BEGIN:VCALENDAR VERSION:2.0 PRODID:icalendar-ruby CALSCALE:GREGORIAN BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:428272 DTSTART:20161015T000000 DTEND:20161222T000000 DESCRIPTION: LOCATION:Alexander and Bonin\,132 10th Ave. between 18th and 19th streets i n Chelsea\nNew York \, NY 10011 SUMMARY:Works from 1982-85\, Mark Morrisroe END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:428273 DTSTART:20161015T180000 DTEND:20161015T200000 LOCATION:Alexander and Bonin\,132 10th Ave. between 18th and 19th streets i n Chelsea\nNew York \, NY 10011 SUMMARY:Works from 1982-85\, Mark Morrisroe END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:428274 DTSTART:20161015T000000 DTEND:20161222T000000 DESCRIPTION: LOCATION:Alexander and Bonin\,132 10th Ave. between 18th and 19th streets i n Chelsea\nNew York \, NY 10011 SUMMARY:Something in the Wind\, Ree Morton END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:428275 DTSTART:20161015T180000 DTEND:20161015T200000 LOCATION:Alexander and Bonin\,132 10th Ave. between 18th and 19th streets i n Chelsea\nNew York \, NY 10011 SUMMARY:Something in the Wind\, Ree Morton END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:428278 DTSTART:20161015T000000 DTEND:20161222T000000 DESCRIPTION: LOCATION:Alexander and Bonin\,132 10th Ave. between 18th and 19th streets i n Chelsea\nNew York \, NY 10011 SUMMARY:Passage\, Willie Doherty END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:428279 DTSTART:20161015T180000 DTEND:20161015T200000 LOCATION:Alexander and Bonin\,132 10th Ave. between 18th and 19th streets i n Chelsea\nNew York \, NY 10011 SUMMARY:Passage\, Willie Doherty END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:428469 DTSTART:20161103T000000 DTEND:20170108T000000 DESCRIPTION:

Foley Gallery is pleased to present Document\, an exhibition chronicling a twelve-year project by iconic photographer Henry Leutwyler. This will be the artist&rsquo\;s thir d exhibition with the gallery.

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Document will feature a variety of possessions removed from their environment and intimately photographed as artifacts or bookmarks of our own understanding of American History. Rep resenting icons of music\, sports\, politics and Hollywood\, these still-li fe portraits invite the viewer to explore and perhaps better understand the owners to which the items once belonged.

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These previously owned ob jects directly or indirectly associate themselves to the person or to a par ticular time in our own history. Some are tools of the trade\, others are m ore common and mundane\; a glove worn by Michael Jackson\, a guitar that on ce belonged to Prince\, Jack Ruby&rsquo\;s handgun and a key that turned th e lock of James Dean&rsquo\;s door at the Iroquois Hotel. All stoic images\ , now endowed with new meaning and emotion once their owners are identified . This revelation raises their status and comes to signify events or entire lives of those that we remember so well as being pioneers\, great achiever s or simply dark and notorious for the actions they took during their lifet ime.

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The Document exhibition follows Leutwyler&rsquo\;s third publi cation with Steidl. The October 2016 release of the book (bearing the same name) will include 208 pages and 123 color images that cover Leutwyler&rsqu o\;s extensive career.

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Leutwyler was born in Switzerland in 1961. B efore settling in New York City\, He lived in Paris for ten years\, and beg an photographing the Ballet Bejart Dance Company. He travelled extensively with the company before focusing on theater and the arts. Leutwyler&rsquo\; s past subjects include Michelle Obama\, Julia Roberts\, Tom Wolfe\, Beyonc é\; Knowles\, Martin Scorsese\, and Spike Lee. His work has been feat ured in the New York Times Magazine\, Portfolio\, Esquire\, Vogue\, Vanity Fair\, The New Yorker\, and Time. His works have earned him the ASME 2008 M agazine Cover of the Year Award and Graphis Magazine 2008 Photographer of t he Year.

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Document will remain on view through January 8th\, 2017. F oley Gallery is open Wednesday through Saturday\, 11 &ndash\; 6pm\, Sunday 12 - 6. To request images\, please contact the gallery at 212.244.9081 or i nfo@foleygallery.com

LOCATION:Foley Gallery\,59 Orchard Street \nNew York\, NY 10002 SUMMARY:Document\, Henry Leutwyler END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:428470 DTSTART:20161103T180000 DTEND:20161103T200000 LOCATION:Foley Gallery\,59 Orchard Street \nNew York\, NY 10002 SUMMARY:Document\, Henry Leutwyler END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430209 DTSTART:20161027T000000 DTEND:20161217T000000 DESCRIPTION:

Alexander Gray Associates pres ents its second exhibition of work by Siah Armajani (b.1939)\, featuring re cent works from the &ldquo\;Tomb Series&rdquo\; (1972&ndash\;present).

LOCATION:Alexander Gray Associates\,510 West 26 Street \nNew York\, NY 1000 1 SUMMARY:Solo Exhibition\, Siah Armajani END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430210 DTSTART:20161027T180000 DTEND:20161027T200000 LOCATION:Alexander Gray Associates\,510 West 26 Street \nNew York\, NY 1000 1 SUMMARY:Solo Exhibition\, Siah Armajani END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430747 DTSTART:20161110T000000 DTEND:20161222T000000 DESCRIPTION:

Anton Kern Gallery is turning twenty and we celebrate this anniversary with Implosion 20\, a gro up exhibition featuring the work of all 27 artists on roster\, as well as w orks by artists who have shown previously or have had a personal connection to the gallery. In addition\, we will present a series of events\, kicking off with a special &lsquo\;lecture&rsquo\; performed by John Bock. The exh ibition will mark the last show at this location before we move to Midtown Manhattan.

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The show is based around the concept of implosion\, not as a destructive force but as a ce ntering force and act of integration. From its inception 1996\, the gallery has grown organically out of the dialogue between Anton and our core roste r of artists. This exhibition is to pay tribute to those who have shaped th e gallery&rsquo\;s trajectory and have made the gallery what it is today: a space of confluence for various media and artists of different backgrounds and locales.

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Implosion 20 will juxtapose new works with historic pieces that became milestones in th e gallery&rsquo\;s history. A video recording of Angus Fairhurst&rsquo\;s l ive performance (with Phillip Bradshaw\, Cerith Wyn Evans and Matt Collisha w) from his two-person show with Lothar Hempel\, Low Expectations\, commemo rates the gallery&rsquo\;s opening on September 19\, 1996. The concert esta blished the enduring interest in the intersection between visual art and mu sic that defines the gallery and many of its participants.

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During the opening reception on November 10th\, Joh n Bock will give a lecture-performance. As the first artist to exhibit at t he 532 West 20th Street space\, it is appropriate that he mark the closing of the space with an enactment of his piece\, Dünnhä\;utiger Butch er (Thin-skinned Butcher)\, a work in which Bock creates small clay po rtraits of members of the audience that he will give away. Accompanying the exhibition will be a weekly program of performances taking place in the ga llery every Saturday afternoon with live music\, poetry readings and other works by the gallery artists and their network of friends.

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A zine on Implosion 20 and the gallery&rsquo\;s his tory\, featuring an essay by Bob Nickas\, will be available on the occasion .

\n LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SUMMARY:Implosion 20: Celebrating 20 Years\, Nobuyoshi Araki\, Georg Baseli tz\, Ellen Berkenblit\, John Bock\, Brian Calvin\, Anne Collier\, Nicole Ei senman\, Angus Fairhurst\, Saul Fletcher\, Martino Gamper\, Mark Grotjahn\, Bendix Harms\, Eberhard Havekost\, Lothar Hempel\, Richard Hughes\, Doroth y Iannone\, Robert Janitz\, Sarah Jones\, Edward Krasinski\, Shio Kusaka\, Jim Lambie\, Marepe\, Chris Martin\, Dan McCarthy\, Enrique Metinides\, Mat thew Monahan\, Matt Mullican\, Marcel Odenbach\, Manfred Pernice\, Alessand ro Pessoli\, Richard Prince\, Wilhelm Sasnal\, Lara Schnitger\, David Shrig ley\, Rirkrit Tiravanija\, Francis Upritchard\, Erik van Lieshout\, Andy Wa rhol\, Jonas Wood END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430748 DTSTART:20161110T180000 DTEND:20161110T200000 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SUMMARY:Implosion 20 END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430757 DTSTART:20161027T000000 DTEND:20161217T000000 DESCRIPTION:
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Casey Kaplan is pleased to announ ce \;Trade Winds\, our first solo exhibition with Hugh Scott-D ouglas\, featuring a new series of UV cured inkjet and resin printed canvas es and a recent digital video work. Scott-Douglas works from a studio space in the Brooklyn Navy Yard\, an urban industrial park with a long varied hi story of changing roles ranging from naval shipyard to film studio lot. Ref lecting on this environment\, he began researching the global shipping trad e and found a mapping software able to track all thoroughfare of sea transp ort. Utilizing the capabilities of the program in a manner different from t he software&rsquo\;s intent\, Scott-Douglas isolates the environmental cond itions in each location &ndash\; which appear as real-time graphemes of lin es\, arrows\, and triangles &ndash\; by removing all of the boats from the water. Specific to current\, wind\, and wave directions\, these symbols are mapping the shifting conditions of the various trade routes\, and become t he basis of his artworks in layers of printed ink and resin.

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Throughout Scott-Douglas&rsquo\;s practice are moti fs concerning an interest in systems of value\, and the deconstruction of p rotocols and symbols. This can be seen in his previous series\, such as:&nb sp\;Chopped Bills \;and \;Torn Cheques \;(201 3-2014)\, his folded billboard sculptures (2014) and a set of prints derive d from the interior workings of watches in 2015. With his latest body of wo rk\, Scott-Douglas approaches similar queries.

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Guided by a composite image of a thousand global satellites\, eac h composition is an abstraction representing a different commercial shippin g route. The individual artwork&rsquo\;s titles\, such as \;Bossa N ova \;(a journey from Salvador\, Brazil to Tangier\, Morocco) refe r to the names of these naval thoroughfares. The artworks are created by zo oming in on a specific oceanic area and removing the naval vessels from the coded mapping system. In a multi-phase process\, the artist creates aerial maps with their own individual color schemes. Then with the aid of an indu strial printer\, a process akin to silkscreening is employed to render each image in its layers where current\, wind\, and wave directions are frozen\ , one on top of the next\, as if time has collapsed into a perpetual presen t.

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Alongside the canvas prints\, Scot t-Douglas presents \;Shudder\, a 2-minute looped\, digital vid eo that considers the measurement of an amorphous form\, air. With a camera attached on top of an air compressor and aimed at the artist&rsquo\;s stud io floor\, the compressor is activated and begins to shake aggressively\, c reating wild gestures within the frame. Filmed also from an aerial perspect ive\, what is experienced is the compressor filling with air in order to re ach full pressure. When the compressor reaches its capacity and stops intak ing air\, the camera for a moment becomes still. In those few final seconds \, the viewer can clearly see Scott-Douglas&rsquo\; studio floor before the cycle repeats and the image becomes amorphous again. From hypnotic blur to splattered studio floor\, the video documents the transition of nebulous a ir into controlled and measured units and imparts a tangibility to that whi ch often goes unnoticed.

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LOCATION:Casey Kaplan Gallery\,121 W. 27th St. \nNew York\, NY 10001 SUMMARY:Trade Winds\, Hugh Scott-Douglas END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430758 DTSTART:20161027T180000 DTEND:20161027T200000 LOCATION:Casey Kaplan Gallery\,121 W. 27th St. \nNew York\, NY 10001 SUMMARY:Trade Winds\, Hugh Scott-Douglas END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430759 DTSTART:20161027T000000 DTEND:20161231T000000 DESCRIPTION:
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Cheim & \; Read is pleased to announce Joan Mitchell: Drawing into Painting\, a sur vey of works on canvas and paper from 1958 through 1992\, the year of the a rtist&rsquo\;s death. The exhibition\, which will open on October 27\, 2016 \, and run through December 31\, will be accompanied by a catalogue featuri ng an essay by Mark Rosenthal.

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For Mi tchell\, drawing and painting were related but autonomous activities. Her p astels can be as dense as oil paintings\, and her oil paintings can be as l ight and airy as watercolors. The exhibition includes art from each decade of her career\, with a formal range spanning flurried strokes and gestural lines of rhapsodic color\, to darkly massed forms and complex\, multi-panel formats. Featured among the large works in oil on canvas are the ravishing diptych &ldquo\;Heel\, Sit\, Stay&rdquo\; (1977) and the turbulent &ldquo\ ;La Grande Vallé\;e XVI Pour Iva&rdquo\; (1983)\, painted in high con trasts of indigo\, violet\, lemon and lime.

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Mitchell&rsquo\;s move to France in 1959\, as Rosenthal writes in hi s essay\, &ldquo\;suggests an aesthetic choice whereby she submerged Americ an artistic developments within a profound embrace of French Impressionism. &rdquo\; This decision represented a significant departure from the influen ces and goals of her colleagues in the New York School\, and harked back to her student days at the School of the Art Institute of Chicago\, where she was &ldquo\;enthusiastically [&hellip\;] engaged with Modernist French art \, from É\;douard Manet to Henri Matisse.&rdquo\;

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The hedonistic color and vibrant light that characterize s Mitchell&rsquo\;s work\, especially the paintings she made after settling in Vé\;theuil\, a village on the Seine near Giverny\, significantly expanded the formal vocabulary of Abstract Expressionism. As Rosenthal note s\, Mitchell &ldquo\;evolved the New York School style by adding finesse to its gritty character and cultural awareness to its American outlook.&rdquo \;

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The sweep and complexity of Mitche ll&rsquo\;s painterly language is built on an armature of drawing\, whether it&rsquo\;s a feverish tangle of colored pencil lines or a series of loose ly demarcated partitions dancing across a seven-panel pastel. Whatever its approach\, each work in the exhibition embodies a unique consideration of c olor\, gesture and structure\, and a deeply felt understanding of the expre ssive potential of the graphic mark.

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Joan Mitchell was born in 1925 in Chicago\, and spent half her life in France\, where she died in 1992. In 1951\, her work was exhibited alongs ide that of Jackson Pollock\, Willem de Kooning and Hans Hoffman in the cel ebrated &ldquo\;Ninth Street Show\,&rdquo\; which marked the ascendancy of Abstract Expressionism within the development of modern art. Mitchell has s ince been the subject of numerous museum exhibitions\, and examples of her work hang in nearly every major public collection of modern art\, including the Art Institute of Chicago\; Centre Georges Pompidou\, Paris\; the Gugge nheim Museum\; the Museum of Contemporary Art\, Sydney\, Australia\; the Mu seum of Modern Art\, New York\; the Osaka City Art Museum of Modern Art\, J apan\; the Samsung Museum\, Seoul\; the Tate Gallery\, London and the Whitn ey Museum of American Art\, New York.

