo Rotella was born in 1918 in Catanzaro\, Italy\, and passed away in 2006 in Milan. Over the course of his career\, Rotella was the subject of solo and group exhibitions at many international institutions\, including: Institute of Contemporary Arts\, London\; Mus&ea cute\;e d&rsquo\;Art Moderne et Contemporain\, Nice\; Musé\;e Tinguel y\, Basel\; Kunsthaus Zü\;rich\; Palazzo Grassi\, Venice\; and Palazzo Reale\, Milan. Rotella&rsquo\;s works are held in numerous prominent public collections worldwide\, including: Galleria Nazionale d&rsquo\;Arte Monder na e Contemporanea\, Rome\; Galleria Civica di Arte Moderna e Contemporanea \, Turin\; Centre Georges Pompidou\, Paris\; De Menil Collection\, Houston\ ; Museum Moderner Kunst Stiftung Ludwig\, Vienna\; National Gallery of Art\ , Washington D.C.\; Staatgalerie\, Stuttgart\, Germany\; and Tate Gallery\, London.

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This exhibition is realize d in collaboration with the Mimmo Rotella Institute. Established in 2012 by Inna and Aghnessa Rotella\, the Institute aims to promote and preserve the art of Mimmo Rotella both in Italy and abroad. Rotella&rsquo\;s heirs appo inted Germano Celant to edit the artist&rsquo\;s multi-volume catalogue rai sonné\;\, of which the first volume was recently published.

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In conjunction with the exhibition\, Gladsto ne Gallery has published a catalogue with essays by Antonella Soldaini and Veronica Locatelli\, both of the Mimmo Rotella Institute.

\n LOCATION:Gladstone Gallery - 64th St.\,130 East 64th Street \nNew York\, NY 10065 SUMMARY:Selected Early Works\, Mimmo Rotella END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:439159 DTSTART:20170304T150000 DTEND:20170304T180000 LOCATION:Gladstone Gallery - 64th St.\,130 East 64th Street \nNew York\, NY 10065 SUMMARY:Selected Early Works END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:439191 DTSTART:20170115T000000 DTEND:20170730T000000 DESCRIPTION: LOCATION:The Conference Board Inc\,845 Third Avenue \nNew York\, New York U S SUMMARY:Spring Exhibition 2017\, Chellis Baird\, Toshiko Kitano Groner\, Re becca Kane\, Cecilia Monteverde\, Peter Ruta END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z 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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\n LOCATION:Ouchi Gallery\,170 Tillary St. suite 105\nBrooklyn\, NY 11201 SUMMARY:Art Exhibition\, Mari Nishimura END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:440342 DTSTART:20170205T000000 DTEND:20170618T000000 DESCRIPTION:

Montclair Art Museum will present Matisse and American A rt\, the first exhibition to examine this French master&rsquo\;s profo und impact upon the development of American modern art from 1907 to the pre sent. His art has provided a liberating model for American artists&rsquo\; varied explorations of vibrant color\, strong\, fluid lines\, and clear com positional structures in their pursuits of self-expression. Featuring 65 pa intings\, archival objects\, sculpture\, prints\, and works on paper\, Matisse and American Art will juxtapose 19 works by Matisse with 44 wo rks by American artists\, including Max Weber\, Alfred Maurer\, Maurice Pre ndergast\, Stuart Davis\, Richard Diebenkorn\, Robert Motherwell\, Ellswort h Kelly\, Roy Lichtenstein\, Andy Warhol\, Romare Bearden\, John Baldessari \, Sophie Matisse\, Faith Ringgold\, and Helen Frankenthaler. Matisse&rsquo \;s transformative impact on their works is revealed not only by their adap tations of his palette and pictorial structures but also through their choi ce and appropriation of his subject matter&mdash\;still lifes\, landscapes\ , figurative works\, studio interiors\, and portraits. While previous proje cts have illuminated Matisse&rsquo\;s relationship with postwar artists\, t his will be the first exhibition to expand Matisse&rsquo\;s impact beyond t he typical focus upon the New York School by extending it back to the begin ning of the 20th century and forward to the 21st.

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Images:

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(1) Roy Lichtenstein\, Bellagio Hotel Mural: Still Life wit h Reclining Nude (Study)\, 1997\, Cut-and-pasted\, painted and printed paper on board. The Roy Lichtenstein Foundation Collection\, ©\; Estat e of Roy Lichtenstein.

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(2) Al fred H. Maurer\, Le Sentier\, ca. 1908\, Oil on gessoed board. Col lection of Todd Monti.

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(3) Ma rguerite Thompson Zorach\, The Connoisseur\, 1910\, Oil on canvas. Private Collection\, ©\;The Zorach Collection\, LLC.

\n LOCATION:Montclair Art Museum\,3 South Mountain Avenue \nMontclair\, NJ 070 42 SUMMARY:Matisse and American Art\, Milton Avery\, John Baldessari\, Romare Bearden\, Patrick Henry Bruce\, Eric Carle\, Arthur B. Carles\, Stuart Davi s\, Robert de Niro\, Richard Diebenkorn\, Arthur Dove\, Helen Frankenthaler \, Grace Hartigan\, Hans Hofmann\, Ellsworth Kelly\, Roy Lichtenstein\, Hen ri Matisse\, Sophie Matisse\, Alfred H. Maurer\, Robert Motherwell\, Kennet h Noland\, Walter Pach\, Judy Pfaff\, Janet Taylor Pickett\, Maurice Brazil Prendergast\, Faith Ringgold\, Mark Rothko\, Morgan Russell\, H. Lyman Saÿ en\, Morton Livingston Schamberg\, Sarah Stein\, Andy Warhol\, Max Weber\, Tom Wesselmann\, Marguerite Thompson Zorach\, William Zorach END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z 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:20170526T132333Z UID:440452 DTSTART:20170402T000000 DTEND:20170709T000000 DESCRIPTION:

Knockdown Center is pleased to present TRAVELER\, a mural by Carl E. Hazlewood\, as a part of our Fifty Two Ft series of long-term comm issions of wall-based artworks in Knockdown Center&rsquo\;s East Corridor.< /p>\n\n

The mural&rsquo\;s title\, TRAVELER\, references the way viewers must physically move in order to grasp such a large work in a circumscribed space: essentially a long corridor at Knockdown&rsquo\;s entrance. The tit le \;also \;alludes to the artist&rsquo\;s shifting position\, not only as an immigrant but also as black\, poor\, older &ndash\; a boundary-c rosser of sorts within a category of persons increasingly problematized (an d sometimes demonized) in recent political machinations. While not explicit ly a sociopolitical artist\, Hazelwood manipulates abstract form and space& nbsp\;in an effort to illuminate his personal vision\, offering the possibi lity of poetic revelation.

\n LOCATION:Knockdown Center\,52-19 Flushing Ave. Maspeth\nQueens\, NY 11378 SUMMARY:Carl E. Hazlewood: TRAVELER\, Carl E. Hazlewood END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:440453 DTSTART:20170415T180000 DTEND:20170415T210000 LOCATION:Knockdown Center\,52-19 Flushing Ave. Maspeth\nQueens\, NY 11378 SUMMARY:Carl E. Hazlewood: TRAVELER END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:440454 DTSTART:20170415T000000 DTEND:20170528T000000 DESCRIPTION:

C raft\, scrap\, and architectural minimalism coincide in \;Fo rmal Complaint. Featuring work by Aria Dean\, Female Background\, Christopher Hanrahan \, Mario Navarro\, and Megan Pahmier\, the exhibition returns handiwork to formalism\, maintaining a sense of slackness. Metal armatures lean and bend precariously\; a painting on unstretched canvas drags on the floor. Discar ded materials and everyday objects come to conjure an upright but &lsquo\;b ereft formalism&rsquo\; (as Hanrahan calls it). Tenderness and despair coal esce in objects that can only just support themselves\, much less make a cl aim for historical or philosophical significance. The works in the exhibiti on undermine past minimalisms from multiple directions&mdash\;in terms of m aterial\, attitude\, and dependence on context&mdash\;but out of a care for and maintenance of form\, rather than a casting off of it. Through these m ergers of vernacular minimalism and sad design\, work and supporting struct ure\, \;Formal Complaint \;creates its own ecology of exhibitionary space.

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\n LOCATION:Knockdown Center\,52-19 Flushing Ave. Maspeth\nQueens\, NY 11378 SUMMARY:Formal Complaint\, Female Background\, Aria Dean\, Christopher Hanr ahan\, Mario Navarro\, Megan Pahmier END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:440455 DTSTART:20170415T180000 DTEND:20170415T210000 LOCATION:Knockdown Center\,52-19 Flushing Ave. Maspeth\nQueens\, NY 11378 SUMMARY:Formal Complaint END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:440456 DTSTART:20170415T000000 DTEND:20170528T000000 DESCRIPTION:

K nockdown Center is pleased to present \;Baby\, Said Alice B. Toklas\,&n bsp\;a self-performing object theater produced by artist Hanne Tierney. Ins talled across the expanse of Knockdown Center&rsquo\;s Annex\, a series of vignettes come to life as cloth figures\, hula hoops\, and satin configurat ions gesture\, twirl\, and sway\, manipulated by a system of motors and rob otic electronics\, designed by engineer Oskar Strautmannis. A soundtrack fu rther animates each semi-abstract character\, composed of a drifting narrat ive that stages imagined arguments between Gertrude Stein and her life part ner Alice B. Toklas\, woven with excerpts from Stein&rsquo\;s early plays\, and with music by Erik Satie. \;Baby\, Said Alice B. Toklas  \;will be played on a fifteen-minute loop during gallery hours\, offering viewers the possibility of an ongoing encounter with the immersive\, ambulatory ex perience of Tierney&rsquo\;s enchanting work.

\n LOCATION:Knockdown Center\,52-19 Flushing Ave. Maspeth\nQueens\, NY 11378 SUMMARY:Hanne Tierney: Baby\, Said Alice B. Toklas\, Oskar Strautmannis\, H anne Tierney END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:440457 DTSTART:20170415T180000 DTEND:20170415T210000 LOCATION:Knockdown Center\,52-19 Flushing Ave. Maspeth\nQueens\, NY 11378 SUMMARY:Hanne Tierney: Baby\, Said Alice B. Toklas END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:440562 DTSTART:20170316T000000 DTEND:20170527T000000 DESCRIPTION:

Harlem\, New York &ndash\; February 17\, 2017&hellip\;On Mar ch 16th a new art exhibition goes up at the Harlem School of the Arts (HSA) titled\,  \;&ldquo\;Hoppin&rsquo\; The Hoodoo Express&rdquo\; featurin g the works of abstract expressionist painter\, Danny Simmons\, curated by Jonathan Patton\, HSA Visual Arts Director. \; The presentation will re main open to the public through May 27th at HSA\, 645 St. Nicholas Avenue\, in New York City.

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The show consists of 10 new paintings\, in whi ch the artist uses collage elements\, seamlessly incorporating swatches of patterned fabrics to demonstrate the influence of aboriginal sources on mod ern abstract\; and to show the intersection of African and western culture.  \; \;

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Mr. Simmons describes these particular paintings as &ldquo\;a phase in the evolution of my work and quest to tie contemp orary painting to African spiritual practices.&rdquo\;  \;This is a connective theme that can often be found running through a good portion o f the paintings created by Simmons\, over his long and fruitful career.&nbs p\;

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&ldquo\;I intend for my art to possess the same healing s piritual qualities that traditional African makers put into their sculpture s and painting. The hoodoo\, or magic to be found in the work\, is not in t he object itself\, but in the intention of the maker\,&rdquo\; says Si mmons.

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Danny Simmons is well recognized as an entrepreneur and ph ilanthropist\, in addition to being an artist. \; For decades\, he has been instrumental in promoting artistic exploration in underserved communit ies in New York City and now in Philadelphia where he resides. \; He th rives on watching others discover their passion and their talent. \; Th is is evidenced by the number of artistic programs he supports through his Rush Philanthropic Arts Foundation and the Rush Arts Gallery spaces he has created\, where the works of emerging artists hang alongside his own.

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The relationship with the Harlem School of the Arts is a natural fit.& nbsp\; HSA has served as a training ground for those pursuing artistic know ledge and the pursuit of artistic development across all of the disciplines (music\, dance\, theatre and the visual arts). \; &ldquo\;Having t his important show of Danny&rsquo\;s art at HSA is in keeping with the dire ction we now envision for HSA\,&rdquo\; says Eric Pryor\, president of the organization. \;  \;&ldquo\;We see HSA becoming a center f or the arts attracting community resident and visitors from across the coun try\, and from around the world.&rdquo\;

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&ldquo\;Hoppin&rsqu o\; the Hoodoo Express&rdquo\; will open on March 16th with a reception at 6:30pm. \; It is free to the public and will run through May 27th. &nbs p\;In addition there will be an ARTMAKER-Artist Talk on March 30th at 7:30p m.

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For Danny\, the importance of his work as well as this exhibit ion is quite simple\, &ldquo\;My intention is to uplift and connect peo ple to the spirit through my artwork.&rdquo\; \; \;\n LOCATION:HSA Gallery\,645 St. Nicholas Avenue \nNew York\, New York 10030US SUMMARY:HOPPIN' THE HOODOO EXPRESS\, Danny Simmons END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:440563 DTSTART:20170309T183000 DTEND:20170309T200000 LOCATION:HSA Gallery\,645 St. Nicholas Avenue \nNew York\, New York 10030US SUMMARY:HOPPIN' THE HOODOO EXPRESS END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:440610 DTSTART:20170308T000000 DTEND:20170531T000000 DESCRIPTION:

The NYC Mural Arts Proje ct (NYC MAP) has partnered with Fountain House Gallery to foster new commun ity relationships and to challenge our perceptions about mental illness thr ough a collaborative mural making process.

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\nThe project began in November a nd will continue through the end of June\, when the community mural will be installed on a walking bridge in Hell&rsquo\;s Kitchen. The NYC MAP Exhibi tion showcases artworks completed in the mural workshops and stories from o ur collaborative process. The exhibition will also give the larger communit y an opportunity to collaborate on the project. Community members will be a ble to add their ideas into the mural\, discuss community health issues and assets\, and learn about ways they can continue to be involved in making t he mural in Hell&rsquo\;s Kitchen.

\n LOCATION:Fountain House Gallery\,702 Ninth Avenue at 48th Street \nNew York \, NY 10019 SUMMARY:NYC Mural Arts Project END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:440611 DTSTART:20170308T180000 DTEND:20170308T200000 LOCATION:Fountain House Gallery\,702 Ninth Avenue at 48th Street \nNew York \, NY 10019 SUMMARY:NYC Mural Arts Project END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:440637 DTSTART:20170519T000000 DTEND:20170618T000000 DESCRIPTION:

BRIC is pleased to present The 29th Annual Contemporary Art Education Exhibition\, showcasing the creative works of students from over 30 public s chools\, grades K-12\, who participated in BRIC&r squo\;s school-based residency programs that bring contemp orary artists and their studio practices into the classroom.

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Family Days on May 27 &\; Jun e 10 will take place in conjunction with the exhibition. These are free and open to the public. \;

\n LOCATION:BRIC Arts | Media House\,647 Fulton Street \nBrooklyn\, NY 11217 SUMMARY:The 29th Annual Contemporary Art Education Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:440638 DTSTART:20170518T180000 DTEND:20170518T200000 LOCATION:BRIC Arts | Media House\,647 Fulton Street \nBrooklyn\, NY 11217 SUMMARY:The 29th Annual Contemporary Art Education Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:440669 DTSTART:20170114T000000 DTEND:20170527T000000 DESCRIPTION:
A recent acquisition &ndash\ ; an installation by the renowned South African artist William Kentridge &n dash\; is on view in the Arts of Global Africa&rsquo\;s dedicated gallery f or video art. What Will Come (2007) is an animated film\, created using Kentridge&rsquo\;s signature technique of drawing and erasing on a sh eet of paper and filming the process frame by frame. The work is inspired b y Italy&rsquo\;s invasion of Ethiopia in 1935\, in which 275\,000 Ethiopian s lost their lives. Among them were a large number of civilians who were ga ssed\, a fact denied by the Italian government until 1995. The title origin ates from a Ghanaian proverb\, &ldquo\;what will come\, has already come\,& rdquo\; a reference to the cyclical nature of history. \;
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Projected onto a circular tab le\, What Will Come unfolds as a series of visual fragments that s pin around\, stop\, then reverse. Images of fighter planes\, a gas mask and a globe teetering on legs accompany a sound track that combines the shriek of bombs\, an Italian military song and the squeals of children playing. T he animated film is anamorphic &mdash\; the images were drawn in distortion and can only be read correctly in the mirror-like surface of the steel cyl inder at the center of the table. Through this optical illusion\, Kentridge invites reflection on the relativity of perception\, including the questio nable truths and distortions of the past.  \;
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The debut of this new acquisition anticipates a long-awa ited relocation and reinstallation of the Arts of Global Africa collection in November 2017 in the flagship gallery on the first floor of the Main Bui lding.
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Christa Clarke\, Ph.D. Senior Cu rator\, Arts of Global Africa
\n LOCATION:Newark Museum\,49 Washington Street \nNewark\, New Jersey 07102 SUMMARY:New Acquisition: "What Will Come" (2007)\, William Kentridge END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z 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:20170526T132333Z 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:20170526T132333Z UID:440712 DTSTART:20170421T000000 DTEND:20170609T000000 DESCRIPTION:

ISCP has hosted an annual institution-in-residence since 201 1. This annual residency was initiated to support cultural exchange by brin ging an international perspective to a local context. This year\, ISCP has invited \;CCA Lagos\, an independent non-profit making visual art organ ization founded in December 2007 \;and based in Lagos\, Nigeria to be i n residence. CCA Lagos is in residence at ISCP through June 7th and will pr esent an exhibition and series of public programs during this time.