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Mitchell&rsquo\;s work is also featured in several current and upcoming hi storical surveys: Woman of Abstract Expressionism at the Denver Art Museum through Sep 25\, 2016\; Abstract Expressionism\, a touring exhibition at th e Royal Academy of Arts\, London\, September 24\, 2016 &ndash\; January 2\, 2017\, and the Guggenheim Museum Bilbao\, February 3 &ndash\; June 4\, 201 7\; and Approaching American Abstraction at the San Francisco Museum of Mod ern Art\, May 14\, 2016-ongoing.

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LOCATION:Cheim & Read\,547 West 25th St \nNew York\, NY 10001 SUMMARY:Drawing into Painting\, Joan Mitchell END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430760 DTSTART:20161027T180000 DTEND:20161027T200000 LOCATION:Cheim & Read\,547 West 25th St \nNew York\, NY 10001 SUMMARY:Drawing into Painting\, Joan Mitchell END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430761 DTSTART:20161029T000000 DTEND:20161216T000000 DESCRIPTION:

CUE Art Foundation is pleased to announce a solo exhibition of new sc ulptural works and a large-scale installation by Christina P. Day. The work s in Stills and Composites were created in response to recently di scovered video footage from the wedding anniversary celebration of Day&rsqu o\;s great aunt and uncle in 1983. A home video camera was situated in the corner of the dance floor of the VFW hall\, where guests repeatedly bumped into it. At times\, the camera was pointed at the ceiling\, or the back of a partygoer&rsquo\;s head. The resulting film is a fragmentary\, unobstruct ed recording of time. For her exhibition\, Day employs found materials and architectural constructions to explore this mise-en-scè\;ne&mdash\;re staging the video from different perspectives.

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For the installation Playbacks #1-5\, Day extracted audi o from the video\, which plays on a row of five vintage Pioneer Mimmy headp hones. The disembodied sound of an entertainer playing love songs on a Casi o keyboard echoes through the headphones\, as if just on the other side of the wall. Day&rsquo\;s wall-mounted piece Cascade (One&rsquo\;s one and only) was inspired by the corsages and boutonniè\;res of the gu ests in the video\, and fashioned from the vinyl of a found seat cover. Tra nsparent and yellowed with age\, the hand-stitched flowers cast a warm glow on the gallery wall.

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The large-scale installation The light I&rsquo\;ll be (1983) is central to the ex hibition. Composed of a white-walled cube\, each side is interrupted by an impassable opening that offers a tantalizing view into the interior. Day ha s constructed a maze of walls and surfaces inside the cube\, collapsing and manipulating the viewer&rsquo\;s perspective. Curator Cecilia Alemani note s: &ldquo\;Day&rsquo\;s complex installations seem to also evoke a specific temporality\, which proceeds with ruptures and hiatuses instead of being l inear. Similar to Gordon Matta-Clark&rsquo\;s practice of physically alteri ng spaces and places\, Day&rsquo\;s artistic vocabularies challenge the sen se of history and evoke a vertigo of displacement\, both physical and tempo ral. It is a matter of a temporal tension between form and its deconstructi on\, between wholeness and the fragment. Day&rsquo\;s works vacillate betwe en inside and outside: they are fragments of an architectural environment t hat appear like slices cut out from buildings. Looking at these structures\ , it is difficult to say whether they are in the process of being built\, i f they are the structural parts of a more complete work\, or if they are wh at remains of an old family memory.&rdquo\;

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Christina P. Day lives and works i n Philadelphia\, PA. She earned a BFA from the University of the Arts\, and an MFA from the Cranbrook Academy of Art. Her work has been exhibited at t he Philadelphia Sculpture Gym\, the Hongik Museum of Art (Seoul\, Korea)\, the Philip and Muriel Berman Museum of Art (Collegeville\, PA)\, NAPOLEON ( Philadelphia\, PA)\, the Artist-Run project at the Satellite Show (Miami\, FL)\, the Philadelphia Art Alliance\, and the Woodmere Art Museum (Philadel phia\, PA). She has held residencies at Sculpture Space\, the Vermont Studi o Center\, the Haystack Mountain School of Craft\, and RAIR (Recycled Artis t in Residency). She is a former member of the NAPOLEON artist collective o f Philadelphia (2012-2016). She teaches in the Crafts/Fiber Program at the University of the Arts (Philadelphia\, PA) and is a Professor of Fiber at t he Maryland Institute College of Art (Baltimore\, MD).

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This exhibition is a winning selection from the 2015-16 O pen Call for Solo Exhibitions. The proposal was unanimously selected by a j ury comprised of panelists Cecilia Alemani\, Donald R. Mul len\, Jr. Director &\; Chief Curator of High Line Art\; \;Re naud Proch\, Executive Director of Independent Curators Internatio nal (ICI)\; and Rujeko Hockley\, Assistant Curator of Cont emporary Art at the Brooklyn Museum. In line with CUE&rsquo\;s commitment t o providing substantive professional development opportunities\, panelists also serve as mentors to the exhibiting artists\, providing support through out the process of developing the exhibition. We are honored to work with p anelist Cecilia Alemani as the Curator-Mentor for this exhibition.

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This exhibition is sponsored in part by RAIR (Recycled Artist in Reside ncy).

LOCATION:CUE Art Foundation\,137 West 25th Street Ground Floor\nNew York\, NY 10001 SUMMARY:Stills and Composites\, Christina P. Day END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430762 DTSTART:20161029T180000 DTEND:20161029T200000 LOCATION:CUE Art Foundation\,137 West 25th Street Ground Floor\nNew York\, NY 10001 SUMMARY:Stills and Composites\, Christina P. Day END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430769 DTSTART:20161105T000000 DTEND:20161217T000000 DESCRIPTION:

David Zwirner is pleased to pr esent an exhibition of new sculptures by Carol Bove\, marking her first sho w with the gallery in New York. Spanning two adjacent spaces on 525 and 533 West 19th \;Street in Chelsea\, Polka Dots follows the artist &rsquo\;s 2015 exhibition at David Zwirner&rsquo\;s London location.

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Bove is known for her assemblages that com bine found and made elements. Incorporating a wide range of domestic\, indu strial\, and natural objects\, her sculptures\, paintings\, and prints reve al the poetry of their materials. As the art historian Johanna Burton notes in the catalogue accompanying this exhibition\, &ldquo\;Bove brings things together not to nudge associative impulses into free play driven by the un conscious\, but rather to conjure a kind of affective tangle that disrupts any singular\, historical narrative.&rdquo\;1

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The exhibition presents a new series of large-scale &l dquo\;collage sculptures&rdquo\; that mark a departure within the artist&rs quo\;s practice. To create these abstract assemblages\, which merge various types of sculptural processes from her earlier works and references to art historical precedents\, Bove combines three different types of steel. Six- inch square steel tubing that has been crushed and shaped at her studio is arranged with found scrap metals and punctuated by shallow\, highly polishe d discs. The compositions are either fully or partially painted using a pal ette of bright colors evocative of Willem de Kooning&rsquo\;s painting Woman and Bicycle (1952-1953).

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Despite their heavy materiality\, the sculptures appear lightweight\, flexi ble\, and improvisational. Their alternating surfaces create a play of text ures&mdash\;while the painted steel resembles clay or fabric\, the overall forms evoke complex references that go beyond their stylistic appearances. The contorted shapes vaguely recall Anthony Caro&rsquo\;s bolted and welded forms\, John Chamberlain&rsquo\;s crushed sculptures\, Mark di Suvero&rsqu o\;s abstract expressionist configurations\, and Louise Nevelson&rsquo\;s a ccumulated assemblages\, just as they can be seen to incorporate the collag ist aesthetic of the Chicago Imagists of the 1960s\, who combined disparate art historical styles and techniques. \;In Daphne and Apollo& mdash\;a tight arrangement of solid red steel tubing wrapped around large p ieces of found steel from a scrapyard&mdash\;one material seems to morph in to another with an allusion of movement similar to the Baroque sculpture of the same title by Bernini.

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The new body of work is on view in both galleries along with other sculptures by th e artist. In the first space\, a large\, white &ldquo\;glyph&rdquo\;&mdash\ ;part of an ongoing series of flawlessly glossy\, looping steel sculptures& mdash\;is positioned on the floor ahead of three collage sculptures arrange d on a broad\, low pedestal. The adjacent gallery presents a configuration of the new sculptures\, a glyph\, and a large-scale\, square steel grid. Th e latter acts as a kind of viewfinder into the room\, which is painted a un iform matte black. The structure provides a shifting frame of the show\, pi ctorializing relationships between the works and the viewer.

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The exhibition is accompanied by a catalogue desig ned by Joseph Logan in close collaboration with Bove. Published by David Zw irner Books\, it features new scholarship by Johanna Burton and photography by Andreas Laszlo Konrath taken over the course of multiple visits to the artist&rsquo\;s Brooklyn studio. The publication explores both the process and the finished work\, offering a behind-the-scenes look into Bove&rsquo\; s practice.

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Born in 1971 in Geneva to American parents\, Carol Bove was raised in Berkeley\, California and studied at New York University. She joined David Zwirner in 2011 and in 2015\, \;T he Plastic Unit \;marked her first solo exhibition at the gallery& rsquo\;s London location.

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Bove&rsquo \;s large-scale sculptures are often exhibited outdoors and in public space s. Most recently\, the artist&rsquo\;s steel-beam sculpture\, \;Lin gam\, was installed in City Hall Park in New York as part of the 2016 summer group exhibition\, \;The Language of Things\, organized by Public Art Fund. In 2013\, she created a series of sculptures specially for the High Line at the Rail Yards in New York. The project\, entitled&nb sp\;Caterpillar\, was commissioned by High Line Art and ran throug h 2014.

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Her work has been the subjec t of solo exhibitions at prominent institutions that include The Museum of Modern Art\, New York\; The Common Guild\, Glasgow (all 2013)\; Palais de T okyo\, Paris (2010)\; Horticultural Society of New York (2009)\; Blanton Mu seum of Art\, \;The University of Texas at Austin \;(2006)\; Kunsth alle Zürich\; Institute of Contemporary Art\, Boston (both 2004)\; and Kun stverein Hamburg (2003). Major group exhibitions include Documenta 13\, Kas sel\, Germany (2012)\; 54th Venice Biennale (2011)\; and the Whitney Bienni al\, Whitney Museum of American Art\, New York (2008).

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In 2014\, Bove debuted a new body of work alongside exhi bition designs and sculptures by Italian architect Carlo Scarpa. \; Carol Bove/Carlo Scarpa \;was curated by the Henry Moore Institute in Leeds\, England and produced in collaboration with Museion\, Bolzano\, Italy and Museum Dhondt-Dhaenens\, Deurle\, Belgium. The show was first hos ted by Museion (November 2014 &ndash\; March 2015)\, followed by the Henry Moore Institute (April &ndash\; July 2015) and Museum Dhondt-Dhaenens (Octo ber 2015 &ndash\; January 2016).

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Bet ween 2009 and 2013\, \;Bove was a clinical associate professor of studi o art in Steinhardt&rsquo\;s Department of Art and Art Professions at New Y ork University.

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Work by the artist i s represented in permanent collections worldwide\, including the Fonds R&ea cute\;gional d&rsquo\;Art Contemporain (FRAC) Nord-Pas de Calais\, Dunkerqu e\, France\; Institute of Contemporary Art\, Boston\; The Museum of Modern Art\, New York\; Princeton University Art Museum\, New Jersey\; Wadsworth A theneum Museum of Art\, Hartford\, Connecticut\; Whitney Museum of American Art\, New York\; and the Yale University Art Gallery\, New Haven\, Connect icut. She lives and works in Brooklyn\, New York.

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Johanna Burton is the Keith Haring Director and Curator of Education and P ublic Engagement at the New Museum\, New York. Her writing has appeared in journals and publications\, including \;Artforum\, \;P arkett\, \;October\, and \;Texte zur Kunst.< /p>\n

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For press inquiries\, contact

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Kim Donica +1 212 727 2070 kim@davidzwirner.com

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&nb sp\;

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Special Event\n

Book Launch to celebrate the r elease of Carol Bove: Polka Dots\, published by David Zwirner Book s

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Saturday\, November 12\, 7 &ndash\;8:30 PM

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Whitney Museum of Ame rican Art

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99 Gansevoort Street\, New York

LOCATION:David Zwirner- 525 W. 19th\,525 W. 19th Street (between 10th Ave. and West St.)\nNew York\, NY 10011-2808 SUMMARY:Polka Dots\, Carol Bove END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430770 DTSTART:20161105T180000 DTEND:20161105T200000 LOCATION:David Zwirner- 525 W. 19th\,525 W. 19th Street (between 10th Ave. and West St.)\nNew York\, NY 10011-2808 SUMMARY:Polka Dots\, Carol Bove END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430777 DTSTART:20161030T000000 DTEND:20161218T000000 DESCRIPTION:
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Foxy Production is pleased to present Gabriel Hartley&rsquo\; s \;Reliefs\, a new series of paintings\, reliefs\, and studie s on paper. Hartley is concerned with the many ways a painted image can be interpreted\; as Jean-Franç\;ois Lyotard has written: &rdquo\;Paintin g has little to do with the \;visible and much to do with the past and future\, memory and the possible\, acknowledgement and estrangement.&rdquo\ ; Formal elements &ndash\; texture\, depth\, color\, and line &ndash\; over ride the integrity of images of the city and body to allow the viewer multi ple points of connection. Tapping into the history of \;modernist rende rings of objects and figures\, he transforms the pictorial plane into a med itation on perception.

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Gabriel Hartle y (London\, UK\, 1981) lives and works in London\, UK. He holds a Post Grad uate Diploma in Fine Art from the Royal Academy Schools\, London\, UK. Sele cted exhibitions include Lozenges\, Pippy Houldsworth Gallery\, London\, UK (solo) (2015)\; Splays\, \;Brand New Gallery\, Milan\, Italy (solo)\; Open Heart Surgery\, The \;Moving Museum\, London\, UK (both 2013)\; Sl ap\, Praz-Delavallade\, Paris\, France (solo) (2012)\; Crimping\, \;Art e Furini Contemporanea\, Rome (solo) (2011)\; Gabriel Hartley\, Foxy Produc tion\, New York\, NY (solo)(2010)\; Gabriel Hartley\, Swallow Street\, Lond on\, UK (solo)\; Jerwood Contemporary Painting Prize\, Jerwood Space\, Lond on\, UK (both \;2009)\; John Moores Painting Prize\, Walker Art Gallery (2008)\; Bloomberg New Contemporaries\, Club Row\, London\; Cornerhouse\, Manchester\; The New Art \;Gallery Walsall\, UK \;(2007-2008).

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LOCATION:Foxy Production\,2 East Broadway\, 201 \nNew York\, NY 10038 SUMMARY:Reliefs\, Gabriel Hartley END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430778 DTSTART:20161030T180000 DTEND:20161030T200000 LOCATION:Foxy Production\,2 East Broadway\, 201 \nNew York\, NY 10038 SUMMARY:Reliefs\, Gabriel Hartley END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430781 DTSTART:20161110T000000 DTEND:20161217T000000 DESCRIPTION:
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Gladstone Gallery\, in collaboration with Fondazione Merz\, is pleased t o present an exhibition of historic early works by Mario Merz. A leading me mber of Italy&rsquo\;s Arte Povera movement of the 1960s and 70s\, Merz cre ated paintings\, sculptures\, and installations with an aim to oppose a mon olithic culture and to celebrate perplexity. This goal manifested itself in the artist&rsquo\;s deviation from the mass-media iconography popularized by Pop Art\, the mythic emotionalism of Abstract Expressionism\, and the ma chismo detachment of Minimalism. Instead\, Merz and his Arte Povera contemp oraries &ndash\; such as Alighiero e Boetti\, Luciano Fabro\, and Jannis Ko unellis\, among others &ndash\; employed simple\, everyday materials and pe rceptive references to nature in order to ground their art in a relatable e xistential ambiguity.

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The three seminal works on view in this exhib ition exemplify this stratagem. Giap Igloo &ndash\; If the Enemy Masses His Forces\, He Looses Ground: If He Scatters\, He Loses Strength (19 68) represents a body of work that became an enduring motif throughout Merz &rsquo\;s career\, since he began making igloo sculptures in 1967. Using th e exterior world to create an interior space\, igloos encapsulate Merz&rsqu o\;s drive to utilize social tradition as a means for individual reflection . At once a freestanding structure\, this hemisphere is rendered meaningles s without an inhabitant to provide utilitarian import. The instillation of subjective weight onto the objective form of the igloo is underscored by th e neon words circumscribing the dome. A quotation from General Vo Nguyen Gi ap of the Vietnamese National Liberation Front describing the double-bind o f combat strategy\, the glowing letters provide a visual tension to the cra cking clay exterior\, while highlighting the artist&rsquo\;s fascination wi th social mores &ndash\; in this case\, military and political custom.

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Further showcasing Merz&rsquo\;s interest in exploring a collective con science through prosaic media is his boxlike sculpture\, Sitin (19 68). The title of the work invokes the physical act of using one&rsquo\;s b ody to occupy space &ndash\; a fact emphasized by the position of the sculp ture on the gallery&rsquo\;s floor &ndash\; and also points to the global e scalation of political protests in 1968\, of which the sit-in was an often- used technique. Through this gesture\, Merz emphasizes the social significa nce of sitting as individual stance and collective action.

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The larg e-scale installation\, La bottiglia di Leyda (Leyden Jar)\, provid es a visual culmination of Merz&rsquo\;s Arte Povera endeavors: physical sp ace is redefined as both deeply personal and simultaneously universal throu gh the use of common materials. With wire mesh covering every wall of the g allery\, Merz invites viewers into a communal environment that proudly inco rporates the natural world\, all while neon lights spell out the Fibonacci sequence. A remarkable numeric sequence that seems to exist throughout natu re (from pinecones to snail shells)\, the Fibonacci numbers in this work st ress a belief that\, even though the world around us is sometimes inexplica ble and chaotic\, there is an order uniting us all.

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Mario Merz was born in 1925 and died in 2003 in Milan\, Italy. He was awarded the Praemium Imperiale\, Tokyo\; the Oskar Kokoschka Prize\, Vienna\; and the Arnold Bo de Prize\, Kassel. Merz was the subject of numerous solo exhibitions at ins titutions around the world\, including Fundaç\;ã\;o de Serralve s\, Porto\; Welhelm Lehmbruck Museum\, Duisberg\; Fundació\;n Antoni Tà\;pies\, Barcelona\; and Solomon R. Guggenheim Museum\, New York. H is work is included in many prominent public collections\, including Centre Georges Pompidou\, Paris\; Hirshhorn Museum and Sculpture Garden\, Washing ton D.C.\; The Museum of Modern Art\, New York\; Stedelijk Museum\, Amsterd am\; Walker Art Center\, Minneapolis\; and the Art Institute of Chicago\, a mong many others. The Fondazione Merz in Turin\, Italy\, regularly displays both the works of its namesake and sponsors exhibitions by living artists.

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LOCATION:Gladstone Gallery - 24 St.\,515 W. 24th St. \nNew York\, NY 10011 SUMMARY:Early Works\, Mario Merz END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430782 DTSTART:20161109T173000 DTEND:20161109T193000 LOCATION:Gladstone Gallery - 24 St.\,515 W. 24th St. \nNew York\, NY 10011 SUMMARY:Early Works\, Mario Merz END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430791 DTSTART:20161029T000000 DTEND:20161210T000000 DESCRIPTION:

Opening reception for the exhi bition: \;Saturday\, October 29th\, 2-4pm \;at 513 West 20th \; Street and 524 West 24th \;Street. \;

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Jack Shainman Gallery \;is pleased to announce \;Carrie Ma e Weems&rsquo\; \;first solo exhibition in New York City since the hist oric retrospective at the Guggenheim in 2014. Her influential career contin ues to address the rifts caused by race\, class\, and gender via imagery an d text that is both sharply direct and beautifully poetic. This two-part ex hibition highlights her recent investigations into performance\, entertainm ent\, and history. \;

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Blue No tes \;(2014) and \;An Essay on Equivalents\, See&hellip\;& nbsp\;(2011-2015) highlight figures on the periphery\, bringing them f ront and center. The photographic series are paired with the enigmatic vide o installation \;Lincoln\, Lonnie\, and Me \;(2012)\, orig inally commissioned by the Mattress Factory\, Pittsburgh\, PA. The work res ts on a 19th \;century optical trick\, &ldquo\;Pepper&rsquo\;s ghost\,& rdquo\; in which a strategically lit pane of glass reflects people and obje cts as dematerialized versions on stage. Weems employs this phantasmagoria to examine her own relationship to history and two individuals in particula r: the 16th \;president of the United States and artist/activist Lonnie Graham\, her sometime collaborator. Here history becomes theater\, a succe ssion of ghostly projections that draw us in to the strange ways in which r epresentation seduces and manipulates\, and how some are left out of histor y altogether\, their apparitions left to haunt the expanses of Western cult ure. \;

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The theme of performance continues with \;Scenes &\; Take \;(2016). Weems dons h er black-robed muse persona&mdash\;recognizable from the now iconic \;< em>Roaming \;and \;Museums \;series&mdash\;to sta nd before empty stage sets\, documenting these encounters with vivid color photographs. The contemplative pose of the artist raises issues of who gets to be shown on screen\; what do the fictional characters in television\, t heater\, cinema\, and visual art say about the cultural climate in which th ey are created\, and how do these representations shift across time? \;

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All the Boys \;(2016) r esponds to the recent killings of young African American men and suggests a darker reality of identity construction. Portraits of black men in hooded sweatshirts are matched with text panels. The written descriptions evoke po lice reports\, underscoring how a demographic is all-too-often targeted and presumed guilty by a system plagued with prejudice. \;

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Taken as a whole\, the exhibition demonstrates that visual representation is ultimately performance: a tightly composed\, labor ious narrative. It takes serious work to unravel and refocus the greater di alogue toward inclusivity and acceptance. To look closely&mdash\;past the b right lights\, illusions\, and constructions&mdash\;is the first\, crucial step. \;

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Weems has participated i n numerous solo and group exhibitions at major national and international m useums including The Metropolitan Museum of Art\, New York\; Frist Center f or Visual Art\, Nashville\; The Cleveland Museum of Art\; Solomon R. Guggen heim Museum\, New York\; Prospect.3 New Orleans\; The Walker Art Center\, M inneapolis\; and the Centro Andaluz de Arte Contemporá\;neo in Sevill e\, Spain. A solo exhibition\, \;Carrie Mae Weems: I once knew a gi rl&hellip\;\, is currently on view through January 7\, 2017 at the Eth elbert Cooper Gallery of African &\; African American Art at Harvard Uni versity. Her work is also part of \;Southern Accent: Seeking the Am erican South in Contemporary Art \;at Nasher Museum of Art\, Duke University through January 8\, 2017. \;

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Weems has received a multitude of awards\, grants\, and fellowships including Anderson Ranch Arts Center&rsquo\;s National Artist Award\; The A rt of Change Ford Foundation Fellowship\; the W.E.B. Du Bois Medal\; the Ma cArthur &ldquo\;Genius&rdquo\; grant\; US Department of State&rsquo\;s Meda ls of Arts\; Anonymous Was A Woman Award\; Joseph H. Hazen Rome Prize Fello wship from the American Academy in Rome\; The Herb Alpert Award in the Arts \; the National Endowment of the Arts\; and the Louis Comfort TIfffany Awar d\; among many others.

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She is represe nted in public and private collections around the world\, including the Met ropolitan Museum of Art\, New York\; the Museum of Fine Arts\, Houston\; th e Museum of Modern Art\, New York\; Tate Modern\, London\; Whitney Museum o f American Art\, New York\; National Gallery of Canada\; and Museum of Cont emporary Art\, Los Angeles.

LOCATION:Jack Shainman Gallery 20th Street\,513 W. 20th St. \nNew York\, NY 10011 SUMMARY:Solo Exhibition\, Carrie Mae Weems END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430792 DTSTART:20161029T140000 DTEND:20161029T160000 LOCATION:Jack Shainman Gallery 20th Street\,513 W. 20th St. \nNew York\, NY 10011 SUMMARY:Solo Exhibition\, Carrie Mae Weems END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430798 DTSTART:20161029T000000 DTEND:20161218T000000 DESCRIPTION:

Jeff Bailey Gallery is pleased to present new drawings and sculpture by Amy Pleasant.

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Leaning. Lying. Sitting. Slouching. T he everyday body arranges itself automatically to be comfortable\, to sleep \, to interact\, to arouse\, to pose.

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In ink and gouache on paper\, Pleasant fluidly captures these fleeting m oments\, distilling them into clean black silhouettes. \;As a group the y are complemented by two sculptures\, each made of curved planes in black\ , white\, or grey. Viewed from changing angles\, they suggest heads turning or at rest.

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This is Pleasant&rsquo \;s (born 1972\, Birmingham\, AL) sixth solo exhibition with the gallery. O ther solo exhibitions include the Birmingham Museum of Art\, AL\; Atlanta C ontemporary\, GA\; Clough-Hanson Gallery\, Rhodes College\, Memphis\, TN. G roup exhibitions include The Weatherspoon Art Museum\, NC\; The National Mu seum of Women in the Arts\; Columbus Museum of Art\, GA\; Hunter Museum of American Art\, Chattanooga\, TN\; Southeastern Center for Contemporary Art\ , NC\; the Art in Embassies Program\; the University of Arkansas\, Fayettev ille\, AR\; and the Zuckerman Museum of Art\, Kennesaw\, GA. \; Pleasan t received her BFA from The School of the Art Institute of Chicago (1994) a nd MFA from the Tyler School of Art\, PA (1999). \; She lives and works in Birmingham\, Alabama.

\n LOCATION:Jeff Bailey Gallery\,127 Warren Street Hudson \nNew York\, NY 1253 4 SUMMARY:Solo Exhibition\, Amy Pleasant END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430799 DTSTART:20161029T180000 DTEND:20161029T200000 LOCATION:Jeff Bailey Gallery\,127 Warren Street Hudson \nNew York\, NY 1253 4 SUMMARY:Solo Exhibition\, Amy Pleasant END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430800 DTSTART:20161029T000000 DTEND:20161218T000000 DESCRIPTION:

Jeff Bailey Gallery is pleased to present new paintings and works on paper by Brenda Goodman.

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For over five decades\, Goodm an&rsquo\;s paintings have swung like a pendulum between figuration and abs traction to a unique blending of the two. In her most recent work\, neither vies for supremacy\, but are blended together to evoke a range of psychic states: from isolation and fear to intimacy and contentment.

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Ear-like appendages attach themselves to bulbous face-like forms. Organic shapes sprout what could be tentacles or legs. Str etching and reaching\, twisting and turning\, there is an implied longing a nd desire to connect.

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The works var y in size from 6 x 8 inches to 52 x 60 inches. There is a power in the smal l works on paper and an intimacy in the large paintings. Surfaces are thick and thin\, smooth and rough. Strength\, delicacy and intensity of feeling &ndash\; these are what set Goodman&rsquo\;s paintings apart.

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This is Brenda Goodman&rsquo\;s (born 1943\, Det roit) first solo exhibition at the gallery. She studied at the College of C reative Studies (then called the Detroit Society of Arts and Crafts). In 19 76 she moved to New York City and her work was included in the 1979 Whitney Biennial. She has had 38 solo exhibitions. In 2015 she had a 50-year retro spective at the Center Galleries\, College for Creative Studies\, Detroit\, MI. Also in 2015 her work was included in the American Academy for the Art s and Letters annual invitational where she received the Award in Art. She received fellowships from the National Endowment for the Arts and the New Y ork Foundation for the Arts. Her work is included in the collections of the Carnegie Museum of Art\, Pittsburgh\, PA\; Museum of Contemporary Art\, Ch icago\, IL\; the Santa Barbara Museum\, CA\; and the Detroit Institute of t he Arts\, MI. Since 2009\, Goodman has lived and worked in the Catskill Mou ntains\, New York.

\n LOCATION:Jeff Bailey Gallery\,127 Warren Street Hudson \nNew York\, NY 1253 4 SUMMARY:Solo Exhibition\, Brenda Goodman END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430801 DTSTART:20161029T180000 DTEND:20161029T200000 LOCATION:Jeff Bailey Gallery\,127 Warren Street Hudson \nNew York\, NY 1253 4 SUMMARY:Solo Exhibition\, Brenda Goodman END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430804 DTSTART:20161029T000000 DTEND:20161223T000000 DESCRIPTION:

Julie Saul Gallery is pleased to announce Berlin based artist/photographer Andrea Grü\;tzner&rsquo\;s first US solo exhibition. Working with the analog process\, and assorted m irrors and gels\, Grützner creates straight color photographs that are at the same time abstract and representational\, ambiguous and descriptive. Th e title and subject of the exhibition\, Erbgericht (Guesthouse)\, is a specific traditional village guesthouse in the eastern part of Germany . Grützner grew up near an Erbgericht in the village of Polenz\, east of D resden. One family has owned this specific guesthouse for five generations since 1889. She tells of the big old house\, full of nooks and crannies\, w hose corners and objects have the memories of generations attached to them. It&rsquo\;s a collage of material built over generations.