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CCA Lagos provides a platform for the development\, presentation\, and d iscussion of contemporary visual art and culture. It seeks to create new au diences and to prioritize media such as photography\, film and video\, perf ormance and installation art which were traditionally under-represented in Nigeria. It supports\, and presents the intellectual and critical work of a rt and culture practitioners through exhibitions and public programs. In ad dition\, it encourages and promotes the professionalization of art producti on and curatorship in Nigeria and West Africa collaborating with artists\, curators\, writers\, theorists and national and international organizations .

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CCA Lagos at ISCP centers around the exhibition \;Orí\; mé\;ta odú\;n mé \;ta ibì\;kan. Originally presented at CCA Lagos in 2016\, thi s exhibition is re-staged at ISCP and features selections from CCA Lagos&rs quo\;s archives as well as works in progress by three Nigerian artists&ndas h\;Kelani Abass\, Taiye Idahor and Abraham Oghobase. The exhibition conside rs the residency as an extension of the artist&rsquo\;s studio\, a space of experimentation\, of errors and counter errors\, as moments of freedom and possibilities. \;The works by all three artists come out of their obse rvations and experiences during their separate residencies at the Salzburg Summer Academy of Fine Arts in Austria. This is reflected in the title whic h translates as \;Three heads\, t hree years\, one place. Idahor&rsquo\;s collage installation is a se lf-portrait of her Salzburg studio&mdash\;rethought for New York City&mdash \;and made up of several pieces to make a mosaic on which she cuts\, layers \, and pastes bits and pieces that come from all three artists&rsquo\; time and experience of Salzburg. Stamping and a local Nigerian Ankara cloth for m the basis for Abass&rsquo\;s work\, while Oghobase experiments with litho graphy as it relates to photography.

\n LOCATION:International Studio & Curatorial Program (ISCP)\,1040 Metropolita n Ave \nBrooklyn\, NY 11211 SUMMARY:Centre for Contemporary Art Lagos (CCA) at ISCP\, Kelani Abass\, Ta iye Idahor and Abraham Oghobase END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:440713 DTSTART:20170421T180000 DTEND:20170421T210000 LOCATION:International Studio & Curatorial Program (ISCP)\,1040 Metropolita n Ave \nBrooklyn\, NY 11211 SUMMARY:Centre for Contemporary Art Lagos (CCA) at ISCP END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:440987 DTSTART:20170327T000000 DTEND:20170527T000000 DESCRIPTION: LOCATION:Rowan Art Gallery\,301 High Street West \nGlassboro\, NJ 08028US SUMMARY:How Food Moves: Edible Logistics\, Candice Smith with Freedom Arts\ , Otabenga Jones & Associates\, Amber Art & Design\, Brian Holmes\, Cynthia Main\, Claire Pentecost\, Ryan Griffis & Sarah Ross\, Stephanie Rothenberg \, Philly Stake\, Kristen Neville Taylor END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:440988 DTSTART:20170228T180000 DTEND:20170228T200000 LOCATION:Rowan Art Gallery\,301 High Street West \nGlassboro\, NJ 08028US SUMMARY:How Food Moves: Edible Logistics END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:440989 DTSTART:20170327T000000 DTEND:20170527T000000 DESCRIPTION:

Rowan University

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Art Gallery

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MOVING FOOD

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Artists expl ore how food moves from farm to plate in

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How Food Moves: Eligible Logistics

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 \;

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GLASSBORO\, NJ &nda sh\; Artists explore the US food supply chain and its complex patterns of d istribution in between the point of origin (the farm) and its point of cons umption (the plate) in

\n\n

How Food Moves: Edible Logistic s\, March 27 &ndash \; May 27\, 2017 at Rowan University Art Gallery\,

\n\n

301 High Street. An opening re ception and public program takes place on Thursday\, March 30 from < /p>\n\n

6:00 &ndash\; 8:30 p.m. The participating artist include: Amber Art &\; Design/Ryan Gr iffis &\; Sarah Ross/Brian Holmes/Otabenga Jones &\; Associates/Cynth ia Main/Claire Pentecost/Philly Stake/Stephanie Rothenberg/Candice Smith wi th Freedom Arts/Kristen Neville Taylor.

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The public program begin s at 6:00 pm\, led by guest curator Daniel Tucker\, Graduate Program Direct or in Social and Studio Practices at Moore College of Art and Design\, with Professor Megan Bucknum Ferrigno from Rowan University&rsquo\;s School of Geography and Environment. They will be in dialogue on art\, geography and agricultural planning along with the exhibiting artists.

\n\n

& nbsp\;

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The exh ibition aims to highlight the work of contemporary artists grappling with t he complexity of this movement through multi-media\, research-based\, and p articipatory practices that focus a lens on the social and industrial impac ts of migrant workers\, food justice movements\, immigration\, multicultura lism\, and economic disparities. This project builds upon Tucker&rsquo\;s e vent series\, Moving Units: Where Food &\; Economy Converge. https://mo veunits.wordpress.com/

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A booklet produced in collaboration with faculty from Rowan&rsquo\;s School of Geography and Environment combines t he artists&rsquo\; project narratives with research and texts on the US foo d supply chain. Professor Megan Bucknum Ferrigno is lead researcher with co ntributions from Professors Jennifer Kitson and Charles McGlynn.

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 \;

\n\n

With Corner Store\, Amber Art &\; Design &ndash\; a team of Philadelphia-based artists that work on public art within marginalized communities that have l ittle or no access to art - explores the contemporary sociological and psyc hological intersection between pan-ethnic Black and Asian communities in Ph iladelphia and how relationships are shaped based on which side of the coun ter we stand.

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 \;

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Illinois-based artists Ryan Griffis and Sarah Ross are represented by Between the Bottomlands and the World\, a video (combining phot ographs\, narrative writing\, and moving images) exploring the rural Midwes tern town of Beardstown\, IL\, a place of global exchange and international mobility\, inscribed by post-NAFTA (North American Free Trade Agreement) r ealities.

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 \;

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Brian Holmes\, an art and cultural critic with a Ph.D. in Romance Languages has a long-standing interest in neoliberal globalizat ion and a taste for on-the-ground intervention. His online atlas\, Living R ivers\, is devoted to the Mississippi and Great Lakes watersheds and shows these fluid ecosystems as they are inhabited by a multitude of creatures an d radically altered by human enterprise.

\n\n

 \;

\n\n

Otabenga Jones &\; A ssociates\, a Houston-based educational art organization\, documents a coll aborative art project and public health program addressing the ongoing cris is of obesity and its related risks with &ldquo\;The People&rsquo\;s Plate. &rdquo\; Inspired by the Black Panther Free Breakfast for School Children P rogram\, this art project includes a public mural in Houston and programs t o kick off a year-long commitment to health education.

\n\n

&nb sp\;

\n\n

Cynthia M ain\, a multidisciplinary artist from Missouri focuses on relating to the l and as part of an integral view of a more sustainable society. She shares h er hand-made buckets and barrels created using traditional techniques to re address storage as one of the current dilemmas of localizing production.

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 \;

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Chicago&rsquo\;s Claire Pentecost uses photography to show how ind ustrial agriculture is only partly about supplying food and how it is struc tured to meet the problem of expense and excess capital accumulation when c onsidering the cost of complex machinery\, brand name chemical herbicides\, pesticides\, fungicides\, fertilizers\, and patented seeds.

\n\n

 \;

\n\n

Phi lly Stake is a locally-sourced\, recurring dinner that raises funds for cre ative and relevant community engaged projects that contributes to the well- being of Philadelphia'\;s neighborhoods through community arts\, urban a griculture\, social services\, and activist work.

\n\n

 \;< /p>\n\n

Stephanie Roth enberg&rsquo\;s Reversal of Fortune: The Garden of Virtual Kinsh ip is a garden in t he form of a global map that explores the question of what it means to be c haritable through the click of a button and examines the cultural phenomena of online crowdfunded charity and how the flow of money impacts the projec t\, positively and negatively.

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 \;

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Candice Smith runs Freedom Arts\, an afterschool collaborative art program at Camden&rsquo\;s Freedom Prep M iddle School\, which is creating an installation responding to the idea tha t Camden is a &ldquo\;food desert&rdquo\; and examining the movement of foo d at their school and in their community.

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 \;

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Philadelphia-based Kr isten Neville Taylor&rsquo\;s installation - a globe depicting routes of or anges and actual oranges outfitted with a QR code that links to music\, art icles\, folk tales\, and art - was inspired by a lyric from Leonard Cohen&r squo\;s "\;Suzanne"\; (&ldquo\;and she feeds you tea and oranges th at come all the way from China"\;) which she associated with the market place and the movement of food but also romance and exotic foreign culture s.

\n\n

 \;

\n\n

The gallery is located at 301 High Street. Admission to the g allery and reception is free and open to the public. Regular gallery hours are Monday - Wednesday\, 10 a.m. to 5 p.m.\; Thursday - Saturday\, 10 a.m. to 7 p.m. Directions and parking information can be found on the gallery we bsite. For more information\, call 856-256-4521 or visit www.rowan.edu/artg allery.

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 \;

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Support for programming at Rowan University Art Gallerie s has been made possible in part by funds from the New Jersey State Council on the Arts.

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 \;

\n LOCATION:Rowan Art Gallery\,301 High Street West \nGlassboro\, NJ 08028US SUMMARY:How Food Moves: Edible Logistics\, Candice Smith with Freedom Arts\ , Otabenga Jones & Associates\, Amber Art & Design\, Brian Holmes\, Cynthia Main\, Claire Pentecost\, Ryan Griffis & Sarah Ross\, Stephanie Rothenberg \, Philly Stake\, Kristen Neville Taylor END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:440990 DTSTART:20170330T060000 DTEND:20170330T083000 LOCATION:Rowan Art Gallery\,301 High Street West \nGlassboro\, NJ 08028US SUMMARY:How Food Moves: Edible Logistics END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:440991 DTSTART:20170327T000000 DTEND:20170527T000000 DESCRIPTION:

Rowan University

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Art Gallery

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MOVING FOOD

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Artists explore how food moves from farm to plate in

\n\n

How Food Moves: Eligible Logistics

\n\n

 \;

\n\n

GLASSBORO\, NJ &ndash\; Artists explore the US food supply chain and its complex patterns of distribution in between the point of origin (the farm) and its point of consumption (the plate) in

\n\n

How Food Moves: Edible Logistics\, March 27 &ndash\; May 27\, 2017 at Rowan Univers ity Art Gallery\,

\n\n

301 High Street. An opening reception and public program takes place on Thursday\, March 30 from

\n\n

6:00 &ndash\; 8:30 p.m. The participating artis t include: Amber Art &\; Design/Ryan Griffis &\; Sarah Ross/Brian Hol mes/Otabenga Jones &\; Associates/Cynthia Main/Claire Pentecost/Philly S take/Stephanie Rothenberg/Candice Smith with Freedom Arts/Kristen Neville T aylor.

\n\n

The public program begins at 6:00 pm\, led by guest curator Daniel Tucker\, Graduate Program Director in Social and Studio Practices at Moore College of Art and Design\, with Professor Megan Bucknum Ferrigno from Rowan Univer sity&rsquo\;s School of Geography and Environment. They will be in dialogue on art\, geography and agricultural planning along with the exhibiting art ists.

\n\n

T he exhibition aims to highlight the work of contemporary artists grappling with the complexity of this movement through multi-media\, research-based\, and participatory practices that focus a lens on the social and industrial impacts of migrant workers\, food justice movements\, immigration\, multic ulturalism\, and economic disparities. This project builds upon Tucker&rsqu o\;s event series\, Moving Units: Where Food &\; Economy Conv erge. htt ps://moveunits.wordpress.com/

\n\n

A booklet produced in collaboration with faculty fr om Rowan&rsquo\;s School of Geography and Environment combines the artists& rsquo\; project narratives with research and texts on the US food supply ch ain. Professor Megan Bucknum Ferrigno is lead researcher with contributions from Professors Jennifer Kitson and Charles McGlynn.

\n\n

&nbs p\;

\n\n

With Corner Store\ , Amber Art &\; Design &ndash\; a team of Philadelphia-based artists tha t work on public art within marginalized communities that have little or no access to art - explores the contemporary sociological and psychological i ntersection between pan-ethnic Black and Asian communities in Philadelphia and how relationships are shaped based on which side of the counter we stan d.

\n\n

 \;

\n\n

Illinois-based artists Ryan Griffis and Sarah Ross are repres ented by Between the Bottomlands and the World\, a video (combining photographs\, n arrative writing\, and moving images) exploring the rural Midwestern town o f Beardstown\, IL\, a place of global exchange and international mobility\, inscribed by post-NAFTA (North American Free Trade Agreement) realities.

\n\n

 \;

\n\n

Brian Holmes\, an art and cultural critic with a Ph.D. in Romance Languages has a long-standing interest in neoliberal globalization and a t aste for on-the-ground intervention. His online atlas\, Living Rivers\, is devoted to the Mississippi and Great Lakes watersheds and shows these fluid ecosystems as they are inhabited by a multitude of creatures and radically altered by human enterprise.

\n\n

 \;

\n\n

Otabenga Jones &\; Associates\, a Houston-based educational art organization\, documents a collaborative a rt project and public health program addressing the ongoing crisis of obesi ty and its related risks with &ldquo\;The People&rsquo\;s Plate.&rdquo\; In spired by the Black Panther Free Breakfast for School Children Program\, th is art project includes a public mural in Houston and programs to kick off a year-long commitment to health education.

\n\n

 \;

\n\ n

Cynthia Main\, a mul tidisciplinary artist from Missouri focuses on relating to the land as part of an integral view of a more sustainable society. She shares her hand-mad e buckets and barrels created using traditional techniques to readdress sto rage as one of the current dilemmas of localizing production.

\n\ n

 \;

\n\n

Ch icago&rsquo\;s Claire Pentecost uses photography to show how industrial agr iculture is only partly about supplying food and how it is structured to me et the problem of expense and excess capital accumulation when considering the cost of complex machinery\, brand name chemical herbicides\, pesticides \, fungicides\, fertilizers\, and patented seeds.

\n\n

 \;< /p>\n\n

Philly Stake i s a locally-sourced\, recurring dinner that raises funds for creative and r elevant community engaged projects that contributes to the well-being of Ph iladelphia'\;s neighborhoods through community arts\, urban agriculture\ , social services\, and activist work.

\n\n

 \;

\n\n

< span style="font-family:calibri\; font-size:11pt">Stephanie Rothenberg&rsqu o\;s Reversal of Fortune: The Garden of Virtual Kinship is a garden in the form of a global map that explores the question of what it means to be charitable t hrough the click of a button and examines the cultural phenomena of online crowdfunded charity and how the flow of money impacts the project\, positiv ely and negatively.

\n\n

 \;

\n\n

Candice Smith runs Freedom Arts\, an aftersc hool collaborative art program at Camden&rsquo\;s Freedom Prep Middle Schoo l\, which is creating an installation responding to the idea that Camden is a &ldquo\;food desert&rdquo\; and examining the movement of food at their school and in their community.

\n\n

 \;

\n\n

Philadelphia-based Kristen Nevil le Taylor&rsquo\;s installation - a globe depicting routes of oranges and a ctual oranges outfitted with a QR code that links to music\, articles\, fol k tales\, and art - was inspired by a lyric from Leonard Cohen&rsquo\;s &qu ot\;Suzanne"\; (&ldquo\;and she feeds you tea and oranges that come all the way from China"\;) which she associated with the market place and the movement of food but also romance and exotic foreign cultures.\n\n

 \;

\n\n

The gallery is located at 301 High Street. Admission to the gallery and reception is free and open to the public. Regular gallery hours are Monday - Wednesday\, 10 a.m. to 5 p.m.\; Thursday - Saturday\, 10 a.m. to 7 p.m. D irections and parking information can be found on the gallery website. For more information\, call 856-256-4521 or visit www.rowan.edu/artgallery.

\n\n

 \;

\n\n

Support for programming at Rowan University Art Galleries has been made possible in part by funds from the New Jersey State Council on the Art s.

\n\n

 \;

\n LOCATION:Rowan Art Gallery\,301 High Street West \nGlassboro\, NJ 08028US SUMMARY:How Food Moves: Eligible Logistics\, Candice Smith with Freedom Art s\, Otabenga Jones & Associates\, Amber Art & Design\, Brian Holmes\, Cynth ia Main\, Claire Pentecost\, Ryan Griffis & Sarah Ross\, Stephanie Rothenbe rg\, Philly Stake\, Kristen Neville Taylor END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:440992 DTSTART:20170330T180000 DTEND:20170330T203000 LOCATION:Rowan Art Gallery\,301 High Street West \nGlassboro\, NJ 08028US SUMMARY:How Food Moves: Eligible Logistics END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z 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:20170526T132333Z 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:20170526T132333Z 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:20170526T132333Z 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:20170526T132333Z UID:441293 DTSTART:20170420T000000 DTEND:20170617T000000 DESCRIPTION: LOCATION:Benrubi Gallery\,521 West 26th Street 2nd floor\nNew York\, NY 100 01 SUMMARY:Disturbed Coastal Systems\, Massimo Vitali END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:441294 DTSTART:20170420T180000 DTEND:20170420T200000 LOCATION:Benrubi Gallery\,521 West 26th Street 2nd floor\nNew York\, NY 100 01 SUMMARY:Disturbed Coastal Systems END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132333Z UID:441609 DTSTART:20170330T000000 DTEND:20170526T000000 DESCRIPTION:
\n< div class="page" id="readability-page-1" xml:base="http://www.lehmannmaupin .com/exhibitions/2017-03-30_erwin-wurm">\n
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Lehmann Maupin is pleased to announce \;Ethics demonstrated in geometrical order\,  \;an exhibition of new One Minute Sculptures by Erwin Wurm . This year marks the 20th anniversary of these audience-activated sculptures\, which will also be the focus of Wurm&rsquo\;s installation fo r the Austrian pavilion in the 57th Venice Biennial. Wurm&rsquo\;s One Minute Sculptures have influenced a generation of artists by redefinin g what a sculpture is and how the public engages with the medium. \;There will be a reception for the artist on Thursday\, March 30 at 536 West 22nd Street from 6-8 PM.