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Erbgericht continues the abstract language o f Lá\;szló\; Moholy-Nagy and the Bauhaus. Grützner creates str ict rules for herself\; the whole photograph\, including the shadows and th e composition\, is taken in only one shot on analog film without any digita l alterations. Through the use of color flash and the creation of strong sh adow lines\, the interiors look alienated and transformed to architectural details as Grützner enters into a visual dialogue with the building. "Shad ows are traces and marks that have a direct relation to the object\, but th rough the projection\, these objects can appear twice as big or transformed and changed\, they take on their own lives" and thus\, says Andrea Grützn er\, "they work a lot like memories."

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Andrea Grützner lives in Berlin and is a member of the photography collec tive Exposure Twelve. She earned her Master of Fine Arts degree in photogra phy from the Bielefeld University of Applied Sciences in 2014 and subsequen tly has shown at festivals\, and in solo and group shows worldwide.

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Grützner received the PhotoVision Sponsorsh ip Award and the Source Cord Prize in 2014\, as well as the LEAD Award (sil ver) in 2015. She was a winner of Gute Aussichten 2014/2015 &ndash\; young German photography prize\, and most recently FOAM Talent 2016\, on view at the Unseen photo fair in September. Kerber Verlag recently published a mono graph das Eck (The Corner) which was developed during the course o f her scholarship in Koblenzer Koblenzer Stadtfotografin 2015.

LOCATION:Julie Saul Gallery\,535 West 22 St. \nNew York\, NY 10011 SUMMARY:Erbgericht/Guesthouse\, Andrea Grützner END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430805 DTSTART:20161029T180000 DTEND:20161029T200000 LOCATION:Julie Saul Gallery\,535 West 22 St. \nNew York\, NY 10011 SUMMARY:Erbgericht/Guesthouse\, Andrea Grützner END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430807 DTSTART:20161020T000000 DTEND:20161217T000000 DESCRIPTION:

Icarus-Colour-Space \, a new series of work by Canadian based artist Sydney Blum\, is shaped li ke a wing\, suggesting a continuum of time and space. The ways in which the grids\, colors and shapes are composed make you feel as if you are about t o take off. This is where the title of the exhibition\, Icarus-Colour-Space \, comes in. Icarus is\, of course\, the figure in Greek myth whose father fashioned wings of feathers and wax so that they could escape imprisonment on an island. Icarus\, young and full of life\, skateboarded through the sk y\, as it were. Yet in spite of his father&rsquo\;s warnings\, he flew too near the sun\, the wax on his wings melted\, and he fell to his death.

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Sydney Blum has used the idea of Icarus flying towards the sun as the impetus of her new work. Here\, she attempts to describe and create the motion and sensation of flying but in solid form: an incongruity that is not lost on her. She juxtaposes and dist orts colors and lines and shapes in such ways as to produce seemingly contr adictory vibrating waves of energy in our consciousness. We see the form\, the suggestion of a wing\, a shield\, an expanding and contracting grid und erlaid with gradations of color. The flight that draws us through this comp lex undulating interplay of color\, shapes\, shadows and light takes us som ewhere else. Towards the sun\, perhaps. Into the unknown\, certainly.

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In the previous series &ldquo\; Fuzzy Geometry&rdquo\; we were guided to an inner world of uncertain bounda ries of color and space\, while this new work describes a movement outward\ , upward. The mechanics are quite visible and intentionally evident as one moves around the pieces cantilevered from the wall. Perhaps a collaboration between Icarus&rsquo\; father and the Wright Brothers. It is strangely opt imistic.

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For Sydney\, the creation of a piece of sculpture is an exploration. The development of the process\, sourcing the materials and designing the structures are only a pa rt of the whole undertaking. She examines a large selection of computer pro grams and websites in her research into earth energies\, the vibrations of color\, grid formations\, oscillation\, geometric theory\, seismology\, int erference patterns\, dowsing\, Tai Chi\, Chi Gong\, shape theory and metall urgy. It is quite evident that she is deeply interested in subtle energies. For the new series\, she has also had lengthy discussions with printers wh o produce the raw materials for the pieces\, and she has worked closely wit h a metal machinist to design the movable mechanism holding the sculptures out from the wall. All this is in addition to thinking deeply about the mea ning and implications of her work\, manipulating the materials\, and engagi ng her creativity and imagination throughout every aspect of the project.\n

Sydney Blum has had exh ibitions at P.S. 1\, the New Museum\, the Sculpture Center\, the Fine Arts Museum of Long Island\, Massachusetts College of Art in Boston as well as l ocations in Europe. Her work has been reviewed and discussed in internation al art journals\, including Art Forum\, Art in America and The New York Tim es. She taught at the Parsons College of Fine Art in New York for 17 years. She has received grants from Artist Space\, the New York Foundation for th e Arts and Creation Grants for Arts Nova Scotia.

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 \;excerpt from essay by Elizabeth Spence LOCATION:Kim Foster Gallery\,529 W. 20th St. \nNew York\, NY 10011 SUMMARY:Icarus-Colour-Space\, Sydney Blum END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430808 DTSTART:20161020T180000 DTEND:20161020T200000 LOCATION:Kim Foster Gallery\,529 W. 20th St. \nNew York\, NY 10011 SUMMARY:Icarus-Colour-Space\, Sydney Blum END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430809 DTSTART:20161020T000000 DTEND:20161217T000000 DESCRIPTION:

&ldquo\;Gravitation al Waves&rdquo\; was in part inspired by the announcement of the proof of E instein&rsquo\;s 70-year-old prediction of the existence of gravitational w aves. The artist recently had a dinner conversation at KentPresents with th e renowned physicist Kip Thorne whose research led to the proof of Einstein &rsquo\;s theory\, capturing the sound of two black holes colliding at the birth of our universe some 1.3 billion light years away.

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Evangeline wrote &ldquo\; &hellip\;I was com pelled by the sound of the fleeting chirp of the collision of two black hol es in part because my work processes personal and familial mythologies. Thi s event was heard and recorded in Livingston Parish\, Louisiana near my bir th place. I never suspected that research of this import was happening ther e. &rdquo\; The Louisiana event propelled her to act. Years before she lear ned from a fellow resident at Santa Fe Art Institute to follow the faintest traces of what you cannot understand because somewhere on Earth there will be someone doing work that provides the support for yours. &ldquo\;I just didn&rsquo\;t expect it to come from the field of science&hellip\;&rdquo\;< /p>\n

Seeing a conceptualized il lustration of energy inside a black hole struck her as the drawings she mad e of camellias from her mother&rsquo\;s garden. Evangeline claims that her mother&rsquo\;s camellias felt important and that she knew that they would inspire something some day when she was ready. The artist believes that we are built to understand the world through patterns of accidents and coincid ences.

LOCATION:Kim Foster Gallery\,529 W. 20th St. \nNew York\, NY 10011 SUMMARY:Gravitational Waves\, Margaret Evangeline END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430810 DTSTART:20161020T180000 DTEND:20161020T200000 LOCATION:Kim Foster Gallery\,529 W. 20th St. \nNew York\, NY 10011 SUMMARY:Gravitational Waves\, Margaret Evangeline END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430813 DTSTART:20161102T000000 DTEND:20161217T000000 DESCRIPTION:

Lehmann Maupin is pleased to announce an exhibition of new work by Liu Wei. The gallery&rsquo\;s second exhibition with the Chinese artist will be shown in both its New York locations. Each space will feature an installat ion alongside new paintings in which Liu Wei continues his examination of t he physiological and psychological conditions that shape reality. T he gallery will host an opening reception for the artist on Wednesday\, Nov ember 2\, from 6-8 PM at 536 West 22nd Street and 201 Chrystie Street.

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Over the past two decades\, Liu Wei has resisted commitment to a specific medium or way of making\, choosin g instead to work with a wide range of media that facilitates the conceptua l nature of his work. While many of his paintings\, sculptures\, installati ons\, and videos reference Chinese culture and its modern landscape\, his f ocus lies in universal issues affecting contemporary society\, such as the transformative effect of urbanization on the landscape and unbalanced hiera rchies of authority. Liu Wei approaches these concepts with an open mind\, without imparting a particular political line of thinking. As part of the p ost-Mao generation\, the artist has expressed how the rapid development of China and the constant shifting of ideology and values created an uncertain state of reality\, which has deeply informed his artistic pursuits. Centra l to Liu Wei&rsquo\;s practice is his manipulation and alteration of percep tion as a tool to create environments where viewers encounter a complex and varied existence.

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For his sculptural installation at 536 West 22nd Street\, Liu Wei was inspired by the Jorge L uis Borges poem Mirrors (1960)\, particularly the segment that reads\, &ldq uo\;...Everything happens and nothing is recorded\, In these rooms of the l ooking glass&hellip\;.&rdquo\; The monumental sculpture&mdash\;comprised of mirrors that form a single\, floating box&mdash\;passes through walls and blocks off established pathways of the gallery as a way to drastically alte r the existing architecture and the experience of the space. For Liu Wei\, the presence of the viewer\, who will be able to circumnavigate the box\, i s as important to the installation as the physical and material characteris tics of the sculpture. The piece is intended to provoke a phenomenological experience of space that can be only activated by the viewer.

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Architecture has long been a source of inspiration for the artist\, as one of the defining characteristics of both modernity and urbanism. This is echoed in the gray monochromatic paintings also insta lled at West 22nd Street. The thick\, tactile impasto of oil paint applied like rough plaster to the canvas recalls industrial building materials\, wh ile a series of metal bars installed in front of the paintings creates a vi sual and conceptual disruption to the viewing experience. This metal barrie r\, like the mirrored sculpture\, provides a framing structure for the pain tings\, while also activating the viewer&rsquo\;s awareness of their physic al presence within the space\, as a consumer of visual information.

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At Chrystie Street\, Liu Wei builds upon his concern for activating space with a complex installation composed of objec ts made from military canvas\, metal\, and wood. Surrounding the installati on is a series of colorful\, irregularly shaped paintings on steel that res emble views of the horizon. This entire installation is intimately linked t o Liu Wei&rsquo\;s fascination with the ways technology has enhanced and al tered our understanding of the world. His representation is fragmented and disjointed in a way that mimics how we receive and process information. Liu Wei&rsquo\;s work suggests that the illusion of a panoramic view of the wo rld drastically alters our own perception of reality\, which is no longer s imply informed by our immediate locale.

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About the artist
Liu Wei (b. 1972\, Beijin g\; lives and works in Beijing) graduated from the National Academy of Fine Arts\, Hangzhou in 1996. Liu Wei&rsquo\;s work has been featured in intern ational exhibitions\, most recently at the Qatar Museum\, Doha (2016)\; Fon dation Louis Vuitton\, Paris (2016)\; PLATEAU\, Samsung Museum of Art\, Seo ul (2016)\; the Ullens Center for Contemporary Art\, Beijing (2015)\; the R ubell Collection\, Miami (2014)\; Long Museum\, Shanghai (2014)\; Minsheng Art Museum\, Shanghai (2011)\; Centre Pompidou\, Paris (2010)\; National Ar t Museum of China\, Beijing (2010)\; Ullens Center for Contemporary Art\, B eijing (2010)\; Long March Space\, Beijing (2010)\; Saatchi Gallery\, Londo n (2008)\; Bonniers Kunsthall\, Stockholm\; and Mudam Luxembourg\, France ( 2008)\, to name a few. He has participated in numerous international bienni als\, including the 11th Shanghai Biennale (2016)\; 3rd Aichi Triennial\, N agoya (2016)\; 13th Biennale de Lyon (2015)\; 11th Sharjah Biennial (2013)\ ; 4th Gwangju Triennial (2012)\; 8th Shanghai Biennial (2010)\; 6th Busan B iennial (2008)\; 3rd Guangzhou Triennial (2008)\; and 51th Venice Biennial (2005). In 2016\, Liu Wei was awarded the Atron AAC Award\, Artist of the Y ear.

LOCATION:Lehmann Maupin\,536 West 22nd Street \nNew York\, NY 10011 SUMMARY:Solo Exhibition\, Liu Wei END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430814 DTSTART:20161102T180000 DTEND:20161102T200000 LOCATION:Lehmann Maupin\,536 West 22nd Street \nNew York\, NY 10011 SUMMARY:Solo Exhibition\, Liu Wei END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430817 DTSTART:20161105T000000 DTEND:20161222T000000 DESCRIPTION:
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Luhring Augus tine is pleased to announce concurrent exhibitions of Ragnar Kjartansson&rs quo\;s recent work in our Chelsea and Bushwick galleries. \;

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Kjartansson engages multiple artistic mediums \, creating video installations\, performances\, drawings\, and paintings t hat draw upon myriad historical and cultural references. \; An underlyi ng pathos and irony connect his works\, with each deeply influenced by the comedy and tragedy of classical theater. The artist blurs the distinctions between mediums\, approaching his painting practice as performance\, likeni ng his films to paintings\, and his performances to sculpture. Throughout\, Kjartansson conveys an interest in beauty and its banality\, and he uses d urational\, repetitive performance as a form of exploration. \;

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Scenes from Western Culture (2015 )\, which will be on view in Chelsea\, is a series that depicts idyllic rep resentations of Western life. The nine videos\, or &ldquo\;cinematic painti ngs\,&rdquo\; present non-narrative scenes: a couple dining at a New York r estaurant\, children playing in a garden in Germany\, a woman swimming in a private pool. The picturesque tableaux unfold almost like advertisements\, portraying tranquil\, inviting moments that captivate in their beauty. Als o on view in Chelsea will be Architecture and Morality (2016)\, a series of paintings Kjartansson completed during a two week period in the W est Bank in conjunction with the Center for Contemporary Art in Tel Aviv. T aking his easel and paints to the contested Israeli settlements\, the artis t made representational oil paintings of homes en plein air from morning ti ll dusk\, finishing one painting a day. Kjartansson&rsquo\;s straightforwar d landscapes contrast with the political complexity of the region they repr esent. \;

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In the Bushwick galle ry Kjartansson will present World Light - The Life and Death of an Arti st (2015)\, a four-channel video based on Icelandic author Halld&oacut e\;r Laxness&rsquo\;s four-volume novel World Light (1937-40). World Light portrays the tale of an orphan who yearns to become a mas terful poet and his search for greatness\, a quest which is riddled with di fficulties\, mediocrity\, and tragedy. Kjartansson produced and filmed his take on the epic novel with his friends and family over one month at Vienna &rsquo\;s Thyssen-Bornemisza Art Contemporary (TBA21) in 2014. As a perform ance that was open to the public\, the artist and his comrades built sets\, made costumes\, wrote music\, rehearsed\, and filmed scenes on site. The d ocumentation and culmination of the performance realized in Kjartansson&rsq uo\;s video materializes the essence of the novel it depicts\, poignantly s howcasing a romantic\, idealistic undertaking and revealing its human imper fections. \; With its broken narrative of longing\, death\, and art\, K jartansson describes the video as a cubist painting of a novel.