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The basic premise of a One Minute Sculpture remains uniform. For each work\, using a drawing or specific text\, Wurm directs participant s to pose with an object\, which have ranged from cleaning products and sne akers to furniture and fruit. The viewer enacts the proposed sculpture on a low plinth\, manipulating their body and the predetermined prop in a pose held for a short time. Wurm reiterates that the success of these ephemeral pieces is determined by the exactness with which the directions are execute d\, stating\, &ldquo\;The One Minute Sculptures only come into exi stence if the public follows precisely the instructions of the artist and f ree will has a low priority."\;
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For the One Minute Sculptures featured in this exh ibition\, Wurm employs mid-century modern furniture as props. Participants will navigate these iconic 20th-century furnishing designs\, often to unusu al effect. By asking for the audience&rsquo\;s participation in a way that could make them feel uncomfortable\, One Minute Sculptures offer a moment of visceral introspection as a means of provoking an examination of one&rsquo\;s own insecurities\, thus turning them into subversive &ldquo\; thinking sculptures.&rdquo\; Much of Wurm&rsquo\;s work\, though disturbing \, offers an underlying social critique of contemporary culture\, particula rly in response to the capitalist influences and resulting societal pressur es that the artist sees as contrary to our internal ideals.
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The necessity for explicit mimicry of Wurm&rsquo\;s directives is reflected in the artist&rsquo\;s title choic e\, Ethics demonstrated in geometrical order\, evoking the 17th-ce ntury Dutch philosopher Baruch de Spinoza. Considered a pioneer of the Enli ghtenment era\, Spinoza&rsquo\;s magnum opus\, Ethics (1677)\, pre mised the uncertainty of free will. Wurm suggests contemporary scientific m anifestations of Spinoza&rsquo\;s thoughts could be applied to the common t heory among neuroscientists that our thoughts\, judgments\, and subsequent actions are strongly influenced by predeterminations and conditioning.

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Throughout the Renaissance\, an ongoing debate about the specific virtues of sculpture\, painting\, and poetry ali gned sculpture with the physical entity it summons into being\, a perceptio n that dates back to Ovid&rsquo\;s Metamorphoses (8 AD). One M inute Sculptures reconsider this early interpretation of sculpture as a stand-in for the human form by using an actual human body as a replacemen t for its representation in durable form. By reducing the duration of the p iece to a single minute\, Wurm questions the timelessness often attributed to sculpture. The resulting works thus collapse the distinction between scu lpture and other art mediums\, such as painting and poetry\, into a complet e corporal\, temporal\, and narrative form.

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\nIn addition to the One Minute Sculptures\, Wurm w ill present five new sculptural works in cast bronze and mixed media\, incl uding Equitable (2016) and Flat Iron (2016)\, recreations of two iconic New York buildings that appear to be melting\, and Bad T houghts (2016)\, created by casting deformed bags of clay. These works are reminiscent of his Fat House (2003) and Fat Car (200 1-present) series\, where he gave swollen anatomical form to these structur es. Together with One Minute Sculptures\, this latest body of work reasserts Wurm&rsquo\;s continued engagement with everyday objects and fam iliar forms as a catalyst for challenging and confounding perceptions of sp ace\, volume\, form\, and materiality.

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Erwin Wurm (b. 1954 Bruck an der Mur/Styria\, Austria\; lives and works in Vienna) graduated from University Graz\, Austria in 1977\, and Gestaltu ngslehre University of Applied Art and Academy of Fine Art\, Vienna in 1982 . Solo exhibitions of his work have been organized at Museum Kü\;ppersm ü\;hle fü\;r Moderne Kunst\, Duisburg\, Germany (2017\, forthcoming )\; Leopold Museum\, Vienna\, Austria (2017\, forthcoming)\; Centro Cultura l Banco do Brasil\, Sã\;o Paulo\, Brazil (2017)\; Berlinische Galerie \, Berlin (2016)\; Schindler House\, MAK Center for Art and Architecture\, West Hollywood\, CA (2016)\; Bangkok Art and Culture Center\, Thailand (201 6)\; Indianapolis Museum of Art\, IL (2015)\; Museum of Contemporary Art in Krakó\;w\, Poland (2013)\; Centro de Arte Contemporá\;neo de M á\;laga\, Spain (2012)\; Dallas Contemporary\, TX (2012)\; Bass Museu m of Art\, Miami (2011)\; Middelheimmuseum\, Antwerpen\, Belgium (2011)\; K unstmuseum Bonn\, Germany (2010)\; and Ullens Center for Contemporary Art\, Beijing (2010). Select group exhibitions of his work include Performing fo r the Camera\, Tate Modern\, London (2016)\; Precarious Balance\, Centre of Contemporary Art\, Christchurch\, New Zealand (2016)\; Desire for Freedom\ , Museum of Contemporary Art in Krakó\;w\, Poland (2013)\; Heimsuchun g: Uncanny Spaces in Contemporary Art\, Kunstmuseum Bonn\, Germany (2013)\; The Original Copy: Photography of Sculpture\, 1839 to Today\, Kunsthaus Zu ̈rich\, Switzerland\, traveled to The Museum of Modern Art\, New York (2011 )\; and Temporary Structures: Performing Architecture in Contemporary Art\, deCordova Sculpture Park and Museum\, Lincoln\, MA (2011). Wurm&rsquo\;s w ork is in numerous international public and private collections\, including Albertina\, Vienna\; Albright Knox Art Gallery\, Buffalo\, NY\; Centro de Arte Contemporá\;neo de Má\;laga\, Spain\; Centre Georges Pompi dou\, Musé\;e National d&rsquo\;Art Moderne\, Paris\; Kunsthaus Z&uum l\;rich\, Switzerland\; Kunstmuseum Bonn\, Germany\; Museo d&rsquo\;Arte Mo derna di Bologna\, Italy\; The Museum of Modern Art\, New York\; Solomon R. Guggenheim Museum\, New York\; Vancouver Art Gallery\, Canada\; and Walker Art Center\, Minneapolis\, MN.

\n\n

For more information on Erwin Wurm or other Lehmann Maupin artists\, please co ntact Marta de Movellan or Kathryn McKinney at +1 212 255 2923\, or visit l ehmannmaupin.com.

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\n LOCATION:Lehmann Maupin\,536 West 22nd Street \nNew York\, NY 10011US SUMMARY:Ethics demonstrated in geometric order\, Erwin Wurm END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:441610 DTSTART:20170330T180000 DTEND:20170330T200000 LOCATION:Lehmann Maupin\,536 West 22nd Street \nNew York\, NY 10011US SUMMARY:Ethics demonstrated in geometric order END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:441966 DTSTART:20170217T000000 DTEND:20170703T000000 DESCRIPTION:

Wild Noise/Ruido Salvaje \;is \;an exploration of contemporary Cuban art from the 1970s to the present that looks at how Cuban artists both on the island and abroa d have grappled with issues of identity\, community\, and the urban experie nce. Bringing together over 60 works by more than 30 artists from the Bronx Museum collection and other U.S. institutions and private collections\, th e exhibition will feature many artworks that will be publicly exhibited for the first time\, including a newly commissioned sculpture and performance by Humberto Dí\;az as the culmination of a three-month residency at t he Bronx Museum.

\n\n

Humberto Dí\ ;az participated in an artist residency at the Bronx Museum in the fall of 2015 as part of the Wild Noise/Ruido Salvaje collaboration\, and i s returning for a second residency at the Bronx Museum from February to Mar ch 2017. On Sunday\, March 5\, Dí\;az will debut a new commissioned w ork and performance at the Museum as part of the exhibition. \;Dí \;az will also host an open studio - check our event page for details.  \;

\n\n

Wild Noise/Ruido Salvaje \;is \;organized by the Bronx Museum and by Corina Matamoros and Aylet Ojeda Jequí\;n\, Curators of Contemporary Cuban Art at El Museo Nacional de Bellas Artes (MNBA) in Havana\, as part of a multi-year collab oration between the Bronx Museum and the MNBA to foster artistic and cultur al exchange between Cuba and the United States. The partnership was launche d in 2015 with Wild Noise: Artwork from The Bronx Museum of the A rts and El Museo Nacional de Bellas Artes (MNBA)\, a groundbreakin g exhibition of works from the Bronx Museum&rsquo\;s collection presented a t MNBA in Havana.

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 \;

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The exhibition includes works by Alexandre A rrechea\, Belkis Ayó\;n\, Abel Barroso\, José\; Bedia\,  \; Alejandro Campins\, Marí\;a Magdalena Campos-pons\, Marí\;a Mar tinez-Cañ\;as\,  \;Los Carpinteros\, Alberto Casado\, Javier Cast ro\, Sandro Ceballos\, Arturo Cuenca\, Humberto Dí\;az\, Felipe Dulza ides\, Diana Fonseca\, Jose Manuel Fors \, René\; Francisco\, Carlos Garaicoa\, Marí\;a Elena Gonzá\;lez\, Aimeé\; Garcí \;a\, Rocí\;o Garcí\;a\, Luis Gó\;mez\,  \;Quisqueya Henriquez\,  \;Glenda Leó\;n\, Kcho (Alexis Leyva Machado)\, Ra&u acute\;l Martí\;nez \, Ana Mendieta\, Reynier Leyva Novo\, Pedro Pabl o Oliva\, René\; Peñ\;a\, Douglas Pé\;rez\, Eduardo Ponju á\;n\, Wilfredo Prieto\, Ernesto Pujol\, Diana Fonseca Quiñ\;on es\, Sandra Ramos\, Alberto Rey\, René\; Francisco Rodrí\;guez\ , Esterio Segura\, Ezequiel Suá\;rez\, Meira Marrero and José\; Angel Toirac\, José\; Á\;ngel Vincench\, and others.

\n\n


\nWild Noise/Ruido Salvaje is supported by the Ford Foundation and the Robert Sterling Clark Foundation\ , with additional funding from Bespoke Travel\, Blake Grossman &\; Miche lle Richards\, Bronx-Lebanon Hospital Center\, Charina Endowment Fund\, The Evelyn Toll Family Foundation\, Fundació\;n Amistad\, Laura Blanco a nd Robert F. Shainheit\, The Liman Foundation\, May and Samuel Rudin Family Foundation\, Milton and Sally Avery Arts Foundation\, Pierre and Tana Mati sse Foundation\, RLA Conservation of Art &\; Architecture\, The Schley F amily Charitable Fund\, The Shelley &\; Donald Rubin Foundation\, Terra Foundation for American Art\, Toby Devan Lewis\, and individuals\, with spe cial thanks to Lindsey Frank\, Esq.\, of Rabinowitz\, Boudin\, Standard\, K rinsky &\; Lieberman\, P.C.

\n LOCATION:Bronx Museum of the Arts\,1040 Grand Concourse at 165th Street\nBr onx\, NY 10456 SUMMARY:Wild Noise / Ruido Salvaje\, Alexandre Arrechea\, Belkis Ayón\, Abe l Barroso\, José Bedia\, Alejandro Campins\, Maria Magdalena Campos-Pons\, Los Carpinteros\, Alberto Casado\, Javier Castro\, Sandro Ceballos\, Arturo Cuenca\, Humberto Díaz\, Felipe Dulzaides\, Diana Fonseca\, Jose Manuel Fo rs\, René Francisco\, Carlos Garaicoa\, Aimee Garcia\, Rocío García\, Luis Gomez\, Maria Elena Gonzalez\, Quisqueya Henriquez\, Glenda Léon\, Kcho Ale xis Leyva Machado\, Meira Marrero\, Raul Martinez\, Maria Martinez-Cañas\, Ana Mendieta\, Reynier Leyva Novo\, Pedro Pablo Oliva\, René Peña\, Douglas Perez\, Eduardo Ponjuan\, Wilfredo Prieto\, Ernesto Pujol\, Diana Fonseca Quiñones\, Sandra Ramos\, Alberto Rey\, René Francisco Rodríguez\, Esterio Segura\, Ezequiel Suarez\, José ángel Toirac\, José Angel Vincench END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:441967 DTSTART:20170301T000000 DTEND:20170625T000000 DESCRIPTION:

At the Bronx Museum&rsquo\;s T errace\, Arlene Slavin will present a group of sculptures from Intersec tions\, a series that plays off the principle of the sundial. In these works\, Slavin employs crisscrossed\, translucent colored webs which remai n stable\, while the shadow created by the works is in perpetual change. On bright days\, the colors are vibrant\, while on cloudier days\, the colors are muted. At noon\, the shadows are short and squat\, but as the hours pa ss\, the image lengthens as the sun moves across the arc of the sky. In add ition to the works on the Terrace\, Slavin will also create a site-specific installation with colored films on the windows in the Museum&rsquo\;s Seco nd Floor\, producing a modern riff on stained glass.

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\nArlene Slavin is a sculptor\, painter\, and print maker who creates large-scale public art commissions throughout the United States. She earned a BFA from Cooper Union and an MFA from Pratt Institute. She has been a visiting critic at University of Pennsylvania Graduate Art School\, Syracuse University\, the Pratt Institute\, and Skowhegan Art Scho ol. She received a National Endowment Grant in Printmaking. Her work has be en exhibited in the Whitney Museum Biennial and many other museums and gall eries throughout the country for over 50 years\, in addition to being featu red in numerous corporate and public collections including the Metropolitan Museum of Art\, Fogg Art Museum\, Brooklyn Museum of Art\, Cincinnati Art Museum\, Orlando Art Museum\, and Guild Hall Museum in East Hampton. Slavin lives and works in New York City and Wainscott\, New York.

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Arlene Slavin: Intersections is made poss ible\, in part\, by the Director&rsquo\;s Circle\, a leading Bronx Museum s upport group.

\n LOCATION:Bronx Museum of the Arts\,1040 Grand Concourse at 165th Street\nBr onx\, NY 10456 SUMMARY:Intersections\, Arlene Slavin END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:441968 DTSTART:20170301T000000 DTEND:20170703T000000 DESCRIPTION:
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Over the past 40 years\, Bronx native and resident Daniel Hauben has focused hi s attention on the changing urban landscape of our cities\, creating painti ngs of streets and parks from the perspective of windows and rooftops. His first attempts to capture the unique sprawl of homes\, sidewalks\, and gree nery began at the age of nine as a child growing up in Kingsbridge Heights. That early impetus has been a source of inspiration throughout his career both in Boston and in New York City.

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The seven-part painting Reflecting on the Familiar is Hauben&rsq uo\;s attempt at capturing the sense of envelopment\, enormity\, and often\ , of the incomprehension that comes with living in the congested urban envi ronment of The Bronx. Rather than depicting just a small portion of his exp ansive view\, Hauben enlarges the scale to create a multi-faceted vision of the world around him.

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Daniel Haube n received a degree in Fine Arts from the School of Visual Arts in New York and is an eight-time recipient of the BRIO Award from the Bronx Council on the Arts. \; He has been awarded artist residencies in Spain\, Germany \, Costa Rica\, Virginia\, Connecticut and California\, and has had over th irty national and international solo exhibitions\, including at The Bronx M useum of the Arts and the American Embassy in Berlin. \; His public art project The El commissioned by the New York MTA&rsquo\;s Arts for Transit program was acknowledged in 2008 as one of 40 notable works of public art n ationwide by Americans for the Arts. In 2012\, Hauben completed a portrait of The Bronx in 22 paintings commissioned for the new library on the campus of the Bronx Community College. His work is also in corporate and public c ollections including at the Museum of the City of New York\, the New-York H istorical Society\, the Library of Congress\, the White House\, Harvard Uni versity\, and the New York Public Library. He has taught at the Pastel Soci ety of America\, the Art Students League and the CUNY Graduate Center\, and currently teaches drawing at CCNY Spitzer School of Architecture.

\n\n LOCATION:Bronx Museum of the Arts\,1040 Grand Concourse at 165th Street\nBr onx\, NY 10456 SUMMARY:Reflecting on the Familiar\, Daniel Hauben END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:441969 DTSTART:20170301T000000 DTEND:20170611T000000 DESCRIPTION:

Love Thy Neighbor is the third and final part of The Neighbors\, an exhibition series g uest curated by Sofí\;a Herná\;ndez Chong Cuy for The Bronx Mus eum of the Arts. In this third iteration of the series\, &ldquo\;the neighb or&rdquo\; is characterized as the figure of the &ldquo\;Other\,&rdquo\; th at is\, an entity viewed as distinctly foreign from the community\, but who ultimately plays a role in the group. By centering on the representation o f cultural difference\, Love Thy Neighbor is meant to be an occasi on for considering alterity\, for how diversity sensibly builds society. Th e exhibition features new work by visual artists Firelei Baez\, Ignacio Gon zá\;lez-Lang\, and Irvin Morazan\, with the intent of exploring the c ultural processes of &ldquo\;othering.&rdquo\; The exhibition will also inc lude a new performance\, &ldquo\;Volver\, Volver\,&rdquo\; by Morazan\, to be presented during the exhibition opening on Sunday\, March 5\, 2017 at 3 pm.
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\nFirelei Baez&rsquo\;s new paintings on paper for Lov e Thy Neighbor are a continuation of her longstanding investigations s urrounding cultural points of encounter\, specifically the ways in which Ca ribbean narratives shape bodies\, myths\, and histories. With an interest i n addressing the blending of species\, her new work is inspired by the comp osition of becoming self and other at once\, not only uniquely individual\, but also singularly indistinguishable. In creating the work in Love Th y Neighbor\, the artist was particularly inspired by a fable of pollin ation between a wasp and an orchid\, which French philosophers Gilles Deleu ze and Fé\;lix Guattari used to establish identity as a dynamic proce ss of encounter and difference. Portraying human figures made from flora an d fauna\, Baez creates her own fable\, with her visual explorations fusing body and pleasure.
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\nSince 2004\, Ignacio Gonzá\;lez-Lan g has been exploring the inter-related practices of profiling and surveilla nce\, with an interest in working with print and digital media and biometri cs. The artist has collected police drawings of criminal suspects from loca l newspapers for over a decade\, which are regularly published in dailies t o crowd-source information related to police investigations. For Antisocial \, created especially for Love Thy Neighbor\, the artist employs t his archive to develop a photo-based installation that wraps around the gal lery space. The installation consists of more than one hundred discrete pho to-composites printed on ceramic plates\, each combining a press clipping o f a police sketch and an image drawn from the popular social-media app Inst agram (using the hash tag #NewYorkCity). The result is a collection of indi vidual portraits of New York City dwellers with common settings as their ba ckground.
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\nIrvin Morazan&rsquo\;s work for Love Thy Neigh bor examines the geography of the Americas. The artist reproduces maps from the sixteenth-century manuscript Historia Tolteca Chichimeca\, origin ally written in Nahuatl in Mexico. The manuscript presents a diagrammatic c artography of routes and passages of markets\, dwellings\, and displacement s of an indigenous community colonized by Spain. On these maps\, Morazan tr aces imaginary immigration routes\, sketches made by undocumented immigrant s in the United States\, as well as illustrations inspired by a Salvadoran game called Tripa Chuca\, a pastime which consists of creating a map betwee n two people through the use of lines and inter-connected numbers. As a chi ld\, Morazan immigrated alone to the United States from his native El Salva dor. These drawings\, then\, document the history of his displacement and c ultural exchanges. The figure of el coyote&mdash\;or border-crossing agent\ , who led Morazan through Central America\, Mexico\, and into the United St ates&mdash\;is also a protagonist in these illustrations\, as well as in hi s sculptures in the exhibition.

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The writings of philosophers M ichael Hardt and Antoni Negri ultimately play a pertinent role to The N eighbors exhibition series as a whole. In their book Commonwealth from 2011\, Michael Hardt and Antonio Negri interpret the enduring mandate of & ldquo\;Love thy Neighbor&rdquo\; as a proposal to love the &ldquo\;Other\,& rdquo\; such as a stranger or those furthest away. At the same time\, they also explore the ways of corrupted love when the neighbor becomes\, instead \, those considered most approximate or communities who resemble one anothe r. \; Love Thy Neighbor intends to explore\, and hopefully cha llenge\, the ways in which art explores and expresses these experiences. It does so to examine what &ldquo\;makes&rdquo\; a neighbor\, more so than wh o is the neighbor. In short\, Love Thy Neighbor proposes comprehen sion rather than allegiance.

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\nCentral to The Neighbors exhibition series is an investigation of the multiple ways in which artists explore identity po litics today\, an issue tackled less as a personal exploration of ethnicity alone than as an examination of the ways in which social classes are const ructed and their divisions purportedly manifested. As the title may suggest \, the series explores\, on the one hand\, shared yet defined territories\, while on the other hand\, highlighting the fact that the participating art ists in the exhibition are in close proximity to&mdash\;closely related\, a lthough not exactly inhabiting or native of&mdash\;the communities that the y are working with or representing in their work. The artists&rsquo\; works result from artistic investigations taking place in their studio environme nts\, as well as in domestic realms\, the public sphere\, archives\, and so cial media.
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\nThe first exhibition of The Neighbors w as Caza\, featuring artworks by Rochele Gomez\, Margaret Lee\, and Alejandr a Seeber\; it took place from July 13 to September 25\, 2016. The second it eration of this exhibition series took place from October 12\, 2016 to Febr uary 12\, 2017\, and consisted of two concurrent solo-shows meant to be see n in dialogue: Sanctuary\, featuring artworks by Andrea Bowers\, a nd Home\, presenting photography by Andrea Aragó\;n. The thi rd and final exhibition in the series\, Love Thy Neighbor\, will b e on view from March 1 to June 11\, 2017.

\n LOCATION:Bronx Museum of the Arts\,1040 Grand Concourse at 165th Street\nBr onx\, NY 10456 SUMMARY:The Neighbors\, part three: Love Thy Neighbor\, Firelei Baez\, Igna cio Gonzalez-Lang\, Irvin Morazan END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:442000 DTSTART:20170502T000000 DTEND:20170527T000000 DESCRIPTION: LOCATION:George Billis Gallery- NY\,525 West 26th Street \nNew York\, NY 10 001 SUMMARY:Solo Exhibition\, Jeffrey Reed END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:442001 DTSTART:20170504T180000 DTEND:20170504T200000 LOCATION:George Billis Gallery- NY\,525 West 26th Street \nNew York\, NY 10 001 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:442002 DTSTART:20170502T000000 DTEND:20170527T000000 DESCRIPTION: LOCATION:George Billis Gallery- NY\,525 West 26th Street \nNew York\, NY 10 001 SUMMARY:Solo Exhibition\, Stephen Magsig END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:442003 DTSTART:20170504T180000 DTEND:20170504T200000 LOCATION:George Billis Gallery- NY\,525 West 26th Street \nNew York\, NY 10 001 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z 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:20170526T132334Z 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:20170526T132334Z 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:20170526T132334Z 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:20170526T132334Z 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:20170526T132334Z 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:20170526T132334Z 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:20170526T132334Z 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:20170526T132334Z 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:20170526T132334Z UID:442141 DTSTART:20170330T000000 DTEND:20170527T000000 DESCRIPTION:

As cannabis legalization takes root and spreads\, much of the media discussion surrounding this societal sea-change has focused on the economics or the politics involved. But how will ending the War on Wee d transform us culturally?
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\nThe hottest hot take seems to be "\;marijuana is going mainstream\,"\; an analysis that rather snobb ishly presumes this cultural exchange will be a one-way street. So to bette r understand what authentic underground cannabis culture has to offer\,&nbs p\;Outlaw Glass \;examines work from leading "\;functional"\; g lass artists and traces the history of this legally grey art form through i ts birth\, the coordinated arrests of some of its leading practitioners\, a nd on into a new golden age of increasing acceptance\, and incredibly advan ced works.
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\nFor just as author Michael Pollan once described black market cannabis growers as "\;the best gardeners of my generation \,"\; the most exciting movement in art glass today comes from those cr eating innovative\, high-end artifacts that just happen to double as tools for getting high.
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\nFeatured artist Bob Snodgrass pioneered th e craft\, building his legend by selling one-of-a-kind hand-blown glass pip es outside Grateful Dead concerts as the band endlessly toured the country. When Snodgrass finally settled down in Eugene\, Oregon\, in the 1990s\, ho rdes of young artists flocked there to learn the craft and trade knowledge. Today\, this new generation of practitioners pushes the art form to previo usly unimagined new heights.
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\nOutlaw Glass will disp lay major works from leading contemporary flameworkers\, plus multimedia ex aminations of these artists'\; lives\, and the sub rosa subculture that supports them.
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\nIn addition to historic and aesthetic pipes\, several notable glass designers will also be invited to round out the exhi bition and show new developments in pipe making. Additionally\, one pipe\, made in Brooklyn\, will be included in the exhibition as a result of a &ldq uo\;mostly for fun&rdquo\; competition held in collaboration with and at Br ooklyn Glass\, juried by David Bienenstock. More information here.

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David Bienenstock is the Head of Content at HIGH TIMES. Previously he was a columnist\, frequent c ontributor\, and video host/producer at VICE Media\, where he co-produced t he series Bong Appetit\, including viral episodes like A Gourm et Weed Dinner at Hunter S. Thompson'\;s House and Marijuana No nna. He is also the author of \;How to Smoke Pot (Properly): A Highbrow Guide to Getting High \;(Penguin / Random House - 2016)\ , and Legalized It!. A contributor to VICE\, VICE New s\, GQ\, Motherboard\, Salon\, Munchies \, the Guardian\, the Wirecutter\, and other publica tions\, he has been profiled by Vanity Fair\, The Los Angeles Times\, Rolling Stone\, Food &\; Wine\, Slate \, Alternet\, Mashable\, and elsewhere\, while makin g frequent media appearances\, including on CNN\, NPR\, MSNBC\, HBO\, and F ox News.
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\napexart&rsquo\;s programs are supp orted in part by The Andy Warhol Foundation for the Visual Arts\, The Buhl Foundation\, the Degenstein Foundation\, Lambent Foundation Fund of Tides F oundation\, Bloomberg Philanthropies\, The Greenwich Collection Ltd.\, Affi rmation Arts Fund\, the Milton and Sally Avery Arts Foundation\, the Fifth Floor Foundation\, and with public funds from the New York City Department of Cultural Affairs in partnership with the City Council and the New York S tate Council on the Arts with the support of Governor Andrew M. Cuomo and t he New York State Legislature.

\n LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SUMMARY:Outlaw Glass\, Robert Andrus\, Bob Snodgrass END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:442142 DTSTART:20170329T180000 DTEND:20170329T200000 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SUMMARY:Outlaw Glass END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:442153 DTSTART:20170406T000000 DTEND:20170526T000000 DESCRIPTION:

Gagosian is pleased to present new sculptures and selected works on paper by Robert Therrien. In this exh ibition&mdash\;Therrien'\;s first in New York in ten years&mdash\;are th ree free-standing rooms.

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In his inv estigations of form\, perception\, and subjectivity\, Therrien isolates ele ments and objects from domestic or daily life\, detaching them from their k nown functions. Time and again\, his work demonstrates the transformative p ower of scale and viewpoint\, from massive tables and chairs to towering st acks of plates. Works in the current exhibition include highly polished\, o versized drops\, a large tied bow\, and a flagpole\, which\, although recog nizable\, is constructed illusionistically according to aerial perspective.

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Through shifts in perspective and scale\, Therrien renders ordinary experience uncanny. This effect is demons trated in his constructions of interior spaces\, such as Red Room (2000&ndash\;07)\, which holds some 900 red objects in a closet-sized space (now in the Tate Modern collection\, London). Transparent Room (2 010) contains a bed\, clothing\, a mirror\, parts of a chandelier\, packing materials\, and more. However\, Therrien renders his greenhouse-like struc ture and its contents totally transparent in glass and plastic. In the mann er of set design\, some of the contained objects are found\, others made. T he frosted nineteenth-century factory windows create the potential for appa ritions\; ordinary objects thus coalesce into a fragile\, ghostly environme nt that is also a sculptural portrait.
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\nDespite their verisim ilitude\, Therrien&rsquo\;s rooms impede the viewer'\;s ability to engag e with space in any comfortable way. \; Meticulously assembled features of common industrial design allow one to stand in front of architectural v istas. Elevated above ground level and cut away to show interiors that\, li ke dioramas\, become impenetrable replicas of reality\, each is like a mise -en-scè\;ne or readymade. No title (room\, panic doors) (201 3&ndash\;14) presents a set of doors in a room filled with fluorescent ligh t. In No title (paneled room) (2017)\, tambourines rest silent on the floor of a room luxuriously paneled in hardwood\, and a ladder leads to a trapdoor in the ceiling. Each room transports the viewer out of the gall ery and into a new narrative situation\, prompting connections between mate rial details and their subconscious associations. By making use of everyday things that are often overlooked\, Therrien situates the viewer in familia r territory\, then allows the objects to demand reassessment as instruments of subjectivity and of consciousness itself.
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\nRobert Therrien was born in 1947 in Chicago\, and currently lives and wo rks in Los Angeles. Collections include Museum of Modern Art\, New York\; W hitney Museum of American Art\, New York\; Brooklyn Museum\, New York\; Alb right-Knox Art Gallery\, Buffalo\, NY\; The Broad\, Los Angeles\; J. Paul G etty Museum\, Los Angeles\; Los Angeles County Museum of Art\; Museum of Co ntemporary Art\, Los Angeles\; Museum of Contemporary Art\, Chicago\; Denve r Art Museum\, CO\; Dallas Museum of Art\, TX\; Walker Art Center\, Minneap olis\, MN\; Tate\, London\; Centre Georges Pompidou\, Paris\; French Nation al Collection\, Paris\; Museo Cantonale d&rsquo\;Arte\, Switzerland\; Stede lijk Museum voor Actuele Kunst\, Belgium\; and QAGOMA\, Australia. Exhibiti ons include Inverleith House\, Edinburgh (2004)\; &ldquo\;Robert Therrien: Table and Six Chairs\,&rdquo\; Public Art Fund\, New York (2005)\; &ldquo\; A New Installation by Robert Therrien\,&rdquo\; Albright-Knox Art Gallery\, Buffalo\, NY (2006)\; Museum of Contemporary Art\, San Diego (2007)\; &ldq uo\;Robert Therrien: Works on Paper\,&rdquo\; Kunstmuseum Basel\, Switzerla nd (2008)\; &ldquo\;Robert Therrien: Drawings\,&rdquo\; Scottish National G allery of Art\, Edinburgh (2010)\; De Pont Museum\, Tilburg\, The Netherlan ds (2011)\; &ldquo\;Robert Therrien: Selections from the Broad Collection a nd the Los Angeles County Museum of Art\,&rdquo\; LACMA\, Los Angeles (2011 )\; Albright Knox-Art Gallery\, Buffalo\, NY (2013)\; &ldquo\;Artist Rooms: Robert Therrien\,&rdquo\; Tate Modern\, London (2009\, traveled to Nationa l Galleries of Scotland\, Edinburgh\; Tate Liverpool\, UK\; Metropolitan Ar ts Center\, Belfast\, Ireland\; and Paxton House\, Berwick-upon-Tweed\, UK\ , through 2015)\; The Contemporary Austin\, TX (2015)\; &ldquo\;Robert Ther rien: The Power of the Image\,&rdquo\; Denver Art Museum\, CO (2016)\; and &ldquo\;Robert Therrien: Works 1975&ndash\;1995\,&rdquo\; Parasol unit foun dation for contemporary art\, London (2016).

\n LOCATION:Gagosian Gallery- 24th St.\,555 West 24th Street \nNew York\, NY SUMMARY:Solo Exhibition\, Robert Therrien END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:442154 DTSTART:20170406T180000 DTEND:20170406T200000 LOCATION:Gagosian Gallery- 24th St.\,555 West 24th Street \nNew York\, NY SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z 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:20170526T132334Z UID:442192 DTSTART:20170326T000000 DTEND:20170730T000000 DESCRIPTION:

Derfner Judaica Museum + The Art Collection at Hebrew Home a t Riverdale is pleased to announce the exhibition Across Divides: Borde rs and Boundaries in Contemporary Art\, which will be on view from Mar ch 26&ndash\;July 30\, 2017. This exhibition of 28 works by 17 artists was organized by guest curator Reba Wulkan. A reception and curator&rsquo\;s ta lk will take place on Sunday\, March 26\, from 1:30&ndash\;3:00 p.m.\, in t he Derfner Judaica Museum\, located in the Jacob Reingold Pavilion at 5901 Palisade Avenue in the Riverdale neighborhood of the Bronx. Several of the artists also will be present to speak about their work. This event is free and open to the public. Please R.S.V.P. to 718.581.1596 or art@hebrewhome.org. Photo I.D. is required for entr y.