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Kjartansson (b. 1976) lives and works in Reykj aví\;k. The artist currently the subject of a survey exhibition at th e Hirshhorn Museum and Sculpture Park\, Washington\, D.C.\, which traveled from the Barbican Centre\, London\, having been on view from July to Septem ber 2016. Kjartansson has had major solo shows at the Musé\;e d'\; art contemporain de Montré\;al\; the Palais de Tokyo\, Paris\; The Ne w Museum of Contemporary Art\, New York\; the Migros Museum fur Gegenwartsk unst\, Zurich\; the Fondazione Sandretto Re Rebaudengo\, Turin\; the Frankf urter Kunstverein\; the BAWAG Contemporary\, Vienna\; the Carnegie Museum o f Art\, Pittsburgh\; the Museum of Contemporary Art North Miami\; and the I nstitute of Contemporary Art\, Boston. Kjartansson participated in The Encyclopedic Palace at the Venice Biennale in 2013\, Manifesta 10 in S t. Petersburg\, Russia in 2014\, and he represented Iceland at the Venice B iennale in 2009. The artist is the recipient of the 2015 Artes Mundi&rsquo\ ;s Derek Williams Trust Purchase Award and Performa&rsquo\;s 2011 Malcolm M cLaren Award.

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\n LOCATION:Luhring Augustine - Chelsea\,531 W.24th St. \nNew York\, NY 10011 SUMMARY:Scenes from Western Culture | Architecture and Morality\, Ragnar Kj artansson END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430818 DTSTART:20161104T180000 DTEND:20161104T200000 LOCATION:Luhring Augustine - Chelsea\,531 W.24th St. \nNew York\, NY 10011 SUMMARY:Scenes from Western Culture | Architecture and Morality\, Ragnar Kj artansson END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430864 DTSTART:20161104T000000 DTEND:20161217T000000 DESCRIPTION:

Magnan Metz Gallery is pleased to present its third exhibition by Wenyon &\; Gamble. \;Out of Place will be on view from \;November 4th &ndash\; Dece mber 17th with an artist reception on \;November 3rd 6-8 pm.

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Out of Place que stions the &lsquo\;newness&rsquo\; often assumed in presentations of techno logy. The artists employ different media &ndash\;&ndash\;holograms and dagu erreotypes&ndash\;&ndash\;to reflect on the past and the sentimental lure o f objects as they fade into history. With images of index boxes\, coal and silver\, the exhibit looks at subjects old and obsolete.

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Silver Before Photography is a hologram of En glish silverware manufactured before the invention of photography. \; T he silverware looks modern and ageless. It is illuminated by diffused light ing reflecting from two recent Apple&trade\; devices that are not themselve s visible. \; In the jug\, a small Apple&trade\; logo is visible in ref lection. The hologram presents the illusion of antique spoons and ladles\, resting on a table\, ready for use.

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The hologram itself was possibly the last analogue photographic process to use silver salts. Here the 20th-century medium provides a window onto silver objects from an age before photography.

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Susan Gamble and Michael Wenyon have worked together since 1983 with holography and photography. \;

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Susan Gamble (b. London\, 1957) and Michael Wenyon (b. Dayton\, O hio 1955) live in London and New York and have collaborated since 1983.&nbs p\; They share differing backgrounds in art and science. Susan Gamble has a BA in Fine Art\, Goldsmiths&rsquo\; College\, London\, an MPhil &\; PhD \, in the History of Science\, Cambridge University\, UK\; Michael Wenyon h as BSc in Physics\, Bristol University\, UK and an MSc in Optics\, Imperial College\, London. \; Their works are in collections such as The Victor ia &\; Albert Museum\, London\; the M.I.T. Collection\, Boston\; the Nat ional Portrait Gallery\, Washington DC and the National Academies of Scienc e\, Washington DC and have been exhibited at the Whitney Museum of American Art and Tate Liverpool\, UK.

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For ad ditional information and images\, please contact info@magnanmetz.com

LOCATION:Magnan Metz Gallery\,521 W 26th Street \nNew York\, NY 10001 SUMMARY:Out of Place\, Wenyon & Gamble END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:430865 DTSTART:20161103T180000 DTEND:20161103T200000 LOCATION:Magnan Metz Gallery\,521 W 26th Street \nNew York\, NY 10001 SUMMARY:Out of Place\, Wenyon & Gamble END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:431530 DTSTART:20161105T000000 DTEND:20161229T000000 DESCRIPTION:

New York-based bitforms galler y celebrates its fifteenth year with an anniversary exhibition at Minnesota Street Project in San Francisco. The curated presentation of works include s currently represented artists as well as those who have shaped the galler y&rsquo\;s identity over the years\, demonstrating the program&rsquo\;s con tinued engagement with technologically informed practices.

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Since 2001\, bitforms has become synonymous with &ldq uo\;new media&rdquo\; art and the work that falls into this ever-shifting c ategorization. As such\, the program spans a range of media from traditiona l to experimental. With new media being relative to each generation\, the g allery represents established\, mid-career\, and emerging artists\, showing the diversity of approaches to media over several generations.

In a moment of economic downturn and global uncertainty\, the gallery ope ned its doors in November 2001 in Chelsea\, the epicenter of the New York a rt world. At the same time\, media art was gaining institutional support wi th the hype cycle of the dot-com bubble. Prior to bitforms&rsquo\; opening\ , five exhibitions at major institutions signaled a sea change in the art w orld: the Solomon R. Guggenheim opened Mediascape in 1996\; SFMOMA opened " {010101: Art In Technological Times}"\; the San Francisco Art Institute ope ned the traveling exhibition "Telematic Connections: The Virtual Embrace"\; and the Whitney Museum of American Art opened "BitStreams\," all in 2001\, and in the UK\, Art and Money Online opened at the Tate Modern\, also in 2 001. Despite the dot-com bubble bursting\, bitforms gained momentum and car ved out a space in the gallery scene as the only program exclusively repres enting artists critically engaged with technology.

bitforms&rs quo\; fifteen-year anniversary comes at a moment when media art is garnerin g newfound attention\, reminiscent to the beginning of the millennium. With in the past year\, we&rsquo\;ve seen the landmark exhibition "Electronic Su perhighway (2016 &ndash\; 1966)" at the Whitechapel Gallery\, spanning five decades of artists&rsquo\; work impacted by computer and internet technolo gies\; conservation and preservation of computer-based artworks gaining ins titutional support at the Guggenheim\, MoMA\, and SFMOMA\; and the ever-inc reasing acquisition of post-internet art by collectors and institutions aro und the world. While contemporary technology is used for increasingly corpo rate ends\, bitforms&rsquo\; artists employ these same tools as a means for artistic expression.

Highlights of the exhibition include new LED wall sculptures by Daniel Canogar\, a large-scale interactive work by Rafael Lozano-Hemmer\, a sculpture that intercepts WiFi signals by Addie Wa genknecht\, a drawing machine by Tristan Perich\, algorithmically generated digital paintings by Siebren Versteeg\, computer drawings from the 1970s b y Manfred Mohr\, a video compilation of Mark Napier&rsquo\;s "net.flag"&nda sh\;&ndash\;one of the first Internet artworks to be commissioned by a majo r institution\, and works on paper inspired by Yael Kanarek&rsquo\;s browse r-based "World of Awe" series. While the earliest works in the show date to the beginning of the 1970s\, works by emerging artists&ndash\;&ndash\;incl uding Sara Ludy\, Jonathan Monaghan\, Quayola\, and Addie Wagenknecht&ndash \;&ndash\;showcase how a new generation of artists are engaging with contem porary technology. In their respective practices\, these artists employ Sec ond Life\, computer-generated animation (CGI)\, lidar (light and radar thre e-dimensional scanning)\, and drone technologies.

LOCATION:bitforms gallery\,131 Allen Street \nNew York\, NY 10002 SUMMARY:Fifteen-Year Anniversary Exhibition\, Jeffrey Blondes\, Daniel Cano gar\, R. Luke DuBois\, Claudia Hart\, Yael Kanarek\, Beryl Korot\, Rafael L ozano-Hemmer\, Sara Ludy\, Manfred Mohr\, Jonathan Monaghan\, Mark Napier\, Tristan Perich\, Quayola\, Casey Reas\, Daniel Rozin\, Björn Schülke\, Si ebren Versteeg\, Addie Wagenknecht\, Zimoun\, Marina Zurkow END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:431531 DTSTART:20161105T180000 DTEND:20161105T200000 LOCATION:bitforms gallery\,131 Allen Street \nNew York\, NY 10002 SUMMARY:Fifteen-Year Anniversary Exhibition\, Jeffrey Blondes\, Daniel Cano gar\, R. Luke DuBois\, Claudia Hart\, Yael Kanarek\, Beryl Korot\, Rafael L ozano-Hemmer\, Sara Ludy\, Manfred Mohr\, Jonathan Monaghan\, Mark Napier\, Tristan Perich\, Quayola\, Casey Reas\, Daniel Rozin\, Björn Schülke\, Si ebren Versteeg\, Addie Wagenknecht\, Zimoun\, Marina Zurkow END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:431542 DTSTART:20161103T000000 DTEND:20161222T000000 DESCRIPTION:

303 Gallery is pleased to anno unce our second exhibition of new work by \;Jacob Kassay.

Whether walking up the stairs or reaching in the cabinet\, through the dail y repetition of the same surroundings\, domestic space is where haptic sens e develops then sediments\, conditioning the body&rsquo\;s motor skills to automatically navigate and interface without assessing its environment. Kas say's new sculptures explore these systems in which architecture both laten tly shapes and eludes conscious sense. This rote coding of gestures causes the awareness of one&rsquo\;s surroundings to slowly erode\, with familiari ty superseding reflection. Thickening the peripheral features and interstic es of interior space that are routinely used but disregarded\, Kassay refra mes how attention is built into its surroundings.

Three archit ectonic sculptures within the exhibition terminate in dead ends and reroute one&rsquo\;s circulation through the gallery. Modeled on separate stairwel ls at 1:1 scale\, these works present corridors whose connective function i s severed\, neither ascending nor descending. \; These disconnected pas sages form a series of transitions that hover in an architectural uncanny\, somewhere between model and fragment\, calculated rendering and lived spac e.
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Railings are affixed along the gallery wall\, framin g it as a transited space. \; These supports are lined with Braille cha racters without syntax\, extruding the eponymous letters of the exhibition - H for one\, L for the other. This fixed-scale language communicates nothi ng other than prehensible vocalizations: embedded sighs and inaudible drone s which trail off into space.

Jacob Kassay was born in 1984 in Lewiston\, New York. In 2017\, his work will be the subject of a solo proj ect at Albright Knox\, Buffalo NY\, curated by Cathleen Chaffee. \; Pas t solo presentations have been held at The Kitchen\, New York\; The Power S tation\, Dallas\; and Collezione Maramotti\, Reggio Emilia. He has been inc luded in group exhibitions at venues including MoMA PS1\, New York\; Fondat ion Richard\, Paris\; Centre National d&rsquo\;Art Contemporain\, Grenoble\ ; FRAC Poitou-Charenetes\, Angoulê\;me\; and Kunsthalle Andratx\, Mall orca. Kassay's work was part of the 8th Gwangju Biennale\, curated by Massi miliano Gioni\; and the 2010 White Columns Annual\, curated by Bob Nickas.& nbsp\;His work can be found in public and museum collections\, including&nb sp\;Boston Museum of Fine Arts\; FRAC Poitou-Charenetes\, \;Angoul&ecir c\;me\; and Arab Museum of Modern Art\, Qatar. Kassay lives and works in Lo s Angeles.

LOCATION:303 Gallery\,555 W 21st Street \nNew York\, NY 10011 SUMMARY:H-L\, Jacob Kassay END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:431543 DTSTART:20161103T180000 DTEND:20161103T200000 LOCATION:303 Gallery\,555 W 21st Street \nNew York\, NY 10011 SUMMARY:H-L\, Jacob Kassay END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:431544 DTSTART:20161104T000000 DTEND:20161221T000000 DESCRIPTION:

Andrew Kreps Gallery is please d to announce The Deedle Eye\, \;Pá\;draig Timoney&rsquo \;s fourth exhibition with the gallery.

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Diverse in its approach and materials\, Pá\;draig Timoney&rsquo\ ;s work blends and mutates styles as he moves between painting\, photograph y\, and installation. Despite the visually distinct results\, at the work&r squo\;s core is a focused inquiry into the mechanics of images. Timoney con versely works in both directions - creating new images from abstractions (t he captivating results of processes achieved in the studio)\, or rebuilding them part-by-part from photographs or observation. In each\, he acknowledg es the inherent flaws of these constructions\, from the faultiness of recog nition\, the errors of translation\, and further\, the subjectivity of both viewers and the artist. \;

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The se in turn become generative openings in Timoney&rsquo\;s work as they are distanced from their original context. The images exist within thrilling\, new visual constellations\, allowing for the introduction of artifice and i llusion\, and the question of not only what they depict\, but why? Each wor k records an index of decisions that determine its final state\, materially and cognitively\, displaying a history that is intentionally left open-end ed. Figuration appears to hover only a hair away from abstraction\, as if t he movement of a line would cause one to collapse into the other. The narro wing of this gap suggests that the works&rsquo\; initial disparate appearan ce may lead to an alternate understanding of their connections\; a net that widens only to close anew\, though what&rsquo\;s caught within it is left for the viewer to decide.

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Padraig T imoney lives and works in Brooklyn. His work is currently on view as part o f Collected by Thea Westreich Wagner and Ethan Wagner\, Centre Pompidou\, P aris through March 17\, 2017. Recent solo exhibitions include the Scrambled Eggs Salute The Trifle\, The Modern Institute\, Glasgow\ , 2016\, Planxty Milano\, Galleria Raucci/Santamaria\, Milan\, 201 6 a lu tiempo de...\, curated by Alessandro Rabottini\, M useo Madre\, Naples\, 2014\, and Fontwell Helix Feely\, Raven Row\ , London\, 2014.

\n LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SUMMARY:The Deedle Eye\, Padraig Timoney END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:432673 DTSTART:20161104T180000 DTEND:20161104T200000 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SUMMARY:The Deedle Eye END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:431561 DTSTART:20161103T000000 DTEND:20161223T000000 DESCRIPTION:
Danziger Gallery is pleased to announce our representation of the acclaimed British painter Annie Kevan s.  \;Known for the originality of her ideas as well as the deftness an d beauty of her brushstrokes\, since 2004 Kevans has produced multiple seri es of portraits with provocative historical\, social\, or political concept s.  \;
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Among the series she has produced over the last decade are:
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&ldquo\;Boys&rdquo\; - dictators imagined as their young selves.
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&ldquo\;Girls&rdquo\; &ndash\; about t he commodification of girls in popular culture
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&ldquo\;Col laborators&rdquo\; &ndash\; portraits of Nazi collaborators from Louis Vuit ton to Coco Chanel.
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Our exhibition\, opening on November 2 \, will be based largely on the series "The History of Art&rdquo\; comprisi ng portraits of 20 women artists\, either renowned in their time but now la rgely forgotten\, or who came to be known via their association with more p owerful male artists.  \;A response to the one-sidedness of art history \, and in addition to the many factors that weigh against women artists\, i n Kevans&rsquo\; view a person&rsquo\;s historical significance is diminish ed when you cannot put a face to a name.  \;Her series seeks to rectify that.
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The pictured artists are Artemisia Gentileschi\, El izabeth Butler\, Gabrielle Capet\, Giulia Lama\, Lavinia Fontana\, Margueri te Gerard\, Marie Bracquemond\, Rachel Ruysch\, Rosalba Carriera\, Amrita S her-Gil\, Edmonia Lewis\, Kathe Kollwitz\, Marisol\, and Lily Martin Spence r. (Capsule descriptions of their work and life will be available at the ga llery front desk.)  \;Better known names are Angelica Kauffmann\, Berth e Morisot\, Georgia O&rsquo\;Keeffe\, Frida Kahlo\, Eva Hesse\, and Diane A rbus.
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Also in the show are select ions from other series:
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&ldquo\;All The President&rsquo\;s Girls&rdquo\; - from Presidential m istresses to the offspring of Presidents and their slaves.
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"Drag" - portraits of Warhol\, Duchamp\, Mapplethorpe and other male artis ts who pictured themselves in drag.
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&ldquo\;All About Eve& rdquo\; &ndash\; British royal mistresses and their descendants.
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&ldquo\;The Muses of Jean Paul Gaultier&rdquo\; &ndash\; a series co mmissioned by the designer. \;
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Kevans&rsquo\; place in the British art world started at art school when her series\, &ldquo\;Boys &rdquo\;\, was bought by Charles Saatchi from her 2004 Central St. Martins School of Art degree show.  \; The series was subsequently exhibited in its entirety at the Saatchi Gallery as part of the exhibition &ldquo\;Pape r&rdquo\;.  \;
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Kevans has exhibited in group shows at leading museums including the Barbican Art Gallery\, the Royal Academy\, th e Grand Palais\, the National Gallery of Victoria in Melbourne\, and the Ma rres Centre for Contemporary Art in Maastricht.  \;Her work can be foun d in major collections\, including the Pallant House Gallery\, the David Ro berts Collection\, 21c Museum\, as well as in the collections of Lord Rothe rmere\, Marc Quinn\, and Jean Pigozzi.
LOCATION:Danziger Gallery\,95 Rivington Street \nNew York\, NY 10002 SUMMARY:Solo Exhibition\, Annie Kevans END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:431562 DTSTART:20161103T183000 DTEND:20161103T200000 LOCATION:Danziger Gallery\,95 Rivington Street \nNew York\, NY 10002 SUMMARY:Solo Exhibition\, Annie Kevans END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:431563 DTSTART:20161004T000000 DTEND:20161217T000000 DESCRIPTION:

David K rut Projects is pleased to present Unnatural Landscapes\, an exhibition of prints and drawings exploring the city of Johannesburg\, South Africa and t he politics of the built environment.

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For more information please contact info@davidkrut.com

LOCATION:David Krut Projects\,526 West 26th Street\, #816 \nNew York\, NY 1 0001 SUMMARY:Unnatural Landscapes\, Stephen Hobbs\, William Kentridge\, Diane Vi ctor\, Mary Wafer END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:431568 DTSTART:20161110T000000 DTEND:20161223T000000 DESCRIPTION:

My photographs are &ldquo\ ;not abstract." Ultimately they are always identifiable. Photography in gen eral simply cannot disengage from the object.
&mdash\;Andreas Gu rsky

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In the wake of Andreas Gursky&rs quo\;s current survey exhibition &ldquo\;nicht abstract&rdquo\; at Kunstsam mlung Nordrhein-Westfalen in Germany\, Gagosian is pleased to present &ldqu o\;Not Abstract II\,&rdquo\; an exhibition of recent photographs by the ren owned German artist\, accompanied by an electronic sound installation creat ed by Canadian DJ and producer Richie Hawtin.

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From images of nature to cities\, crowds\, and products\, Gursky s eems to create what already exists. In his photographs variations in distan ce serve to emphasize contemporary truths\, whereby subject matter is prese nted in a detailed uniformity that privileges neither foreground nor backgr ound. In Les Meé\;s (2016)\, solar panels\, rolling hills\, and a gray-blue sky become bold areas of color\, as opposed to elements in a landscape. Hawtin&rsquo\;s minimalist techno soundscape\, composed in res ponse to Gursky&rsquo\;s art\, &lsquo\;breathes&rsquo\; with the photograph s\, inspiring longer pauses that allow each image to expand beyond its fram e.

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In several untitled works never be fore exhibited in the United States\, Gursky takes this effect a step furth er\; aerial views of tulip fields tip the landscape up and create homogeny from variety\; the colors blend together to form horizontal bands\, like sh eet music filled in with impressionist hues. That these works are deliberat ely untitled emphasizes his longstanding interest in recasting\, time and a gain throughout his artistic career\, the formal questions activated in pos twar American abstraction. However\, according to him\, these photographs a re not abstract\, because abstraction is unrecognizable. From afar they app ear as ambiguous geometries and gradients\, but a step closer and a refocus ing of the eye reveals their content. Once the tulips are recognized as suc h\, there is no returning to abstraction. Thus Gursky offers up the thresho ld of abstraction\, just in time to make it disappear.

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The tulip fields find their consumerist equivalent in Media Markt (2016) and Amazon (2016). The irons\, coffee-mak ers\, and vacuum cleaners of Media Markt\, and the seemingly infin ite rows of packages in Amazon\, become mosaic depictions of space s that seem too big to comprehend. Gursky is able to foster this sense of t he quotidian sublime in both scale and content in meditations on the Romant ic genre deftly attuned to contemporary times. His Superheroes ser ies of 2014 pairs grandiose settings with popular American superheroes whos e distinctive poses are dwarfed by the sweep and rise of seascapes and skys crapers. In Rueckblick (2015)\, four German Chancellors&mdash\;Ger hard Schrö\;der\, Helmut Schmidt\, Angela Merkel\, and Helmut Kohl&mdas h\;sit in black leather chairs with their backs to the viewer\, similarly r educed by the large fields of color that constitute Barnett Newman&rsquo\;s Vir Heroicus Sublimis (1950&ndash\;51)\, a highlight of New York& rsquo\;s Museum of Modern Art.

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Both G ursky and Hawtin use digital technology&mdash\;in image and sound respectiv ely&mdash\;to recombine the materials of everyday existence. Their collabor ation brings all of the senses together\, positioning politics\, capitalism \, and geography within a hypnotic realm that oscillates between abstractio n and reality.

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Andreas Gursky was born in 1955 in Leipzig\, former East Germany\, and lives and works in Dü\;sseldorf\, Germany. His work is featured in institutional collections including The Metropolitan Museum of Art\, New York\; Solomon R. Guggenheim Museum\, New York\; Tate Modern\, London\; National Galleries of Art\, Edinburgh\; National Gallery of Art\, Washington\, D.C.\; Kunstha us Zü\;rich\; San Francisco Museum of Modern Art\; Kunstmuseum Basel\; Kunstmuseum Bonn\; Los Angeles County Museum of Art (LACMA)\; Museum Ludwig \, Cologne\; and Kunstsammlung Nordrhein-Westfalen\, Dü\;sseldorf.

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Recent institutional exhibitions include The Museum of Modern Art\, New York (2001\, traveled to Reina Sofia\, Madri d\; Centre Pompidou\, Paris\; and Museum of Contemporary Art\, Chicago\, th rough 2012)\; Kunstmuseum Basel\, Switzerland (2007)\; &ldquo\;Retrospectiv e 1984&ndash\;2007\,&rdquo\; Haus der Kunst\, Munich (2007\, traveled to Is tanbul Museum of Modern Art\, Turkey\; Sharjah Art Museum\, United Arab Emi rates\; National Gallery of Victoria\, Melbourne\; and Ekaterina Foundation \, Moscow\, through 2008)\; &ldquo\;Works 80&ndash\;08\,&rdquo\; Kunstmusee n Krefeld\, Germany (2008\; traveled to Moderna Museet\, Stockholm\; and Va ncouver Art Gallery\, Canada\, through 2009)\; Museum fü\;r Moderne Kun st\, Germany (2008)\; Museum Haus Esters Haus Lange\, Germany (2008)\; Pinc huk Art Center\, Ukraine (2008)\; &ldquo\;Andreas Gursky at Louisiana\,&rdq uo\; Louisiana Museum of Modern Art\, Denmark (2012)\; Stiftung Museum Kuns tpalast\, Dü\;sseldorf (2012)\; The National Art Center\, Tokyo (2013)\ ; The National Museum of Art\, Japan (2014)\; &ldquo\;Landscapes\,&rdquo\; Parrish Art Museum\, New York (2015)\; Museum Frieder Burda\, Germany (2015 &ndash\;16). Gursky has participated in the Bienal de Sã\;o Paulo (20 02)\; Shanghai Biennale (2002)\; Biennale di Architettura\, Venice (2004)\; Sharjah Biennial\, United Arab Emirates (2007)\; Biennale di Venezia (2015 )\; and Manifesta 11\, The European Biennial of Contemporary Art\, Zü\; rich (2016).

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&ldquo\;Andreas Gursky: nicht abstract&rdquo\; remains on view at Kunstsammlung Nordrhein-Westfalen \, Dü\;sseldorf until November 6\, 2016.

LOCATION:Gagosian Gallery- 21st St.\,522 West 21st Street \nNew York\, NY 1 0011 SUMMARY:Not Abstract II\, Andreas Gursky END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:431569 DTSTART:20161110T180000 DTEND:20161110T200000 LOCATION:Gagosian Gallery- 21st St.\,522 West 21st Street \nNew York\, NY 1 0011 SUMMARY:Not Abstract II\, Andreas Gursky END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:431572 DTSTART:20161110T000000 DTEND:20161217T000000 DESCRIPTION: LOCATION:Jane Lombard Gallery\,518 West 19th Street \nNew York\, NY 10011 SUMMARY:Form of the Daze\, Yuko Mohri END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:431573 DTSTART:20161110T180000 DTEND:20161110T200000 LOCATION:Jane Lombard Gallery\,518 West 19th Street \nNew York\, NY 10011 SUMMARY:Form of the Daze\, Yuko Mohri END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:431661 DTSTART:20161027T000000 DTEND:20161210T000000 DESCRIPTION:

From October 27 to Dec ember 10\, 2016\, MIYAKO YOSHINAGA is pleased to present Wraparound\, the gallery&rsquo\;s second solo exhibition by Manika Nagare. An opening recep tion for the artist will be held on Thurs day\, October 27\, 2016 from 6pm to 8pm.  \;The artist will be present. \;  \; \;

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More than five years after the Eastern Japan Great Earthquake struck Fukushima a nd its surroundings in 2011\, Tokyo-based Manika Nagare st ill continues to explore its aftermath and traumatic effects. Inspired by t he nature&rsquo\;s myriad facets\, her 10 new oil paintings (four of them f orming the set of two large diptychs that are the show&rsquo\;s centerpiece ) feature delicately rendered organic lines and carefully glazed and layere d colors. They are both inviting and unsettling\, as if they are the potent ially fearful remnants of destructive force. The artist states: &ldquo\ ;We humans tend to forget that we are part of nature and hold responsibilit y for its future. \; I want the viewer to feel part of the painting\, b ecause what&rsquo\;s happening in the painting is not separate from the vie wer.&rdquo\;

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 \;Although Nag are&rsquo\;s paintings stem from perceivable phenomena in the real world (i .e. heat haze\, cicada chirps)\, they don&rsquo\;t merely display the physi cal world nor signal a higher truth. \; They are nature itself. \; Her dramatic use of unmixed colors such as orange\, pink\, green or blue br ightens each space like fire. Her biomorphic lines flow with smooth rhythm like water. Her brushstrokes on canvas look as lightweight as a feather tou ching skin. In Nagare&rsquo\;s paintings\, all these evocative elements coe xist in nature\, only to be discovered by the viewer. \;

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 \;Nagare strives to extend her painting beyond the limits of the canvas\, to make the exterior space wrap around the view er. In recent years\, Nagare has developed installation and performance wor k in which human movements and bodily expressions (such as a dance) interac t with her paintings\, so that human (the viewer) and nature (the painted l andscape) are reunited in the work. \; The viewer gradually becomes par t of the painted image &ndash\; a landscape that is not about someone else but the viewer him/herself. From flat to spatial\, from visual to corporeal \, from intellectual to visceral\, Nagare&rsquo\;s exuberant paintings appr oach you\, talk to you\, and in the end deliver the artistic authorship wit h full power.

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 \;Manika Nagare was born in Osaka in 1975 and raised in Kag awa\, Japan. She studied painting at the Joshibi University of Art and Desi gn. She has been exhibiting her work in Japan\, the United States\, Turkey and other international venues. Her work is represented by numerous interna tional public and private collections and will be featured in an exhibition &ldquo\;Visible/Invisible Sceneries&rdquo\; at the Takamatsu Art Museum\, Kagawa\, Japan\, which runs simultaneously with this New York solo show in October and November 2016.