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Grounded in the description in the biblical Book of Genesis th at the world came into being through a series of divisions&mdash\;light and darkness\, day and night\, sea and land\, animals and human beings&mdash\; this exhibition explores how individuals and communities maintain their dis tinctiveness\, yet also reach across divides. The artists address boundarie s that may be physical or spiritual\, exist in law or in tradition\, and tr averse secular and religious life as they confront issues of gender\, geogr aphies and Jewish\, cultural and national identities.  \; \;

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The Artists

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  • In Exile \, 2015\, Andi LaVine Arnovitz (born Kansas City\, MO\, 19 59\; lives and works in Jerusalem) addresses loss of home\, border crossing s and potential bridges to a new life in an installation of fragile porcela in houses encased in silk organza bags. Her other work\, Garments of Re conciliation\, 2009\, creates a dialogue between Palestinians and Jews in Israel\, suggesting a bridge to unanimity by combining fabrics from Pal estinian embroideries with Jewish prayer vests.
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  • Two videos by Tova Beck-Friedman (born Te l Aviv\, Israel\; lives and works in New York City) are about women who con front life&rsquo\;s boundaries: one is about aging and the other is the sto ry of Lot&rsquo\;s wife. In On the Other Side\, 2015\, Beck-Friedm an identifies with a woman&rsquo\;s vanishing youth\, while Lot&rsquo\; s Wife reveals the social divide between genders. The nameless wife of Lot\, Abraham&rsquo\;s nephew\, is turned into a pillar of salt\, as Beck- Friedman probes and redefines the myths on which she was raised.
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  • Raised in predominantly Hindu and Muslim India\, the work of Siona Benjamin (born Bombay\, India\, 1969\; lives and works in New Jersey) is inspired by traditional miniature painting\, Sephardi icons and the Bible. In two paintings from the Find ing Home series\, Lilith in Pardes\, 2008\, and Curry-oke \, 2000\, Benjamin depicts the defiant Lilith\, said to be Adam&rsquo\ ;s first wife\, and Kali\, associated both with death and motherhood\, comb ining Indian\, Jewish and American iconography in a pop art style.
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    • In L&rsquo\;lo Reshut (Without Doma in)\, 2016\, Ken Goldman (born Memphis\, TN\, 1960\; lives and works in Bet Shean\, Israel) documents a performance walking a se ction of the eruv&mdash\;a symbolic boundary uniting separate doma ins&mdash\;of his kibbutz on a tightrope. By walking the line with one foot in the collective domain and one foot out\, Goldman attempts to find balan ce within the &ldquo\;new kibbutz&rdquo\; after its members voted to discon tinue the collective lifestyle they had maintained for nearly 70 years.
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    • From a series of paintings on recy cled vinyl depicting maps\, Strife #4\, 2015\, by Tamar Hi rschl (born Zagreb\, Croatia\, 1939\; lives and works in Tel Aviv\ , New York and Jersey City\, NJ) is in the tradition of Jasper Johns\; here the map of Israel becomes a painting readymade through which the artist ex presses the histories of various cultures vying for territory.
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    • In Je Suis Juive\, I Am You (Talmud Dre ds and Tefillin Bindings)\, 2015\, Sara Klar (born Fa r Rockaway\, NY\, 1959\; lives and works in Brooklyn) reimagines traditiona lly male prayer phylacteries (tefillin) in a space that allows for both femininity and masculinity\, personal choice\, individual expression and inclusiveness. Klar reclaims her connection to religion\, her identity as a woman and her relationship to her Bedford-Stuyvesant\, Brooklyn\, neig hborhood through her work.
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    • In t he video Lunar Eclipse\, 2015\, Lea Laukstein (bo rn Valka\, Latvia\, 1986\; lives and works in Lod\, Israel) offers a concep tual bridge between male and female roles\, challenging the stereotype of w omen as mothers and housekeepers eclipsed by their husbands\, especially wi thin the religious community.  \;Her work is a carefully composed inves tigation of narratives of identity\, religion and gender. In Embryo\, 2015\, Laukstein pictures the world within the womb and reflects on the societal limitations imposed on pregnant women.
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    • A master calligrapher and illuminator\, David Mos s (born Youngstown\, Ohio\, 1946\; lives and works in Jerusalem) d epicts a map of the Jewish community\, Roaming Rome\, 2016\, in a succinct\, illustrative style arranged like a page of the Talmud. It shows key places and symbols of Jewish contributions to Roman culture\, evidence of the Jewish presence in the city dating back 2\,150 years.
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    • Tracing Path\, 2016\, is an abstract painting by Laura Murlender (born Buenos Aires\, Argentin a\, 1957\; lives and works in Buenos Aires). Murlender was a &ldquo\;disapp eared\,&rdquo\; a term that describes persons kidnapped under the former di ctatorship in Argentina. \; Her work reflects a lifelong process of bui lding emotional walls for self-protection\, bridging connections with the p ast and passage across borders between countries\, in particular\, Argentin a\, Israel\, Mexico and France. Sequence\, 2016\, uses abstract ge ometric patterns and a grid format that reinforces a sense of movement and fragmented time. \;
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    • K. Flo Razowsky (born Chicago\, 1974\; lives and works in Los Ang eles) combines art with activism. Her digital photographs printed on microf iber\, Melilla (Spanish border at Morocco)\, 2007\, J erusalem\, 2008\, and Playas de Tijuana (southern U.S. border)\, 2014\, are part of the project Up Against the Wall that Razows ky began when she was living in the Palestinian territories. Razowsky has o bserved that such walls are ubiquitous and in many places people regularly risk imprisonment or death to try and cross them.
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    • Following the Ten Commandments: Lyon County Courthou se\, Yerington\, NV\, 2012&ndash\;2014\, is a mesh print photograph fr om a series by Andrea Robbins and Max Becher (born in Bost on\, MA\, 1963\, and Dusseldorf\, Germany\, 1964\; live and work in New Yor k) that presents the irony of religious monuments located on public land an d around public buildings. At courthouses\, public schools\, parks and coun ty seats\, despite some legal disputes\, many such monuments have remained in place for decades\, including ones gifted by the Fraternal Order of the Eagles in conjunction with the release of the 1956 film The Ten Command ments.
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    • Architectural F ollies of the Talmud\, 2014\, by Ben Schachter (born New York City\, 1974\; lives and works in Pittsburgh\, PA) are playful rend erings of Talmudic commentary on the eruv. In order to carry thing s in public spaces on the Sabbath\, the Rabbis created the concept of an eruv. Popular in Europe in the 18th and 19th century\, these small\, architectural curiosities that punctuated rolling gardens often resembled ruined Greek temples.
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    • R uth Schreiber (born London\, 1947\; lives and works in Jerusalem) is represented with three works. Enter the Eruv\, 2011\, is an int eractive glass map of the northwest London eruv that engages the v iewer with motion sensors and lights. Until recently\, there were none in t he United Kingdom\; however\, a new awareness in society and religious femi nism in the Jewish community have demanded change. An Oscar for my Daug hter\, the Surrogate\, 2015\, is Schreiber&rsquo\;s way of recognizing her daughter who had been a surrogate for another family. A watercolor\, < em>Abraham&rsquo\;s Aliya\, 2016\, maps Abraham&rsquo\;s journey into Canaan along with a list of the countries from which Jews have immigrated t o Israel.
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    • Angela Strass heim (born Bloomfield\, IA\, 1969\; lives and works in Stamford\, CT) is fascinated with rituals of praying. In her photograph Saugy Pray ing\, 2008\, a young woman carves out a personal space among the imper sonal\, prefabricated dwellings in a community housing settlement in centra l Israel\, known as Yad Binyamin.
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      \n < li>In the painting Creation: Separation\, 2017\, Ahuva Win slow (born New York\, 1978\; lives and works in Bergenfield\, NJ) reflects on the divine process of division and separation\, using bands of color along with organic forms that flow within its center to suggest conti nuous flux&mdash\;from the creation of the physical world to the boundaries that Jewish law mandates throughout one&rsquo\;s life. She reflects on the borders of identity and the particular challenges faced by an Orthodox Jew ish woman artist.\n
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    • Tel Aviv\ , Purim\, 2015\, by Pavel Wolberg (born Leningrad\, U SSR\, now Saint Petersburg\, Russia\, 1966\; lives and works in Tel Aviv) c aptures a Tel Aviv club at Purim\, a Jewish holiday where dressing up as th e opposite sex is permissible.  \;It has been said about Wolberg that h e views his adopted country both intimately and from a distance\; he captur es private moments amidst the complex reality of conflicts and political in stability in the region.
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    As a member of the American Alli ance of Museums\, Hebrew Home at Riverdale by RiverSpring Health is committ ed to publicly exhibiting its art collection throughout its 32-acre campus\ , including Derfner Judaica Museum and a sculpture garden overlooking the H udson River and Palisades. Derfner Judaica Museum + The Art Collection prov ide educational and cultural programming for all visitors\, including resid ents of the Hebrew Home\, their families and the general public who come fr om throughout New York City\, its surrounding suburbs and elsewhere. RiverS pring Health is a nonprofit\, non-sectarian geriatric organization serving more than 12\,000 older adults through its resources and community service programs. Museum hours: Sunday&ndash\;Thursday\, 10:30 a.m.&ndash\;4:30 p.m . Art Collection and exhibitions open daily\, 10:30 a.m.&ndash\;4:30 p.m. C all 718 581.1596 for holiday hours or to schedule group tours\, or for furt her information visit our website at http://riverspringhealth.org/art  \;

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    This exhibition is supported\, in part\, by public funds from the Ne w York City Department of Cultural Affairs in partnership with the City Cou ncil.

    \n LOCATION:Derfner Judaica Museum + The Art Collection at Hebrew Home at Rive rdale\,5901 Palisade Avenue \nBronx\, NY 10471 SUMMARY:Across Divides: Borders and Boundaries in Contemporary Art \, Andi LaVine Arnovitz\, Andrea Robbins and Max Becher\, Tova Beck-Friedman\, Sion a Benjamin\, Ken Goldman\, Tamar Hirschl\, Sara Klar\, Lea Laukstein\, Davi d Moss\, LAURA MURLENDER\, K. Flo Razowsky\, Ben Schachter\, Ruth Schreiber \, Angela Strassheim\, Ahuva Winslow\, Pavel Wolberg END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:442193 DTSTART:20170326T133000 DTEND:20170326T150000 LOCATION:Derfner Judaica Museum + The Art Collection at Hebrew Home at Rive rdale\,5901 Palisade Avenue \nBronx\, NY 10471 SUMMARY:Across Divides: Borders and Boundaries in Contemporary Art END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:442194 DTSTART:20170404T000000 DTEND:20170806T000000 DESCRIPTION:
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    Judith Leiber spen t sixty-five years in the handbag industry\, from an apprentice in Budapest to the owner of an internationally renowned handbag company based in New Y ork City. As the only female pattern-maker\, and with the unusual ability t o make a handbag from start to finish\, Leiber brought a distinctly Europea n training and skill set to the United States\, where handbags were made wi th assembly-line skill division. This allowed her not only to succeed as a designer\, but also to revolutionize the meaning of handbag craftsmanship f or the American consumer.

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    Leiber&rs quo\;s handbags run the gamut from finely crafted leather pieces and textil e-based bags\, to the fantastical Swarovski crystal&ndash\;encrusted creati ons for which she is most well known. Inspired by a life-long admiration of art\, travel\, and opera\, Leiber&rsquo\;s bags include Art Deco&ndash\;in fluenced hardware\; materials such as Lucite and seashells\; references to the artwork of Piet Mondrian\, Georges Braque\, and Sonia Delaunay\; and co llaboration with Faith Ringgold on a collection of handbags inspired by her quilts.

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    As Leiber&rsquo\;s reputat ion flourished\, designers and suppliers sought her out\, offering interest ing materials\, particularly textiles. Thus\, many of her handbags are cons tructed with obis from Japan\, Parsi ribbons from India\, and fabrics from Iran and Africa. From the earliest days of her company\, Leiber pushed the boundaries of handbag design&mdash\;innovation that is epitomized by her fa med sparkling minaudiè\;res\, a technique that began as a so lution to a damaged metal frame\, and was then catalyzed by the design of h er imaginative animal and food clutches to become fashion staples for First Ladies and celebrities alike.

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    Judith Leiber: Crafting a New York Story tells the tale of this illust rious craftswoman\, designer\, and businesswoman. The exhibition includes h andbags that encompass the history of her eponymous company\, which Leiber founded in 1963 at the age of forty-two\, through 2004\, when she designed her last handbag. Although biographical in nature\, the exhibition also exp lores the gendered significance of the handbag in twentieth-century Western culture\, and the centrality of immigrant entrepreneurship in the fabric o f New York.

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    Judith Leiber: Craf ting a New Yo

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    Judi th Leiber spent sixty-five years in the handbag industry\, from an apprenti ce in Budapest to the owner of an internationally renowned handbag company based in New York City. As the only female pattern-maker\, and with the unu sual ability to make a handbag from start to finish\, Leiber brought a dist inctly European training and skill set to the United States\, where handbag s were made with assembly-line skill division. This allowed her not only to succeed as a designer\, but also to revolutionize the meaning of handbag c raftsmanship for the American consumer.

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    Leiber&rsquo\;s handbags run the gamut from finely crafted leather pie ces and textile-based bags\, to the fantastical Swarovski crystal&ndash\;en crusted creations for which she is most well known. Inspired by a life-long admiration of art\, travel\, and opera\, Leiber&rsquo\;s bags include Art Deco&ndash\;influenced hardware\; materials such as Lucite and seashells\; references to the artwork of Piet Mondrian\, Georges Braque\, and Sonia Del aunay\; and collaboration with Faith Ringgold on a collection of handbags i nspired by her quilts.

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    As Leiber&rs quo\;s reputation flourished\, designers and suppliers sought her out\, off ering interesting materials\, particularly textiles. Thus\, many of her han dbags are constructed with obis from Japan\, Parsi ribbons from India\, and fabrics from Iran and Africa. From the earliest days of her company\, Leib er pushed the boundaries of handbag design&mdash\;innovation that is epitom ized by her famed sparkling minaudiè\;res\, a technique that began as a solution to a damaged metal frame\, and was then catalyzed by t he design of her imaginative animal and food clutches to become fashion sta ples for First Ladies and celebrities alike.

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    Judith Leiber: Crafting a New York Story tells the tale of this illustrious craftswoman\, designer\, and businesswoman. The exhibit ion includes handbags that encompass the history of her eponymous company\, which Leiber founded in 1963 at the age of forty-two\, through 2004\, when she designed her last handbag. Although biographical in nature\, the exhib ition also explores the gendered significance of the handbag in twentieth-c entury Western culture\, and the centrality of immigrant entrepreneurship i n the fabric of New York.

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    Judit h Leiber: Crafting a New York Story is curated by Assistant Curator Sa mantha De Tillio\, with the support of Curatorial Assistant and Project Man ager Angelik Vizcarrondo-Laboy.

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    Judith Leiber: Crafting a New York Story is part of The Art and C raft 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 cou ture to the conceptual&mdash\;across multiple generations. In keeping with the MAD&rsquo\;s dedication to investigating studio &ldquo\;process&rdquo\; in modern and contemporary 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\, expressiv eness\, and social responsibility&mdash\;from concept to product.

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    rk Story is curated by Assistant Curator Samantha De Tillio\, with the support of Curatorial Assistant and Project M anager Angelik Vizcarrondo-Laboy.

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    Judith Leiber: Crafting a N ew York Story is part of The Art and Craft of Getting Dressed \, a series of three exhibitions at the Museum of Arts and Design (MAD) thi s spring that embrace craftsmanship\, cultural commentary\, and critical th inking in fashion practices&mdash\;from the couture to the conceptual&mdash \;across multiple generations. In keeping with the MAD&rsquo\;s dedication to investigating studio &ldquo\;process&rdquo\; in modern and contemporary art and craft\, these exhibitions highlight how fashion\, as an expanded fi eld of craft\, serves as a platform for artists and designers to explore wa ys of making that champion artistry\, expressiveness\, and social responsib ility&mdash\;from concept to product.

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    \n LOCATION:Museum of Arts and Design\,2 Columbus Circle \nNew York\, NY 10019 SUMMARY:Crafting a New York Story\, Judith Leiber END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:442195 DTSTART:20170404T110000 DTEND:20170404T180000 LOCATION:Museum of Arts and Design\,2 Columbus Circle \nNew York\, NY 10019 SUMMARY:Crafting a New York Story END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:442196 DTSTART:20170427T000000 DTEND:20170806T000000 DESCRIPTION:
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    Eckhaus Latta\, ensæ\;mble\, Lucy Jones\, Ryohei Kaw anishi\, Henrik Vibskov\, SSAW Magazine

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    Curated by Dr. Hazel Clark and Ilari Laamanen

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    In 2015\, fashion trend forecaste r and authority Li Edelkoort declared &ldquo\;the end of Fashion as we know it\,&rdquo\; and in her &ldquo\;manifesto for the next decade&rdquo\; prov ided &ldquo\;ten reasons why the fashion system is obsolete.&rdquo\; In doi ng so\, she echoed a sentiment shared by fashion industry insiders\, journa lists\, pundits\, and scholars alike&mdash\;from reporter Teri Agins\, auth or of the 2000 book \;The End of Fashion\, to fashion theorist Barbara Vinken\, who coined the term &ldquo\;postfashion&rdquo\; to \;describe the contemporary zeitgeist. \;As the world of fashion continues to evolve\, the term &ldquo\;fashion&rdquo\; itself demands rede finition. fashion after Fashion takes up this call\, seeking a new understanding of fashion that accommodates a wider range of practices and ideologies.

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    The exhibition presents the work of six designer teams who are thinking&mdash\;and making us think &mdash\;about fashion anew. \;Featuring some of the most innovative wor k being produced in the context of contemporary fashion\, \;fashion after Fashion focuses on commissioned\, site-sensitive installations to offer an experience that is as immersive and affective as it is mentally stimulating. It presents fashion as an expanded field of practice that is determined by concept and context\, and whose practitioners work collaborat ively and creatively between and across areas of design and art. \;

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    The exhibition&rsquo\;s use of &ldquo\ ;fashion&rdquo\; (in the lowercase) signals a more reflective\, concerned\, attentive\, creative process that is not determined solely by commerce\, t he market\, and trends. Independently and collectively\, the practitioners included in \;fashion after Fashion \;call into \;ques tion the state and nature of Fashion (in the uppercase) and challenge some of its main constructs\, including the myth of the individual star designer \, short-lived and commodity-driven products\, gendered dressing\, ideal bo dies\, and waste. Their work demonstrates the need to diversify the term &l dquo\;fashion&rdquo\; in order to encompass new types of contemporary pract ice that acknowledge intention\, ideas\, and process and offer greater crea tive potential to both the designer and the consumer.

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    These practitioners speak with authority\; all are desig ners with \;backgrounds in fashion\, yet their work demonstrates how co ntemporary practitioners are increasingly drawing upon interrelated stimuli and methodologies. \;Lucy Jones considers body types that would typica lly be left out of fashion practices and conversations. Eckhaus Latta works in more liminal and virtual spaces&mdash\;the New York of real people and things\, beyond the &ldquo\;fashion city&rdquo\; of runways and fashion wee ks. Henrik Vibskov refocuses attention on the body in movement and on relat ionships between fashion and time. Ryohei Kawanishi delves into the fashion system to offer new perspectives. SSAW challenges norms of body and gender \, and ideals of beauty. And ensæ\;mble raises questions about origins \, authorship\, and the nature of fashion&rsquo\;s objects.

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    fashion after Fashion is co-curated by Dr . Hazel Clark and Ilari Laamanen in collaboration with the Finnish Cultural Institute in New York and Parsons School of Design\, The New School\, New York\, with support from MAD&rsquo\;s Assistant Curator Barbara Paris Giffo rd and Curatorial Assistant and Project Manager Angelik Vizcarrondo-Laboy.< /p>\n\n

    fashion after Fashion is p art of The Art and Craft of Getting Dressed\, a series of three ex hibitions at the Museum of Arts and Design (MAD) this spring that embrace c raftsmanship\, cultural commentary\, and critical thinking in fashion pract ices&mdash\;from the couture to the conceptual&mdash\;across multiple gener ations. In keeping with the MAD&rsquo\;s dedication to investigating studio &ldquo\;process&rdquo\; in modern and contemporary art and craft\, these e xhibitions highlight how fashion\, as an expanded field of craft\, serves a s a platform for artists and designers to explore ways of making that champ ion artistry\, expressiveness\, and social responsibility&mdash\;from conce pt to product.

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    \n LOCATION:Museum of Arts and Design\,2 Columbus Circle \nNew York\, NY 10019 SUMMARY:fashion after Fashion END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:442197 DTSTART:20170427T110000 DTEND:20170427T210000 LOCATION:Museum of Arts and Design\,2 Columbus Circle \nNew York\, NY 10019 SUMMARY:fashion after Fashion END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:442198 DTSTART:20170307T000000 DTEND:20170604T000000 DESCRIPTION:
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    The Valise\, a collective artists&rsqu o\; project\, unites seven South American artists&mdash\;Johanna Calle\, Ma teo Ló\;pez and Nicolá\;s Paris\, Maria Laet\, Rosâ\;ngela Rennó\;\, Matí\;as Duville\, and Christian Vinck Henriquez&mda sh\;with the Argentine writer Cé\;sar Aira. This exhibition presents a selection of artworks from the printed edition\, published by the Library Council of The Museum of Modern Art. The works were made in response to th e idea of travel and to Aira&rsquo\;s novel Un episodio en la vida del pintor viajero (An Episode in the Life of a Landscape Painter)\, both the original Spanish edition (2000) and the English translation (2006) on v iew here. The novel concerns the surreal story of an 1837 journey through S outh America by the German painter Johann Moritz Rugendas\, an associate of the explorer and naturalist Alexander von Humboldt. Designed to fit in a s pecial valise (carrying case)\, the works include original prints\, maps\, artists&rsquo\; books\, airmail envelopes\, origami toys\, posters\, a soun d recording\, and a handblown glass sculpture\, all reflecting the artists& rsquo\; shared affinity for geography\, travel literature\, and bookmaking.

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    Organized by May Castleberry\, Edi tor\, Contemporary Editions\, Library Council Publications\, with Jennifer Tobias\, Reader Services Librarian\, The Museum of Modern Art.

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    \n LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SUMMARY:The Valise\, Johanna Calle\, Matías Duville\, Christian Vinck Henri quez\, Maria Laet\, Mateo López\, Nicolás Paris\, Rosângela Renno END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:442199 DTSTART:20170319T000000 DTEND:20170730T000000 DESCRIPTION:

    Unfinished Conversations: New Work from the Collection brings together works by more than a doze n artists\, made in the past decade and recently acquired by The Museum of Modern Art. The artists that make up this intergenerational selection addre ss current anxiety and unrest around the world and offer critical reflectio ns on our present moment.

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    The exhib ition considers the intertwining themes of social protest\, the effect of h istory on the formation of identity\, and how art juxtaposes fact and ficti on. From Cairo to St. Petersburg\, from The Hague to Recife\, the artists i n the exhibition observe and interpret acts of state violence and the resis tance and activism they provoke. They reexamine historical moments\, evokin g images of the past and claiming their places within it. They take on cont emporary struggles for power\, intervening into debates about government su rveillance and labor exploitation. Together\, these artists look back to tr aditions both within and beyond the visual arts to imagine possibilities fo r an uncertain future.

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    The title of this exhibition is inspired by John Akomfrah&rsquo\;s three-channel video installation The Unfinished Conversation (2012)\, which is include d here and chronicles the life and work of the Jamaican-born British cultur al theorist Stuart Hall (1932&ndash\;2014). Hall recognized the power that museum collections have to both shape and reflect culture and communities\, contending that they are sources of inspiration &ldquo\;which create thoug ht-provoking visions of our past. They provide testimony to the darkest and brightest of human history.&rdquo\;

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    Unfinished Conversations includes works by John Akomfrah\, Jonat has de Andrade\, Anna Boghiguian\, Andrea Bowers\, Paul Chan\, Simon Denny\ , Samuel Fosso\, Iman Issa\, Kim Beom\, Erik van Lieshout\, Cameron Rowland \, Wolfgang Tillmans\, Adriá\;n Villar Rojas\, Kara Walker\, and Lyne tte Yiadom-Boakye.

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    Organized by Kla us Biesenbach\, Chief Curator at Large\, The Museum of Modern Art\, and Dir ector\, MoMA PS1\; Lucy Gallun\, Assistant Curator\, Department of Photogra phy\; Thomas J. Lax\, Associate Curator\, Department of Media and Performan ce Art\; Christian Rattemeyer\, The Harvey S. Shipley Miller Associate Cura tor\, Department of Drawings and Prints\; and Yasmil Raymond\, Associate Cu rator\, Department of Painting and Sculpture\, with Elizabeth Henderson\, D epartment Coordinator\, Office of the Chief Curator at Large.

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    Allianz is a partner of contemporary art at MoMA .

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    Additional support for Unfini shed Conversations: New Work from the Collection is provided by the An nual Exhibition Fund.

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    MoMA Audio+ i s supported by Bloomberg Philanthropies.

    \n LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SUMMARY:Unfinished Conversations: New Work from the Collection\, John Akomf rah\, Kim Beom\, Anna Boghiguian\, Andrea Bowers\, Paul Chan\, Jonathas de Andrade\, Simon Denny\, Samuel Fosso\, Iman Issa\, Adrián Villar Rojas\, Ca meron Rowland\, Wolfgang Tillmans\, Erik van Lieshout\, Kara Walker\, Lynet te Yiadom-Boakye END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:442200 DTSTART:20170319T103000 DTEND:20170319T173000 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SUMMARY:Unfinished Conversations: New Work from the Collection END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z 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:20170526T132334Z 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:20170526T132334Z UID:442204 DTSTART:20170430T000000 DTEND:20170730T000000 DESCRIPTION:
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    WHY PICTURES NOW \, the first New York museum survey of the work of American artist Louise L awler\, is an exploration of her creative output\, which has inspired fello w artists and cultural thinkers alike for the past four decades. The exhibi tion consists of a sequence of mural-scale\, &ldquo\;adjusted to fit&rdquo\ ; images set in dynamic relation to non-linear groupings of photographs&mda sh\;of collectors&rsquo\; homes\, auction houses\, and museum installations &mdash\;distinctive of Lawler&rsquo\;s conceptual exercises. Additionally\, a deceptively empty space presents black-and-white tracings of Lawler&rsqu o\;s photographs that have been printed on vinyl and mounted directly to th e wall. A display of the artist&rsquo\;s ephemera from the 1970s to today h ighlights the feminist and performative undercurrents of her art. The defia nt\, utterly quizzical sound piece Birdcalls (1972/81)\, for which the artist turned the names of well-known male artists into bird-like squa wks and twitters\, will be installed in the Museum&rsquo\;s Abby Aldrich Ro ckefeller Sculpture Garden. In foregrounding her work&rsquo\;s relationship to the economies of collaboration and exchange\, Lawler shifts focus from the individual picture to the broader history of art. Her careful attention to artistic contexts\, modes of presentation\, and viewers&rsquo\; recepti ons generates witty\, affective situations that contribute to institutional transformation.

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    Among the most int riguing aspects of Lawler&rsquo\;s working process is her continuous re -presentation\, reframing\, or restaging in the present\, a strategy t hrough which she revisits her own images by transferring them to different formats&mdash\;from photographs to paperweights\, tracings\, and works she calls &ldquo\;adjusted to fit&rdquo\; (images stretched or expanded to fit the location of their display). Lawler&rsquo\;s critical strategies of refo rmatting existing content not only suggest the idea that pictures can have more than one life\, but underpin the intentional\, relational character of her farsighted art.

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    Organized by Roxana Marcoci\, Senior Curator\, with Kelly Sidley\, Curatorial Assistant\, Department of Photography.

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    Major support for the exhibition is provided by Th e Andy Warhol Foundation for the Visual Arts and by The Modern Women&rsquo\ ;s Fund.

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    Generous funding is provid ed by the Walton Family Foundation\, David Dechman and Michel Mercure\, Fot ene Demoulas and Tom Coté\;\, Tracy and Gary Mezzatesta\, Patrice and Louis Friedman\, and by Ann and Mel Schaffer.

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    Additional support is provided by the Annual Exhibition Fund wi th major contributions from Alice and Tom Tisch\, Glenn and Eva Dubin\, The Donald R. Mullen Family Foundation\, Inc.\, The Contemporary Arts Council of The Museum of Modern Art\, Mimi and Peter Haas Fund\, Brett and Daniel S undheim\, Karen and Gary Winnick\, and The Junior Associates of The Museum of Modern Art.

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    \n LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SUMMARY:Why Pictures Now\, Louise Lawler END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:442205 DTSTART:20170430T103000 DTEND:20170430T173000 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SUMMARY:Why Pictures Now END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:442585 DTSTART:20170309T000000 DTEND:20170624T000000 DESCRIPTION:

    From March 9 through June 24\, 2017\, \;the Onassis Cult ural Center New York presents \;A World of Emotions: Ancien t Greece\, 700 BC &ndash\; 200 AD\, a groundbreaking explorat ion of emotional life in ancient times and its contemporary reverberations. Prompting questions about how we express\, control\, manipulate\, or simul ate feelings in our own society\, the exhibition brings together more than 130 masterpieces from internationally renowned museums&mdash\;including the Acropolis Museum\; National Archaeological Museum\, Athens\; Louvre\; Brit ish Museum\; and Vatican Museums&mdash\;many of which will be on view in th e United States for the first time\, and some of which will be seen for the first time outside Greece. Together\, these objects provide a timely oppor tunity to think about the role of feelings in our personal\, social\, and p olitical lives\, while helping to advance the relatively new field of the h istory of emotions.
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    \nA World of Emotions \;is th e centerpiece of a dynamic spring season at the Onassis Cultural Center New York that includes newly commissioned artwork by artist \;Jann is Varelas\, as well as public programming featuring actress and d irector \;Fiona Shaw\, philosopher \;Simon Critchley\, and author \;John Freeman\, amon g others. The exhibition \;will be on view exclusively at the Center.\n\n

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    WHERE: The Onassis Cultural Cen ter New York is located in midtown Manhattan\, in Olympic Tower\, 645 Fifth Avenue at 51st Street.
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    \nWHEN: A World o f Emotions is on view Monday through Saturday\, 10:00 am to 6:00 pm\, with extended hours on Thursdays until 9:00 pm\, and also open to the publi c on Family Sundays.

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    ADMISSION: Admission to the Onassis Cultural Center New York is always free.

    \n LOCATION:Onassis Cultural Center New York\,645 Fifth Avenue \nNew York\, NY 10022US SUMMARY:A World Full of Emotions: Ancient Greece\, 700 BC – 200 AD END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:442945 DTSTART:20170420T000000 DTEND:20170603T000000 DESCRIPTION: LOCATION:Elizabeth Harris Gallery\,529 W.20th St. \nNew York\, NY 10011 SUMMARY:Free Range \, Julian Hatton END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:442946 DTSTART:20170420T180000 DTEND:20170420T200000 LOCATION:Elizabeth Harris Gallery\,529 W.20th St. \nNew York\, NY 10011 SUMMARY:Free Range END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z 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:20170526T132334Z 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:20170526T132334Z 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:20170526T132334Z UID:442977 DTSTART:20170324T000000 DTEND:20170802T000000 DESCRIPTION:

    For PSAD Synthetic Desert III (1971)\, Doug Wheeler has altered the structure and configuration of a m useum gallery in order to control optical and acoustic experience. He has t ransformed the room into a hermetic realm\, a &ldquo\;semi-anechoic chamber &rdquo\; designed to minimize noise and induce a sensate impression of infi nite space. Wheeler likens this sensation of light and sound to the percept ion of vast space in the deserts of northern Arizona. While Synthetic D esert is deeply grounded in the artist&rsquo\;s experience of the natu ral world\, the work does not describe the landscape. Its form is strictly abstract.

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    Wheeler&rsquo\;s work is often associated with West Coast art after 1960\, particularly a tendency r eferred to as Light and Space. The development of Light and Space coincides with Minimalism and shares with it a spare visual language of geometric fo rm. During the early 1960s\, Wheeler produced large white abstract painting s that explore pure optical experience. In the middle of the decade\, he de veloped various techniques combining acrylic sheets\, lacquer\, and neon li ght\, and used these methods in the fabrication of painting-like objects\, including a series called &ldquo\;light encasements.&rdquo\; When installed in modified all-white rooms\, the encasements emit a hazy luminosity that causes the planar surface of each work to appear fused with the wall. Wheel er abandoned object making altogether in the late 1960s to create immersive environments such as Synthetic Desert\, using architectural volum e\, light\, and sound as his primary mediums. The Guggenheim&rsquo\;s produ ction of Synthetic Desert\, based on early drawings and completed in close collaboration with the artist\, is the first realization of this w ork.

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    Visitor Information

    \n\n< p style="text-align: justify\;">Because Synthetic Desert \;is best experienced with as few extraneous sounds and distractions as possible \, each visitation group is limited to five people.

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    Timed tickets are required. Reserve tickets in adv ance. Walk-in tickets are available for select times.

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    This presentation of PSAD Synthetic D esert III \;is organized by Jeffrey Weiss\, Senior Curator\, and Francesca Esmay\, Conservat or\, Panza Collection\, with Melanie Taylor\, Director\, Exhibition Design. The Guggenheim is also working closely with Raj Patel and Joseph Digerness from Arup\, a design firm that specializes in the acoustic properties of b uilt space.

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    PSA D Synthetic Desert III \;is sponsored by BASF Corporation.
    \n BASF logo

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    Major support is provided by LLWW Foundation.

    \n\n< p class="caption" style="text-align: justify\;">Funding is also provided by Glenstone Foundation\, Suzanne Deal Booth\, and The Brown Foundation\, Inc .\, of Houston.

    \n LOCATION:Solomon R. Guggenheim Museum\,1071Fifth Ave. \nNew York\, NY 10128 -0173 SUMMARY:PSAD Synthetic Desert III\, Doug Wheeler END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:442978 DTSTART:20170324T100000 DTEND:20170324T194500 LOCATION:Solomon R. Guggenheim Museum\,1071Fifth Ave. \nNew York\, NY 10128 -0173 SUMMARY:PSAD Synthetic Desert III END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:442979 DTSTART:20170421T000000 DTEND:20170705T000000 DESCRIPTION:

    Anicka Yi is the recipient of the 2016 Hugo Boss Prize\, a biennial award for contemporary art that for over 20 years has r ecognized some of the most powerful and singular voices in the field. Yi ca talyzes vivid fictional scenarios through concepts and techniques drawn fro m scientific research\, creating installations that ask incisive questions about human psychology and the workings of society. Challenging the primacy of vision in the reception of an artwork\, she expands the perceptual expe rience of the &ldquo\;viewer&rdquo\; into a broader sensory immersion. The artist has a longstanding interest in smell and its potent link to memory a nd subjectivity\, at times activating her installations with scents designe d to evoke specific emotional states or cultural identities. Her work studi es the ramifications of both the disembodied digital realm and our inescapa ble reality as corporeal\, and therefore entropic\, beings\, with a particu lar focus on how biology has been mobilized politically in relation to gend er or race. Creating an environment that interweaves Yi&rsquo\;s ongoing st udy of microorganic forms\, data collection\, and sensory perception\, this exhibition coheres into a densely layered examination of the intersecting systems&mdash\;biological\, social\, political\, and technological&mdash\;t hat define our lives. The Hugo Boss Prize 2016: Anicka Yi\, Life Is Che ap is organized by Katherine Brinson\, Curator\, Contemporary Art\, Solomon R. G uggenheim Museum\, and Susan Thompson\, Assistant Curator\, Solomon R. Guggenheim Museum \, and is made possible by HUGO BOSS.

    \n LOCATION:Solomon R. Guggenheim Museum\,1071Fifth Ave. \nNew York\, NY 10128 -0173 SUMMARY:The Hugo Boss Prize 2016: Anicka Yi\, Life Is Cheap\, Anicka Yi END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:442980 DTSTART:20170421T100000 DTEND:20170421T194500 LOCATION:Solomon R. Guggenheim Museum\,1071Fifth Ave. \nNew York\, NY 10128 -0173 SUMMARY:The Hugo Boss Prize 2016: Anicka Yi\, Life Is Cheap END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:442981 DTSTART:20170428T000000 DTEND:20170604T000000 DESCRIPTION:
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    This exhibition features artwork created by students participating in Learning Through Art (LTA)\, the Guggenheim&rsquo\;s arti st-in-residence program in New York City public elementary schools. LTA par tners teaching artists with classroom educators in each of the city&rsquo\; s five boroughs to design collaborative projects that explore art and ideas related to the classroom curriculum. The program encourages curiosity\, cr itical thinking\, and ongoing collaborative investigation.