LOCATION:Miyakoyo Shinaga Art Prospects\,547 W. 27th St 2nd Fl.\nNew York\, NY 10001 SUMMARY:Wraparound\, Manika Nagare END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:431662 DTSTART:20161027T180000 DTEND:20161027T200000 LOCATION:Miyakoyo Shinaga Art Prospects\,547 W. 27th St 2nd Fl.\nNew York\, NY 10001 SUMMARY:Wraparound\, Manika Nagare END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:431936 DTSTART:20161118T000000 DTEND:20161223T000000 DESCRIPTION: LOCATION:Danese/Corey\,511 West 22 Street \nNew York\, NY 10011 SUMMARY:Sol\, Andy Harper END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:431937 DTSTART:20161117T180000 DTEND:20161117T200000 LOCATION:Danese/Corey\,511 West 22 Street \nNew York\, NY 10011 SUMMARY:Sol\, Andy Harper END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:431938 DTSTART:20161118T000000 DTEND:20161223T000000 DESCRIPTION: LOCATION:Danese/Corey\,511 West 22 Street \nNew York\, NY 10011 SUMMARY:Works on Paper END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002446Z UID:431939 DTSTART:20161117T180000 DTEND:20161117T200000 LOCATION:Danese/Corey\,511 West 22 Street \nNew York\, NY 10011 SUMMARY:Works on Paper END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002447Z UID:432018 DTSTART:20161029T000000 DTEND:20161217T000000 DESCRIPTION: LOCATION:Elizabeth Dee Gallery\,2033/2037 Fifth Avenue \nNew York\, NY 1003 5 SUMMARY:Every Future Has a Price: 30 Years After Infotainment END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002447Z UID:432019 DTSTART:20161029T160000 DTEND:20161029T200000 LOCATION:Elizabeth Dee Gallery\,2033/2037 Fifth Avenue \nNew York\, NY 1003 5 SUMMARY:Every Future Has a Price: 30 Years After Infotainment END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002447Z UID:432035 DTSTART:20161103T000000 DTEND:20161210T000000 DESCRIPTION:

On the heels of Boynton&rsquo\ ;s solo exhibition at the Delaware Contemporary Museum\, Denise Bibro Fine Art\, Chelsea\, NYC\, announces Boynton&rsquo\;s eighth solo exhibition wit h the gallery\, Drawings &\; Paintings.

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This exhibition is comprised of intimate iconic drawings and paintings conveying the nuts and bolts of the artist&rsquo\;s modus operan di. Apropos to the recent exhibition at The Met Breuer\, &ldquo\;Unfinished : Thoughts Left Visible&rdquo\;\, Boynton&rsquo\;s works give the viewer in sight on the ideas and stream of consciousness that makes up an artist. Boy nton&rsquo\;s works are spontaneously organic\, and have an inherent qualit y of brute force&mdash\;No halls barred. Her wanton love of form and line i s consistent throughout her works\, regardless of size and content. The fig ure is reveled\, played with and positioned in the most natural and forthri ght states of human condition. Boynton&rsquo\;s work suggest introspection\ , comradery and combativeness whenever and whatever&mdash\;it just comes fo rth. The beauty of these works is the intimacy and forthrightness that is d epicted regardless of the surfaces. Subtle nuances enrich these works with layers of configuration and muted color. The drawings are presented in beau tiful fine hand rubbed and stained frames that enhance the uniqueness of th e subjects brought forth.

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Prior to ex hibiting with the gallery Boynton exhibited with Littlejohn Contemporary\, New York\, NY\; Gallery Jupiter\, Little Silver\, NJ\; and Steffany Martz G allery\, New York\, NY. Selected group exhibitions include In The Garden at Barbara Krakow in Boston\, MA\; New Prints\, 2002 at the International Pri nt Center\, New York\, NY\; Book\, Box\, Word\, Volume II at the University of Florida and North Miami Contemporary Art Center. Her work has been revi ewed in ArtForum\, ARTNews\, Art in America\, New York Times\, Arts Magazin e\, New Art Examiner\, Modern Painters\, Architectural Digest\, and the Wal l Street Journal. Boynton&rsquo\;s work was featured in the film\, &ldquo\; Remember Me&rdquo\; with Robert Pattinson. Among her museum shows she has e xhibited are: her most recent solo\, &ldquo\;Out Of Line&rdquo\;\, Delaware Contemporary Museum\, Wilmington\, DE and the Helen Day Art Center in Stow e\, VT. Noted Art Critic Donald Kuspit has written about Boynton both in he r book and has reviewed her exhibitions at Denise Bibro Fine Art for ArtFor um\,

LOCATION:Denise Bibro Fine Art\,529 West 20th Street 4W\nNew York\, NY 1001 1 SUMMARY:Drawings & Paintings\, Dusty Boynton END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002447Z UID:432036 DTSTART:20161103T180000 DTEND:20161103T200000 LOCATION:Denise Bibro Fine Art\,529 West 20th Street 4W\nNew York\, NY 1001 1 SUMMARY:Drawings & Paintings\, Dusty Boynton END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002447Z UID:432784 DTSTART:20161110T000000 DTEND:20161222T000000 DESCRIPTION:

Bortolami is pleased to announ ce a presentation of works from Michel Franç\;ois&rsquo\; Instant Gratification series\, ceramic wall sculptures by Liz Larner\, drawin gs by Tony Lewis\, and a Virginia Overton sculpture. In a separate exhibiti on in the second gallery room\, Morgan Fisher&rsquo\;s film Screening R oom will be screened hourly.

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B ronze sculptures by Michel Franç\;ois hang on alternate walls between Liz Larner&rsquo\;s wallmounted ceramics. In forming these sculptures\, bo th artists relinquish control of their primary materials. For Franç\; ois\, this means forgoing a mold\, letting the bronze drip and flow to reta in the dynamic viscosity of the metal&rsquo\;s molten state.

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Similarly\, Larner&rsquo\;s process exploits the sensitivity of the clay and the unpredictability of firing and glazing to a lchemical effect. The exhibition includes two different forms from her slab -rolled ceramic series: the convex passage and the textured ca lefaction\, embedded with stones and minerals.

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Tony Lewis fabricates his site-specific floor drawing in t he gallery&rsquo\;s front antechamber by rubbing and suffusing sheets of pa inted paper with graphite powder. The floor drawing is transposed into the main gallery room as a sculptural installation\, at once a footprint of the adjacent space and a commemoration of the artist&rsquo\;s graduate school studio that was often engulfed in graphite dust. Lewis uses the same minima l materials to create his large-scale schematic drawings of brick walls.

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Virginia Overton responds to the diff erent sites in which she salvages her materials and builds her work\, creat ing installations and sculptures that bare the traces of their spatial and functional history. Many of the recycled objects and materials she repurpos es come directly from exhibition sites or her family&rsquo\;s farm in Tenne ssee.

\n LOCATION:Bortolami Gallery\,520 W 20th Street \nNew York\, NY 10001 SUMMARY:Group Exhibition\, Michel Francois\, Liz Larner\, Tony Lewis\, Virg inia Overton END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002447Z UID:433050 DTSTART:20161110T180000 DTEND:20161110T200000 LOCATION:Bortolami Gallery\,520 W 20th Street \nNew York\, NY 10001 SUMMARY:Group Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002447Z UID:432785 DTSTART:20161110T000000 DTEND:20161222T000000 DESCRIPTION:

Screening Room (1968/ 2016) by Morgan Fisher is a hand-held tracking shot that travels along 10th Avenue and then enters the gallery\, culminating in the temporary screenin g room where the viewer sits watching the film. This is the fifteenth state \, to use Fisher&rsquo\;s word\, of the film. Despite appearances\, they ar e all the same film because they all have the same relation to their screen ing rooms. The film is not remade\, but rather made again. The film can onl y be seen projected as a film in a screening room\, refusing the universal availability of the moving image that has become the norm. The film will sc reen once an hour from 10 am to 6 pm\, Tuesday through Saturday. Another fi lm by Morgan Fisher will be in the exhibition Dreamlands: Imme rsive Cinema And Art\, 1905&ndash\;2016\, opening October 28 at the Wh itney Museum of American Art.

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For m ore information and images\, please contact matthew@bortolamigallery.com.\n LOCATION:Bortolami Gallery\,520 W 20th Street \nNew York\, NY 10001 SUMMARY:Morgan Fisher Screening Room END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002447Z UID:433051 DTSTART:20161110T180000 DTEND:20161110T200000 LOCATION:Bortolami Gallery\,520 W 20th Street \nNew York\, NY 10001 SUMMARY:Morgan Fisher Screening Room END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002447Z UID:432787 DTSTART:20161110T000000 DTEND:20161230T000000 DESCRIPTION:

The Flomenhaft Gallery is proud and so exci ted to exhibit the art and artifacts of two giants of our cultural world\, Gerson and Judith Leiber. \; \; For over 70 years\ , from the day they met\, theirs has been a match of love and encouragement &ndash\; each to the other. \;
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\nIt all started du ring World War II. \; Gerson\, who grew up in Titusville\, Pennsylvania \, was drafted into the US Army. \; As a radio operator\, he was sent t o Budapest in 1945 to work with a commission observing the Russian liberati on of Eastern Europe. \; The very first day in Hungary he met a young g irl\, Judith Peto\, and life changed for both of them. They courted\, and w ere married one year later in Judith&rsquo\;s parents&rsquo\; apartment.&nb sp\; The war had ended\, and in 1946 they travelled on the first bride ship General Barry to the United States.
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\nHungari an Jews had suffered a great deal during the war. Hungary was a Nazi ally.& nbsp\; Food was scarce\, Judith&rsquo\;s father was taken to a work camp to dig trenches against the possible on-coming Russians and the Jews were put in ghettos where they cowered in cellars during the bombings. \; But w ith great dignity\, Judith says only that they were lucky\, because they su rvived.
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\nAlso during the war\, the Hungarian governmen t severely limited Jews from going to the University. \; However Judith needed to do something\, so her parents helped her get an apprenticeship w ith a Jewish handbag manufacturer\, named Pessi. \; There she learned a great deal about making fine handbags. \; When she and Gus came to the United States she found work\, and was so talented\, she became the only w oman handbag sample maker in America. Her skills became well known and very sought after. \; When she lost her job working for a firm that experie nced financial hardship\, she opened her own business\, Judith Leiber Handb ags. \;
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\nHer bags were so creative that in 1991\, Richard Martin\, who was the executive director of the Shirley Goodman Reso urce Center of the Fashion Institute of Technology and later became the cur ator of the Costume Institute of the Metropolitan Museum of Art\, wrote:&nb sp\; &ldquo\;Judith Leiber&rsquo\;s art is no mere fashion accessory\, but an art of the hand for the hand. \; In elegant simplicity\, Judith Leib er gives us all something to cling to.&rdquo\; Indeed many of our President &rsquo\;s wives wore Judith Lieber handbags to their husbands&rsquo\; inaug ural balls. These bags are all in the Smithsonian along with others. \; The Metropolitan Museum of Art has 88 of Judith&rsquo\;s bags in their col lection and the Victoria and Albert Museum owns one.
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\n When the tide of the war moved on in Hungary\, Gerson was still stationed t here. \; He threw himself into the cultural life of the Hungarians\, vi siting artists and museums\, also the opera which he and Judith love to thi s day. \; Interested in art as a career he went to the Royal Academy of Art where he received accolades from his teachers. \; On returning to the US he taught art for many years In the Newark School of Fine and Indust rial Art. He also continued his studies at the Art Students League where on e of his teachers was Will Barnet with whom he studied graphics. \;&nbs p\; Later studies took place at the Brooklyn Museum\, and there Gabor Peter di had considerable influence on his growth as an artist. Gerson became a m aster printer and superb in the medium of charcoal drawing.  \;We are f ortunate to include several of Gerson&rsquo\;s graphics and drawings in our exhibit. \; Others are included in over 60 museums. \; \; From about 1960\, Gus began to paint with a sure commitment\, and in an abstrac t expressionist way.  \; \;In these works\, many of which we exhibi t\, nature seems to have taken strong roots possibly inspired by the showca se garden he has created in their Amagansett home. \; \; There is a lso humor and an interior rhythm in Gus&rsquo\;s paintings that seems to me ld together with his absolute command of color.

\n LOCATION:Flomenhaft Gallery\,547 W.27th St. Suite 200\nNew York\, NY 10001 SUMMARY:The Artist & Artisan\, Gerson Leiber\, Judith Leiber END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002447Z UID:432788 DTSTART:20161110T000000 DTEND:20161223T000000 DESCRIPTION:

Fredericks &\; Frei ser is proud to announce an exhibition of paintings by John Wesley .  \;&ldquo\;Doubles\, Pairs\, and Diptychs&rdquo\; highlights three mo des of Wesley&rsquo\;s painting practice: paintings that extend beyond a si ngle canvas\; individual works that are conceived formally or conceptually as pairs\; and individual works that have virtually identical compositions in which small shifts in color\, scale\, and line create distinct visualiza tions.

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 \; What becomes apparen t in &ldquo\;Doubles\, Pairs\, and Diptychs\,&rdquo\; is that Wesley often used these three methods as a means to heighten or accentuate \;repetit ion. The twelve paintings included here employ motifs such as the frieze\, ornamental borders\, overall patterning and the mirrored duplication of an image.

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Though formally linked to mi nimalism due to the essentiality and compositional rigor of his production\ , Wesley'\;s repetitions were celebrated by everyone from Donald Judd an d Lucy Lippard to Germano Celant and Carolyn Christov-Bakargiev as an impor tant addition to Pop Art. However\, Wesley has always stood apart from his contemporaries. While others used repetition to define modern thought\, sta ndardized production\, or commercial serialization\, Wesley shook loose som ething far stranger.  \;Unlike Warhol\, for instance\, for whom repetit ion acted as an accelerator pushing an image almost filmically\, Wesley use d the multiplication of an image to slow things down\, to break an image fr om itself and suggest a chasm of meaning\, a sudden rupture in certainty.\n\n

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About the Artist
\nJohn Wesley \;has been the subject of numerous museum retrospectives i ncluding the Stedelijk Museum\, Amsterdam\, curated by Rudi Fuchs and Kaspe r Koenig (travelled to Portikus)\; DAAD\, Berlin\; PS1 MoMA\, Long Island C ity\, curated by Alana Heiss\; Harvard University Art Museums\, Cambridge\, MA\, curated by Linda Norden\; Museum Haus Lange\, Krefeld\, Germany\, cur ated by Martin Henschel\; Chinati Foundation\, Marfa\, TX\, curated by Mari anne Stockebrand\; and \;Fondazione Prada curated by Germano Celant.&nb sp\;He has a permanent installation of paintings in the Chinati Foundation\ , Marfa\, TX. Wesley has been exhibited and collected by numerous museums i ncluding MoMA\, New York\; Whitney Museum of American Art\, New York\; MoCA \, Los Angeles\; Tate Liverpool\; Museum Ludwig\, Cologne\; Carnegie Museum of Art\, Pittsburgh\; The Menil Collection\, Houston\, and the Hirschorn M useum and Sculpture Garden\, Washington D.C. \; In 2014\, Wesley was co mmissioned by High Line Art to create a public project for the High Line. T his will be his twelfth solo exhibition at Fredericks &\; Freiser.