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    Learning Through Art and A Year with Children 2017 are generously supported by The Hearst Foundations \, Stavros Niarchos Foundation\, and the New York City Department of Cultur al Affairs in partnership with the City Council.

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    Stavros Niarchos Foundation logoNYCulture logo

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    Additional funding is provided by The Seth Spr ague Educational and Charitable Foundation\; The Horace W. Goldsmith Founda tion\; the Windgate Charitable Foundation\; Gail May Engelberg and The Enge lberg Foundation\; the Sidney E. Frank Foundation\; Guggenheim Partners\, L LC\; Con Edison\; the Gap Foundation\; the Milton &\; Sally Avery Arts F oundation\, Inc.\; the Henry E. Niles Foundation\, Inc.\; and an anonymous donor.

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    The Leadersh ip Committee for Learning Through Art and A Year with Children 2017 is gratefully acknowledged for its support.

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    \n LOCATION:Solomon R. Guggenheim Museum\,1071Fifth Ave. \nNew York\, NY 10128 -0173 SUMMARY:A Year with Children 2017 END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:442982 DTSTART:20170428T100000 DTEND:20170428T194500 LOCATION:Solomon R. Guggenheim Museum\,1071Fifth Ave. \nNew York\, NY 10128 -0173 SUMMARY:A Year with Children 2017 END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:442987 DTSTART:20170120T000000 DTEND:20170709T000000 DESCRIPTION:

    Referencing Robert Frost&rsquo \;s poem &ldquo\;The Tuft of Flowers\,&rdquo\; in which the poet finds a pa tch of flowers left untouched by the blade of a mowed field\, Evie McKenna& rsquo\;s subjects are revered as survivors of the constructed world. Her ph otographs capture fortuitous encounters with landscapes\, such as the brush of wind through tall grasses or sunrays reflecting off of glass panes in a greenhouse. During her time as a 2014 Winter Workspace artist\, McKenna ob served and photographed Wave Hill&rsquo\;s gardens\, woodlands and surround ing urban streetscapes. She also photographed scenes in her neighborhood in Queens\, as well as at a residency in Montello\, NV. The images capture te xtural qualities responsive to botanical and constructed landscapes. The co mposition and context of the images serve as both disrupters and equalizers in the balancing act of capturing charged environments. Temporality is a f ocal point in the still images\, conveyed through acts of fleeting seasonal changes\, impermanent natural fixtures and urban constructions. The diffus e lighting and mix of organic and architectural structures suggests a sense of balance between controlled and natural growth. McKenna&rsquo\;s photogr aphs honor the vulnerabilities and alluring presence of plants revealed thr ough synchronistic and spontaneous moments.

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    Evie McKenna received a BFA in photography from Philadelphia Colle ge of Art and a Master'\;s degree in photography from the New York Unive rsity/International Center of Photography program. McKenna&rsquo\;s work ha s been exhibited at George Eastman House International Museum\, Rochester\, NY\; Klapper Center for Fine Arts\, Garden City\, NY\; Flux Factory\, Long Island City\, NY\; and Queens Museum\, Flushing\, NY\; among others.

    \n LOCATION:Wave Hill\,West 249th Street and Independence Avenue (front gate) 675 West 252nd Street (mailing) \nBronx\, NY 10471-2899 SUMMARY:Tufts of Flowers \, Evie McKenna END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z 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:20170526T132334Z UID:442989 DTSTART:20170408T000000 DTEND:20170709T000000 DESCRIPTION:

    Women have long been treated a nd portrayed as outcasts\, banished to a literal or symbolic wilderness on the fringes of the social order\, whether for political\, cultural or relig ious transgressions. Portrayals of their casting-out span regions and cultu res across the globe and across millennia&mdash\;from Lilith to Jezebel to Hester Prynne. Intensified by the current political climate\, and marred by economic disparity and geopolitical conflicts\, women continue to be marke d as outcasts. A public garden and cultural center located in the Bronx\, W ave Hill&rsquo\;s spring show acknowledges the continued need for activism and cultural production that builds bonds across lines of identity and diff erence\, informing and empowering individual and collective memory.

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    The prolific oeuvre of artist Nanc y Spero (1926-2009)\, who took these &ldquo\;outcasts&rdquo\; unde r her wing by creating a figurative cast of characters to populate her scro ll and wall paintings\, is the impetus for Outcasts: Women in the Wilde rness. A selection of her works on paper will be featured alongside pa intings\, sculpture\, photographs and video by the work of a dozen artists born in the 1960s and &lsquo\;70s. These include Samira Abbassy\, J aishri Abichandani\, Huma Bhabha\, Chitra Ganesh\, Scherezade Garcia\, Mari am Ghani\, Kris Grey\, Fay Ku\, Tracey Moffatt\, Zanele Muholi\, Marie Watt \, Yee I-Lann. The exhibition is organized by guest curators Debor ah Frizzell and Harry J. Weil\, and by Wave Hill Senior Curator Jennifer Mc Gregor and Curator of Visual Arts Gabriel de Guzman.

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    Recreating a mix of multiple historical narratives\, anci ent mythologies and contemporary events\, Spero focused on the female figur e as protagonist. Three themes that emerge from her work are explored in Outcasts: finding a voice\, the process of constructing multiple per spectives on female identity\; hybrid alternatives to the status quo\, harn essing ancient and modern mythologies to subvert the established social and cultural order\; and healing and empowerment as pathways to resistance\, i nclusiveness and recovery from loss and trauma.

    \n LOCATION:Wave Hill\,West 249th Street and Independence Avenue (front gate) 675 West 252nd Street (mailing) \nBronx\, NY 10471-2899 SUMMARY:Outcasts: Women in the Wilderness \, Samira Abbassy\, Jaishri Abich andani\, Huma Bhabha\, Chitra Ganesh\, Scherezade Garcia\, Mariam Ghani\, K ris Grey\, Yee I-Lann\, Fay Ku\, Tracey Moffatt\, Zanele Muholi\, Nancy Spe ro\, Marie Watt END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:443385 DTSTART:20170301T000000 DTEND:20170603T000000 DESCRIPTION:
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    The lasting legacy that W ill Eisner (1917&ndash\;2005) has in sequential art cannot be overstated&md ash\;he is known as the Champion of the Graphic Novel. His innovative story telling\, layouts\, and art on his newspaper series The Spirit ins pired a generation of cartoonists\, and his turn toward an acclaimed run of graphic novels\, beginning in 1978 with A Contract with God\, hel ped pioneer the form. Among the honors bestowed upon Eisner are the Reuben Award\, the Milton Caniff Lifetime Achievement Award\, the Yellow Kid Award \, and multiple Harvey Awards and Eisner Awards&mdash\;the latter of which were named in his honor.

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    This two-f loor retrospective&mdash\;the largest Eisner exhibition ever in the United States&mdash\;curated by Denis Kitchen and John Lind\, comprises over 150 p ieces including original artwork from Smash Comics (1939)\, key se quences from his graphic novels including A Contract with God (1978)\, Life on Another Planet (1983)\, A Life Force (1988)\, To the Heart of the Storm (1991)\, and over 40 pages of originals from The Spirit (1940&ndash\;1952) newspaper section. Also included are p ersonal items from Eisner'\;s career\, such as his studio drawing board\ , brushes\, and awards. An oversized hardcover catalogue\, published by the Kitchen Sink Books imprint of Dark Horse Books\, accompanies this exhibiti on.

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    &ldquo\;To me\, what Will did w as and is timeless.&rdquo\; &mdash\;Neil Gaiman (The Sandman)

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    &ldquo\;There is no one quite like Will Eisner. There never has been\, and on my more pessimistic days\, I doubt t here ever will be.&rdquo\; &mdash\;Alan Moore (Watchmen\, From Hell)

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    &ldquo\;Will Eisner is\ , and remains\, one of my precious idols.&rdquo\; &mdash\;Frank Miller (The Dark Knight Returns\, Sin City)

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    &ldquo\;Will Eisner is a national treasure.&rdquo\; &mdash\ ;Jules Feiffer

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    &ldquo\;Will Eisner is the heart and mind of American comics.&rdquo\; &mdash\;Scott McCloud (Understanding Comics)

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    \n LOCATION:Society of Illustrators\,128 East 63rd Street \nNew York\, NY 1002 1 SUMMARY:The Centennial Celebration 1917-2017\, Will Eisner END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:443387 DTSTART:20170502T000000 DTEND:20170603T000000 DESCRIPTION:

    "\;Drew Friedman is the gr eat portraitist of our time&rdquo\;&mdash\;BoingBoing&rdquo\;

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    &ldquo\;Drew Friedman turns pen and brush to the great early comic book artists and writers who invented some of the most i conic characters in print and on screen. As exciting to my eye as most comi cs are. A comic nerd&rsquo\;s delight!&rdquo\;&mdash\;Steven Heller

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    Drew Friedman&rsquo\;s two recent books Heroes of the Comics and More Heroes of the Comics\, publis hed by Fantagraphics books\, depicted the great early comic book creators w ho entered into the dawn of the business between 1935&ndash\;1955\, a miles tone in the early history of comic books. The Museum of Illustration at the Society of Illustrators is proud to present 100 original\, meticulous colo r illustrations from Friedman&rsquo\;s two books.

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    Among the colorful subjects are comics pioneer Max (M.C.) Ga ines\, the creators of Superman Jerry Siegel &\; Joe Shuster\, and Super man publishers Harry Donenfled and Jack Liebowitz\, and comic book legends including Batman creators Bob Kane and Bill Finger\, Will Eisner\, (the sub ject of a large concurrent exhibition also at SI celebrating his 100 th birthday)\, Jack Kirby\, Martin Goodman\, Harvey Kurtzman\, Stan Lee\, W ally Wood\, William M. Gaines\, C.C. Beck\, Joe Kubert\, Jack Cole\, Steve Ditko\, Al Jaffee\, Carl Barks\, Jules Feiffer\, James Warren\, and many mo re. Also included in the gallery will be several early female creators incl uding Marie Severin and author Patricia Highsmith who began her career writ ing for comics\, and several African American creators\, among them Matt Ba ker\, Alvin Hollingsworth \; and Orrin C. Evans. The greats and the nea r greats\, many long forgotten with the passage of time but who deserve rec ognition for their work\, now revived in Friedman&rsquo\;s two books and th is exhibition.

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    "\;Heroes of the Comics"\; will be on display at the Society of Illustrators from May 2 - June 4. An ancillary exhibit of "\;Heroes of the Comics"\; will be on display prior to the Society'\;s show at the 2017 MoCCA Arts Festival&n bsp\;from April 1 - 2nd from 11:00AM - 6:00PM at the luxurious and modern M etropolitan West located on West 46th Street between 10th and 11th Avenue. Drew Friedman will also be featured as a Guest of Honor at t he MoCCA Arts Festival. Further scheduling information regarding his visit will be available in future announcements. \;

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    About the Artist
    \nDrew Friedm an'\;s comics and illustrations have appeared in many publicati ons over the past 35 years\, including in Raw\, Weirdo\, American Splendor\, Heavy Metal\, National Lampoon\, SPY\, MAD\, The Ne w Yorker\, The New York Observer\, etc. \; His work has been colle cted in five anthologies\, the first\, published by Fantagraphics in 1985 a nd co-written by Josh Alan Friedman. Drew Friedman'\;s Sideshow Frea ks \;was published by Blast! books in 2011. Friedman illustrated H oward Stern&rsquo\;s two best-selling books Private Parts and Miss America. Steven Heller in the The New York Times wrote o f his three volumes of portraiture of Old Jewish Comedians: "\ ;A festival of drawing virtuosity and fabulous craggy faces. Friedman might very well be the Vermeer of the Borscht Belt"\;. The Society of Illust rators hosted a two-floor showing of his Old Jewish Comedians original art in 2014. \;

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    Heroes of the C omics was published by Fantagraphics in 2014 and the sequel More Heroe s of the Comics came out in 2016. His 8-page comic strip &ldquo\;R. Crumb & amp\; Me&rdquo\; is included in the anthology edited by Roz Chast The B est Comics of 2016. A documentary about Friedman&rsquo\;s life and car eer\, &ldquo\;Vermeer of the Borsht Belt&rdquo\;\, is being filmed by direc tor Kevin Dougherty. Friedman&rsquo\;s next book of portraits &ldquo\;Drew Friedman&rsquo\;s Chosen People&rdquo\; is due out in fall 2017. Drew Fried man and his wife Kathy live in rural PA. \;

    \n LOCATION:Society of Illustrators\,128 East 63rd Street \nNew York\, NY 1002 1 SUMMARY:Heroes of the Comics\, Drew Friedman END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:443388 DTSTART:20170504T180000 DTEND:20170504T200000 LOCATION:Society of Illustrators\,128 East 63rd Street \nNew York\, NY 1002 1 SUMMARY:Heroes of the Comics END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:443389 DTSTART:20170509T000000 DTEND:20170603T000000 DESCRIPTION: LOCATION:Society of Illustrators\,128 East 63rd Street \nNew York\, NY 1002 1 SUMMARY:Student Scholarship 2017 END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:443390 DTSTART:20170509T100000 DTEND:20170509T200000 LOCATION:Society of Illustrators\,128 East 63rd Street \nNew York\, NY 1002 1 SUMMARY:Student Scholarship 2017 END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:443393 DTSTART:20170414T000000 DTEND:20170716T000000 DESCRIPTION:

    This exhibition brings to ligh t for the first time an archive of images that illustrate the formation of our modern definition of nature. William Beebe (1877&ndash\;1962) was one o f America'\;s greatest popularizers of ecological thinking and biologica l science. Beebe literally took the lab into the jungle\, rather than the j ungle to the lab. The Department of Tropical Research was pioneering in tha t\, under Beebe&rsquo\;s direction\, women were hired as lead scientists an d field artists. Artist Isabel Cooper\, joining in 1919\, publicly relished her opportunity to travel through the jungles of Guyana juggling a &ldquo\ ;vivid serpent or tapestried lizard in one hand\, and the best grade of Jap anese paintbrush in the other.&rdquo\; The structure of The Drawing Center& rsquo\;s exhibition will mirror the two salient stages of the Department of Tropical Research'\;s investigations: jungle field station work and flo ating laboratories for marine biology &mdash\;revealing that artists and sc ientists worked closely and productively in the near past and that scientis ts once understood art as a valuable tool for promoting ecological thinking to a broad public. For the exhibition at The Drawing Center\, Mark Dion wi ll construct two installations which take as their inspiration images of th e interiors of the DTR field stations. While one of the installations will develop the space of the jungle laboratories\, the other will look to the o ceanographic workshops. Numerous images in the WCS archive depict the work situations and interior conditions in both the tropical forest field statio ns and the floating labs of the research vessels.

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    \nCurated by Mark Dion\, Katherine McLeod\, and Ma deleine Thompson
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    \nExploratory Works: Drawings from t he Department of Tropical Research Field Expeditions is made possible by the support of Fiona and Eric Rudin\, Jean-Christophe Castelli and Lisa Silver\, Judith Levinson Oppenheimer and John Oppenheimer\, Anthony and Jud y Evnin\, Jerome L. and Ellen Stern\, and the Martin and Rebecca Eisenberg Foundation.
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    \nAdditional support received by Bloomberg Philant hropies.
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    \nSpecial thanks to Canson Fine Art Papers since 1557 \, a proud sponsor of The Drawing Center.

    \n LOCATION:The Drawing Center\,35 Wooster Street \nNew York\, NY 10013 SUMMARY:Exploratory Works: Drawings from the Department of Tropical Researc h Field Expeditions END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:443394 DTSTART:20170413T180000 DTEND:20170413T200000 LOCATION:The Drawing Center\,35 Wooster Street \nNew York\, NY 10013 SUMMARY:Exploratory Works: Drawings from the Department of Tropical Researc h Field Expeditions END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:443397 DTSTART:20170414T000000 DTEND:20170611T000000 DESCRIPTION:

    Marginalia: Open Sessions 10 declares our present geo-political and ideological constructs to be permeable and malleable. The artists in this exhibition view borders and b arriers as material through which to build new avenues of both trespass and solidarity. Marginalia features Daniel Bejar\, Ana Peñ\;alba\, Sue K a\, Carolyn Lambert\, Srinivas Mangipudi\, Irini Miga\, and Rodrigo Valenzu ela.
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    \nDrawing is a mode of inquiry throughout the exhibition Valenzuela visualizes the American dream in deserted landscapes\; Bejar tra verses communities tenuously linked through political maneuvering\; Pe&ntil de\;alba sketches visionary architecture from the waste of the present\; Je ong Ka explores the aesthetics of deportation\; Miga archives tender and al most unnoticeable gestures\; Lambert finds legible marks deep in Arctic ice \; and Mangipudi creates notebooks inviting strangers to add their marginal ia.
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    \nSue Ka takes an interventionist approach to art and law in the US governmental apparatus\; her work operates within the framework o f institutional and postcolonial critiques. Race and immigrant issues in th e United States inform her most recent and ongoing project\, ID Shop.
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    \nCarolyn Lambert uses video and installation to ddress issues of p lace\, territory\, and the relationships that humans have with their enviro nments. The Solastalgia Cycle\, an ongoing body of work\, takes climate cha nge and extinction as a premise for considering the affective experience of living in the present.
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    \nSrinivas Mangipudi uses drawing as a mechanism for cognitive learning and as a dialogue between thought and act ion\, along with interdisciplinary mediums involving visualization\, sound\ , social interactions and computer programming.
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    \nIrini Miga i s a visual artist based in New York City. Her installations investigate the fragmentary nature of memory and its relationship to actual objects in ord er to manipulate the understanding of our physical spaces. By combining scu lpture with painterly qualities\, her work points to shifting relationships between representation\, abstraction and materiality.
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    \nAna P enalba is an architect. She investigates the intangible forms of the city. Her "\;buildings"\; both distort and clarify the limits between rea lity and fiction. Her architecture is made of the sounds\, images\, objects \, and forms of the present\, which remind us of the past while creating an architectural fiction for our future.
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    \nRodrigo Valenzuela co nstructs narratives\, scenes\, and stories that point to the tensions found between the individual and communities. In his work\, autobiographical thr eads inform larger universal fields of experience. His work serves as an ex pressive and intimate point of contact between broader realms of subjectivi ty and political contingency.

    \n LOCATION:The Drawing Center\,35 Wooster Street \nNew York\, NY 10013 SUMMARY:Marginalia: Open Sessions 10\, Daniel Bejar\, Sue Ka\, Carolyn Lamb ert\, srinivas mangipudi\, Irini Miga\, Ana Peñalba\, Rodrigo Valenzuela END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:443398 DTSTART:20170413T180000 DTEND:20170413T200000 LOCATION:The Drawing Center\,35 Wooster Street \nNew York\, NY 10013 SUMMARY:Marginalia: Open Sessions 10 END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:443402 DTSTART:20170420T000000 DTEND:20170526T000000 DESCRIPTION:

    Pace Gallery and Acquavella Ga lleries are pleased to announce "\;Calder / Miró\;: Constellation s\,"\; featuring the Constellations series of Alexander Calder and Joan Miró\;\, respectively. The distinct yet complementary presentations illuminate the startling affinities between the two artists\, who at the ti me the series were created\, were separated by the Atlantic during World Wa r II and unable to communicate. Presenting approximately 60 sculptures\, pa intings and works on paper in dialogue with one another\, these shows highl ight the varied formal\, social and political concerns that informed the si gnificant series&mdash\;neither of which were actually named "\;Constel lations"\; by the artists themselves. Calder: C onstellations will be on view from April 20 through June 30 at Pac e Gallery\, 32 East 57th Street\, and Miró\;: Constellations will be on view from April 20 through May 26 at Acquavella Galleries\, 18 East 79th Street. A joint opening reception will be held on Wednesday\, Apr il 19 from 5:30 to 8 p.m. at both galleries.

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    "\;This exhibition will be a landmark\, both in our history o f documenting the achievements of Alexander Calder and in our long and prod uctive relationship with the Acquavella Galleries\,"\; says Marc Glimch er. "\;The two artists tapped into a powerful artistic current\, which allowed them to create these unique but resonant series\, while they were t otally isolated from each other. Similarly\, we and the Acquavellas share a passion to use our galleries to help advance\, share and further the under standing of some of the greatest accomplishments in the history of 20th cen tury art."\;

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    Calder: Conste llations examines Calder&rsquo\;s artistic output in the year 1943\, w ith several key exceptions spanning 1942&ndash\;1950. During a time when sh eet metal was made scarce due to the war\, Calder returned to wood&mdash\;a medium he had used since the mid-1920s&mdash\;as a primary material. Compo sed of carved biomorphic forms\, sometimes painted in bright\, monochromati c colors\, and connected with steel wires\, the majority of the Constellati ons are wall sculptures\, with occasional standing or suspended works. Jame s Johnson Sweeney and Marcel Duchamp proposed the term "\;Constellation s"\; for these sculptures in early 1943\, and they premiered at Pierre Matisse Gallery later that spring. Constituting a significant departure fro m the work for which Calder was already well known&mdash\;the more recogniz able hanging mobiles and stabiles that he exhibited regularly throughout th e thirties and early forties&mdash\;the Constellations were nonetheless inf used with tangible energy and a sense of dynamism. Although small in scale\ , they share Calder&rsquo\;s expansive vision: "\;I was interested in t he extremely delicate\, open composition\,"\; the artist reminisced. Ca lder&rsquo\;s Constellations also offer insight into his preoccupation with space and our experience of it. With their carved elements projecting at v arying angles off the wall at unexpected moments\, they dictate their own h eight and perspective. The Constellations are mounted higher on the wall th an paintings\, hovering above us\, seemingly defying gravity.

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    At Acquavella Galleries\, Miró\;: Cons tellations reunites the 23 works from Miró\;&rsquo\;s Constellat ions series. Widely considered one of the crowning achievements of his care er\, the suite of gouaches was produced in the beginning years of the war\, between January of 1940 and September of 1941&mdash\;though it was not unt il 1958 that André\; Breton named them &ldquo\;Constellations."\; When Miró\; and his family fled France for Spain ahead of the German invasion in June of 1940\, he took virtually nothing with him apart from t he portfolio of his ten completed Constellations. Miró\; employed the same technique throughout the series\, using oil wash to create a textured \, hazy backdrop for his meticulously detailed motifs executed in gouache. Vibrant primary colors define elements like stars\, eyes\, crescent moons a nd ellipses\, all connected by an interlacing web of thin black lines. With their harmonies of color and form\, these works depict a private universe far removed from the turmoil and terror of the war\, their poetic titles of ten alluding to themes of escape and regeneration.

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    "\;Since they were first exhibited at Pierre Matisse&rs quo\;s gallery in New York in early 1945\, after having been smuggled out o f Europe\, the Constellations have been celebrated as one of the most power ful artistic statements of the 20th century\,"\; said Bill Acquavella. "\;We are delighted to present these works in dialogue with Calder&rsqu o\;s Constellations and to have had the pleasure of collaborating with both artists&rsquo\; grandsons and foundations in the planning of this exhibiti on."\;

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    Together\, these exhibit ions provide unique insight into how the austere climate of the war inspire d both artists to produce iconic works. Longtime friends\, the two met in P aris in 1928 and were regular fixtures of the Montparnasse arts scene\, kno wn to congregate at the legendary brasserie\, La Coupole. The pair saw each other frequently and remained in close contact. When the war broke out in 1939\, communication between the artists was disrupted\, with Calder living in the United States and Miró\; in Europe. Remarkably\, they created their respective seminal Constellations series in tandem with one another. In both cases\, the expansive subject matter belied the circumstances of t heir origins\, bearing witness to the artists&rsquo\; resolve to defy exter nal influence and preserve their creative freedom. Detached from the widesp read devastation of that time\, the Constellations are a testament to how a n artist&rsquo\;s autonomy can manifest.

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    The joint exhibitions will be accompanied by a significant three-volu me catalogue with texts by Margit Rowell\, a former curator at The Museum o f Modern Art\, Centre Georges Pompidou\, Centro de arte Reina Sofia and the Solomon R. Guggenheim Museum\, on Miró\;&rsquo\;s Constellations\, a nd art historian and author Mildred Glimcher on Calder&rsquo\;s Constellati ons. The third volume will comprise an illustrated chronology of the two ar tists&rsquo\; relationship during the war\, while each was making his Const ellations works.

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    Alexander Calder ( 1898&ndash\;1976) is one of the most acclaimed and influential sculptors of the twentieth century. He is renowned for his invention of wire sculpture& mdash\;coined by critics as "\;drawings in space"\;&mdash\;and the mobile\, a kinetic sculpture of suspended abstract elements whose actual mo vement creates everchanging compositions. Calder&rsquo\;s stabiles\, which suggest implied rather than actual movement\, similarly transform their sur rounding space and the experience of the viewer. Calder also devoted himsel f to making outdoor sculpture on a grand scale from bolted sheets of steel\ , many of which stand in public plazas in cities throughout the world. Pace Gallery has worked closely with the Calder estate since 1984.

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    Pace Gallery is a leading contemporary art gall ery representing many of the most significant international artists and est ates of the twentieth and twenty-first centuries. Founded by Arne Glimcher in Boston in 1960 and currently led by Marc Glimcher\, Pace has been a cons tant\, vital force in the \; art world and has introduced many renowned artists&rsquo\; work to the public for the first time. Pace has mounted mo re than 800 exhibitions\, including scholarly shows that have subsequently traveled to museums\, and published over 400 exhibition catalogues. Today\, Pace has ten locations worldwide: three galleries in New York\; one in Lon don\; one in Palo Alto\, California\; one in Beijing\; and spaces in Seoul\ , Hong Kong\, Paris and Menlo Park\, California. In 2016\, the gallery laun ched Pace Art + Technology\, a new program dedicated to showcasing interdis ciplinary art groups\, collectives and studios whose works explore the conf luence of art and technology.

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    Joan Miró\; (1893&ndash\;1983) was a Catalan painter\, sculptor\, and cera micist of international acclaim. Considered to be one of the most influenti al artists of the 20th century\, Miró\; created a unique and personal language which draws on memory\, fantasy\, and the irrational. His works e volved from the tension between his poetic impulse and the fraught politica l climate of the time\, framed by the Spanish Civil War and World War II. W orks by Miró\; can be found in museum collections across the world\, and there are two museums dedicated to his work: Fundació\; Joan Mir& oacute\;\, Barcelona and Fundació\; Pilar i Joan Miró\;\, Palma de Mallorca.

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    Acquavella Galleries is distinguished for its expertise in the fields of Impressionist\, modern and contemporary art. Founded by Nicholas Acquavella in the early 1920s\, t he gallery is now a three-generation\, family-owned business. For over 90 y ears\, Acquavella Galleries has presented the work of acclaimed internation al artists\, working with private collectors and museums worldwide. Through its exhibitions\, it has gained a reputation for organizing shows of museu m-quality\, including those of Monet\, Degas\, Cé\;zanne\, Sisley\, R enoir\, Pissarro\, Modigliani\, Bonnard\, Tanguy\, Lé\;ger\, Picasso\ , Matisse\, Rauschenberg\, \; Feininger\, Giacometti\, and Miró\; as well as those of living artists Miquel Barceló\;\, Jacob El Hanan i\, Damian Loeb\, and Wayne Thiebaud.

    \n LOCATION:Acquavella Galleries\,18 East 79th Street \nNew York\, NY 10075 SUMMARY:Miró: Constellations\, Joan Miro END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:443403 DTSTART:20170419T173000 DTEND:20170419T200000 LOCATION:Acquavella Galleries\,18 East 79th Street \nNew York\, NY 10075 SUMMARY:Constellations END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:443406 DTSTART:20170421T000000 DTEND:20170611T000000 DESCRIPTION:

    Truth\, Theft\, Theorie: three words take shape and arrange on a plinth. In the abstract\, they&rsquo\;re words that are heavy on concept and light on the tongue&mdash\;but Naoki S utter-Shudo foregrounds the concrete. &ldquo\;TRUTH&rdquo\; wraps around it self to emblazon a wagon\, or war machine\, for critters. &ldquo\;THEFT&rdq uo\; wraps too\, though more somberly\; its T&rsquo\;s are load-bearing. Me anwhile &ldquo\;THEORIE&rdquo\; disperses her letters\, accented with daisi es\, making this French theory quite literally &lsquo\;flowery.&rsquo\; Act ing less like signage and more like signatures\, these words have ditched l egibility for personality\, preferring expression to communication. They wi nd down personal\, associative burrows\, far exceeding their duty to denote .

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    Style&rsquo\;s not a supplement\, and ornament isn&rsquo\;t fluff. It&rsquo\;s the details of how something arrives to us that make it what it is exactly: an antique tinged by decades of soft use\, a coin worn down by your hand and others&rsquo\;\, a word pu shed through the vocal cords of someone very special to you. In much of Ame rica\, there&rsquo\;s suspicion toward more conscious examples&mdash\;we&rs quo\;re wary of &ldquo\;put-ons\,&rdquo\; which we oppose to realness. But maybe our especially streamlined alphabet helps us forget that\, elsewhere\ , accentuations and inflections aren&rsquo\;t foppish or fussy but substant ive\, transformative: in French they&rsquo\;re the difference between eels (congres) and Congress (congrè\;s)\; in Japanese\, they&rsquo\;re the phonetic difference between a persimmon (柿\, /kaki/) and an oyster (牡蠣\, /ka↓ki/). The absence of inflection is just as high-stakes as its inclusion.

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    From this vantag e point\, you can read minimalism\, sans-serifs\, white cubes\, all as path ological theatres of distillation&mdash\;an ornament of absence\, but ornat e nonetheless. The way I see it\, Sutter-Shudo&rsquo\;s work raises this po int by running in the opposite direction\, toward the heart of adornment\, into a theatre of &ldquo\;and.&rdquo\; There\, the rhythm and texture are c loser to the feeling of Home: things and decisions pile up\, however slowly \, deepening the roots of your specificity&mdash\;your life as you&rsquo\;v e lived it in sum\, so far.

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    All the show&rsquo\;s photographs were taken in the artist&rsquo\;s home. So\, in Eat well or rest easy or\, the sugar jar is not &lsquo\;a&rsquo\; sugar jar\, it&rsquo\;s &lsquo\;this&rsquo\; sugar jar\; the lemon is not & lsquo\;a&rsquo\; lemon but &lsquo\;that&rsquo\; lemon\, squeezed on that da y. The glass by a very famous artist actually gets used (for flowers). That the photographs&rsquo\; frames take on their own excesses\, becoming more active and sculptural\, seems a way of matching their scenes&mdash\;to part ake in the particularity of a home\, to do something more than contain.

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    Embellishment has many functions. As t he photo-dioramas show\, it can annotate\, or anoint\, or conceal\, to name just a few possibilities. It&rsquo\;s slippery\, which can be exciting&mda sh\;and in an age of austerity measures\, maybe reductionism doesn&rsquo\;t always feel quite as right. When you get to the candy dishes in the back o f the gallery\, ask yourself\, if you decide to indulge: what&rsquo\;s a je lly bean without its flavoring\, its dyes\, its shape?

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    &ndash\;Nick Irvin

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    Naoki Sutter-Shudo (b.1990\, Paris) lives and works in Los Angeles. Rec ent exhibitions include Ashes/Ashes\, Los Angeles\, CA\; The Sunroom\, Rich mond\, VA\; Jessica Silverman Gallery\, San Francisco\, CA\; Los Angeles Co ntemporary Archive\, Los Angeles\, CA\; and Mortadelle\, Arles\, France. He is the cofounder of Holoholo\, a publishing house based in Paris\, and the exhibition space Bel Ami\, opening soon in Los Angeles.

    \n LOCATION:Bodega\,167 Rivington St. Lower Level East\nNew York\, NY 10002 SUMMARY:Parade\, Naoki Sutter-Shudo END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:443407 DTSTART:20170420T180000 DTEND:20170420T200000 LOCATION:Bodega\,167 Rivington St. Lower Level East\nNew York\, NY 10002 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z UID:443408 DTSTART:20170303T000000 DTEND:20170723T000000 DESCRIPTION:

    Georgia O&rsquo\;Keeffe: L iving Modern takes a new look at how the renowned modernist artist pro claimed her progressive\, independent lifestyle through a self-crafted publ ic persona&mdash\;including her clothing and the way she posed for the came ra. The exhibition expands our understanding of O'\;Keeffe by focusing o n her wardrobe\, shown for the first time alongside key paintings and photo graphs. It confirms and explores her determination to be in charge of how t he world understood her identity and artistic values.

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    In addition to selected paintings and items of clothing\ , the exhibition presents photographs of O&rsquo\;Keeffe and her homes by A lfred Stieglitz\, Ansel Adams\, Annie Leibovitz\, Philippe Halsman\, Yousuf Karsh\, Cecil Beaton\, Andy Warhol\, Bruce Weber\, Todd Webb\, and others. It also includes works that entered the Brooklyn collection following O&rs quo\;Keeffe&rsquo\;s first-ever museum exhibition&mdash\;held at the Brookl yn Museum in 1927.

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    The exhibition i s organized in sections that run from her early years\, when O&rsquo\;Keeff e crafted a signature style of dress that dispensed with ornamentation\; to her years in New York\, in the 1920s and 1930s\, when a black-and-white pa lette dominated much of her art and dress\; and to her later years in New M exico\, where her art and clothing changed in response to the surrounding c olors of the Southwestern landscape. The final section explores the enormou s role photography played in the artist&rsquo\;s reinvention of herself in the Southwest\, when a younger generation of photographers visited her\, so lidifying her status as a pioneer of modernism and as a contemporary style icon.

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    Georgia O&rsquo\;Keeffe: Living Modern is organized by guest curator Wanda M. Corn\, Robert and Ruth Halperin Professor Emerita in Art History\, Stanford University\, and coordinated by Lisa Small\, Curator of European Painting and Sculpture\, B rooklyn Museum.

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    Lead sponsorship for this exhibition is provid ed by the Calvin Klein Family Foundation. Generous support is also provided by Anne Klein\, Bank of America\, the Helene Zucker Seeman Memorial Exhibi tion Fund\, Christie'\;s\, Almine Rech Gallery\, and the Alturas Foundat ion. The accompanying book is supported by the Wyeth Foundation for America n Art and the Carl &\; Marilynn Thoma Art Foundation and is published by the Brooklyn Museum in association with DelMonico Books &bull\; Prestel.\n LOCATION:Brooklyn Museum of Art\,200 Eastern Parkway \nBrooklyn\, NY 11238- 6052 SUMMARY:Georgia O’Keeffe: Living Modern\, Ansel Adams\, Cecil Beaton\, Phil ippe Halsman\, Yousuf Karsh\, Annie Leibovitz\, Georgia O’Keeffe\, Alfred S tieglitz\, Andy Warhol\, Todd Webb\, Bruce Weber END:VEVENT BEGIN:VEVENT DTSTAMP:20170526T132334Z 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:20170526T132334Z 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:20170526T132334Z 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 END:VCALENDAR