\n LOCATION:Fredericks & Freiser\,536 W 24th St. \nNew York\, NY SUMMARY:Doubles\, Pairs\, and Diptychs\, John Wesley END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002447Z UID:433551 DTSTART:20161208T000000 DTEND:20170128T000000 DESCRIPTION:

Galerie Lelong is pleased to present \;Burning all i llusion\, Samuel Levi Jones&rsquo\;s first solo exhibition with the ga llery. Known for deconstructing institutional and academic books as a gestu re of challenging historical and contemporary power structures\, Jones unve ils new paintings that incorporate found texts on black history\, law and h igher education.

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Through the abstraction of book covers into comp elling compositions\, Jones explores the disillusionment of the very system s the volumes represent. Several works are comprised of desecrated law book s\, articulating the artist&rsquo\;s resolute perspective on the flawed Ame rican justice system. One of the central works in the exhibition\, \;Talk to Me \;(2015)\, is a monumental\, multi-panel composition comprised of law books\, whose scale and impact powerfully interrogates the justice system&rsquo\;s limitations for certain groups. Jones is not solel y focused on the violent confrontations with the law that continue to make headlines\, but rather the injustices that go unreported. Seeking out narra tives of individuals overlooked by society and the media\, Jones creates wo rks that resemble quilts\, a craft long associated with collaborative story telling. The new painting \;Burning all illusion \;(2016) brings together several reference books of various colors and themes into a patchwork with loose threads and rough edges\, prompting open-ended questi ons about the recorded and unrecorded histories of our collective experienc e.

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Jones builds upon a movement within abstract painting that pri oritizes formal investigations while also addressing social and cultural is sues. Using a process that recalls radical forms of art that employ detritu s and everyday found materials\, Jones reveals the social discrimination at play in how value is assigned to different cultures and the objects that r epresent them. Through his process of simultaneously preserving evidence of the texts through their bindings while erasing the content\, Jones re-exam ines history and generates new perspectives from which to grapple with soci ety&rsquo\;s ongoing ignorance and apathy.

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Born in Marion\, India na\, Samuel Levi Jones now lives and works in Chicago\, Illinois. Jones com pleted a private residency program in Northern California in summer of 2016 \, during which he produced new work for the exhibition from books deaccess ioned by the Department of African American Studies at the University of Ca lifornia\, Berkeley. Recent museum exhibitions include \;After Fred Wilson \;at the Indianapolis Museum of Contemporary Art and \ ;Unbound \;at the Studio Museum in Harlem\, New York. His work is included in museum and public collections such as the San Francisco Mus eum of Modern Art\; The Rubell Family Collection\, Miami\; Los Angeles Coun ty Museum of Art\; and Studio Museum in Harlem\, New York. In 2014\, Jones was the recipient of the Joyce Alexander Wein Artist Prize\, an annual awar d given to an emerging or mid-career African-American artist.

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In conjunction with the exhibition\, Galerie Lelong will hold an artist talk m oderated by Sara Reisman\, Artistic Director for The Shelley &\; Donald Rubin Foundation\, on Saturday\, December 10\, 2-4pm.

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For press e nquiries\, please contact Danielle Wu at (212) 315-0470 or \;danielle@ga lerielelong.com.

\n LOCATION:Galerie Lelong\,528 W. 26th St. \nNew York\, NY 10001 SUMMARY:Burning all illusion\, Samuel Levi Jones END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002447Z UID:433552 DTSTART:20161208T180000 DTEND:20161208T200000 LOCATION:Galerie Lelong\,528 W. 26th St. \nNew York\, NY 10001 SUMMARY:Burning all illusion END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002447Z UID:433552 DTSTART:20161208T180000 DTEND:20161208T200000 LOCATION:Galerie Lelong\,528 W. 26th St. \nNew York\, NY 10001 SUMMARY:Burning all illusion END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002447Z UID:433865 DTSTART:20161118T000000 DTEND:20161223T000000 DESCRIPTION:

OPENING RECEP TION: \;Friday\, November 18\, 2016\, 6-8pm

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Derek Eller is pleased to present Ara Peterson&rsquo\;s first exhibition with the gallery\, featuring a recent gr oup of his interlaced relief paintings.

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Based in Providence\, Rhode Island\, Peterson& rsquo\;s art evokes the elegance of New England transcendentalism\, the ove rwhelming geographies of H.P. Lovecraft\, the crisp sonic landscapes of Ste ely Dan\, and the vertiginous feeling of swimming out to sea. The relief pa intings are\, like the ineffable works of Agnes Martin or James Turrell\, s ubjectively kinetic\, and can only truly be experienced in person. They can be both soothing but also disorienting. And as with the artist&rsquo\;s fi lms and music\, his paintings are unrelenting. It is the tension between th ese impulses -- the meditative and the aggressive\, that makes these brilli antly-hued works so compelling.

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Peterson begins his process with a lengthy period of& nbsp\; development rooted in the visualization of wave phenomena. For each work he plots the relationships between color\, mood\, scale\, weight\, sur face tension\, and directional flow. The actual physical process is a serie s of stages executed by hand that the artist refers to as organization\, ex ecution\, deconstruction\, editing\, re-editing\, and re-execution. Peterso n cuts wood laminate forms using a heat laser\, paints them with a brush or an atomizer\, and divides the slats to be manipulated\, arranged and affix ed.

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The result of these procedures are objects that\, while utt erly self-contained in their construction and references\, can variously ev oke senses of place\, motion\, substance\, and bodily awareness. A life siz e panoramic band consisting of a sequence of high and low beige and ochre s wooping undercuts and overhangs might resemble a topographical map of a far off prehistoric land\; a tall work of undulating earth tones\, yellow\, re d\, grey\, and turquoise vertical scrolls seems to pulsate as it expands an d contracts like an enormous wave just about to break over a viewer. Peters on&rsquo\;s smaller works offer a chance at more intimate experiences with the wood itself. Here are sets of tight diagonal rolls that appear improbab ly soft\, resembling kneaded and glazed clay\, and nearly asking to be hand led\; another work\, is the inverse of those rolls\, with deep scoops of bl ue and beige simultaneously nodding at absence and presence.

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Ea ch work in this exhibition rewards sustained viewing. Color and form are se amlessly integrated and these still objects become kinetic as they shift an d move with light\, placement\, and the physical presence of the viewer.

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Ara Peterson has mounted solo exhibitions at Ratio 3\, San Franci sco\, LOYAL Gallery\, Sweden and John Connelly Presents\, New York. His wor k is in the collections of Albright Knox\, Buffalo\, New York\, Berkeley Mu seum of Art and Pacific Film Archive\, University of California Berkeley\, The Deste Foundation Centre for Contemporary Art\, Athens\, The Progressive Art Collection\, Cleveland\, and the Museum of Modern Art\, New York. His artwork has been exhibited in The Museum of Contemporary Art\, Los Angeles\ , The Garage\, Center for Contemporary Culture\, Moscow\, Bergen Kunsthalle \, Bergen\, Norway\, P.S. 1 Contemporary Art Center/The Museum of Modern Ar t\, New York. As a founding member of the art and performance group Forcefi eld (1996-2003)\, he released multiple records and videos\, and participate d in the 2002 Biennial Exhibition\, Whitney Museum of American Art\, New Yo rk\, as well as What Nerve! Alternative Figures in American Art\, 1960 to the Present\, RISD Museum\, Providence\, RI \; and M atthew Marks Gallery\, New York.

\n LOCATION:Derek Eller Gallery\,300 Broome Street \nNew York\, NY 10002 SUMMARY:Solo Exhibition\, Ara Peterson END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002447Z UID:433870 DTSTART:20161119T000000 DTEND:20170114T000000 DESCRIPTION:

A selection of rare and never exhibited ephemera\, works on paper and textiles by the Mexican artist coll ective formed in response to the nation'\;s political turmoil in the ear ly 1970s.

\n LOCATION:Josee Bienvenu Gallery\,529 West 20th St. \nNew York\, NY 10011 SUMMARY:Grupo Suma END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002447Z UID:433871 DTSTART:20161119T180000 DTEND:20161119T200000 LOCATION:Josee Bienvenu Gallery\,529 West 20th St. \nNew York\, NY 10011 SUMMARY:Grupo Suma END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002447Z UID:434133 DTSTART:20161208T000000 DTEND:20170114T000000 DESCRIPTION:

Without bio-mass\, molecular genetics\, and costly research laboratories\, Karin Pliem attempts to convey her ideas and perspectives co ncerning the problematic relationship between man and living nature. \; By seducing the viewer into a massive landscape\, replete with fantastical planting and vestiges of long past manufacture\, She holds that man is nei ther more nor less than a part of nature. Symbiotic Union\, Pliem&rsquo\;s first exhibition in the United States\, invites us to enter a world of cons tructive communication between a polyculture society&rsquo\;s various livin g organisms. Although humankind is not depicted\, we\, as the viewer finali ze the pictorial plane. There can be no doubt that the Artist&rsquo\;s view s of nature are not naturalistic.

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When comparing works of art and organisms\, the philosopher Wolfgang Welsch notes a possible parallel betw een artistic and evolutionary creations. &ldquo\;We cannot take away or exc hange some part of it without causing the most serious damage. The orientat ion of works of art toward consistency is perfectly analog to the biotic te ndency toward the generation of optimized entities. It is in this structura l sense that art always emulates nature.&rdquo\; \; Pliem&rsquo\;s canv as construct is broken down into panels which are united through a single-c olor palette and thread of decay and rebirth.

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Just as with symbio tic connections between living beings from different ecosystems and regions of the world\, the works in Symbiotic Union create a conversation between conceptual considerations and the painterly process. \; At a moment in which the painting achieves dialogue with past and present concerns\, Pleim knows the work is finished. \; This ending process is also one that ha ppens organically and is spurred on with the immediate beginning of the nex t painting in the series and so on&hellip\;. \; her world knows more th an just one symbiotic union.

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This exhibition was supported by:
\nAustrian Cultural Forum NYC

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 \;

\n LOCATION:Claire Oliver Gallery\,513 West 26th Street \nNew York\, NY 10001 SUMMARY:Symbiotic Unions\, Karin Pliem END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002447Z UID:434134 DTSTART:20161208T180000 DTEND:20161208T200000 LOCATION:Claire Oliver Gallery\,513 West 26th Street \nNew York\, NY 10001 SUMMARY:Symbiotic Unions END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002447Z UID:434134 DTSTART:20161208T180000 DTEND:20161208T200000 LOCATION:Claire Oliver Gallery\,513 West 26th Street \nNew York\, NY 10001 SUMMARY:Symbiotic Unions END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002447Z UID:434305 DTSTART:20161119T000000 DTEND:20161222T000000 DESCRIPTION:
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I SIT and look out upon all the sor rows of the world\, and upon all oppression and shame\;
\nI hear secre t convulsive sobs from young men\, at anguish with themselves\, remorseful after deeds done\;
\nI see\, in low life\, the mother misused by her c hildren\, dying\, neglected\, gaunt\, desperate\;
\nI see the wife mis used by her husband&mdash\;I see the treacherous seducer of young women\;\nI mark the ranklings of jealousy and unrequited love\, attempted to b e hid&mdash\;I see these sights on the earth\;
\nI see the workings of battle\, pestilence\, tyranny&mdash\;I see martyrs and prisoners\;
\n I observe a famine at sea&mdash\;I observe the sailors casting lots who sha ll be kill'\;d\, to preserve the lives of the rest\;
\nI observe th e slights and degradations cast by arrogant persons upon laborers\, the poo r\, and upon negroes\, and the like\;
\nAll these&mdash\;All the meann ess and agony without end\, I sitting\, look out upon\,
\nSee\, hear\, and am silent.

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&ndash\;Walt Whitma n\, &ldquo\;I Sit And Look Out&rdquo\; from Leaves of Grass

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St. John&rsquo\;s sustained commitment to  \;observing and re-presenting experiences \;of the everyday is fra med in this exhibition by Walt Whitman and his groundbreaking work Leav es of Grass\, originally published in 1855 and continually reworked by Whitman until his death in 1892. In referencing Leaves of Grass\, St. John evokes a vision of democracy that expands beyond politics to a wa y of life.

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In this context\, the wo rks in the exhibition convey an acceptance of the multitude of subjectiviti es in America\, as well as a personal responsibility to participate in the socio-cultural realm. Connecting a lineage from the Ashcan School artists t o Robert Rauschenberg and Andy Warhol\, St. John gathers source materials b y casting an inclusive and penetrating gaze on the world through which he m oves\, from billboard advertisements to the Internet. Underlying his insigh tful and rigorous formal practice is an urgency that reflects \;today&r squo\;s heightened \;state of information exchange.

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Creating palimpsests by harnessing such cultural fragm ents as corporate logos\, handwritten lost item signs\, red-white-and-blue political stickers\, found images of celebrities\, and spray-painted graffi ti\, St. John draws stimulating connections that kindle new perspectives on contemporary culture. While the construction panel paintings act as commun icative territories of society at large\, the lamp posts foreground the voi ce of the individual. Against the backdrop of omnipresent marketing\, St. J ohn seeks to commemorate actual lives lived by inviting prolonged attention to society&rsquo\;s intimate remains: an abandoned shoe\, spilled newspape rs\, expired words.

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Employing diver se methods to destabilize the separation between art and the world outside the studio or gallery space\, St. John reinforces the relevance of art with in a broader cultural discourse. In the final room of the exhibition St. Jo hn has gathered a selection of works by other artists: Leo Gabin\, Nate Low man\, Thomas McDonell\, Alex McQuilkin\, Lanier Meaders\, Pope.L\, Borna Sa mmak\, Dirk Skreber\, and Andy Warhol. In the past\, exhibiting work by his peers gestured towards the importance of dialogue\, which is a sustaining force within a community of artists. Here\, with the inclusion of a Warhol Brillo Box in particular\, the works appear as objets petits a&mdash\;discr ete\, even unattainable objects&mdash\;emphasizing St. John&rsquo\;s intere st in interrogating the value ascribed to the range of cultural artifacts.< /p>\n\n

Coinciding with a critical moment i n American culture and politics today\, St. John&rsquo\;s invocation of Whi tman&rsquo\;s notion of democracy is not to suggest it has been realized\; in the final room of the exhibition a collage titled &ldquo\;in the days of 49&rdquo\; juxtaposes a Walker Evans Depression-era photograph with an ima ge of American model Kate Upton&mdash\;a reminder of prevailing inequality and indifference. While evading didacticism\, St. John retains a sense of p urpose and hope within his work. In ushering the viewer into an encounter w ith facets of society that often elude scrutiny\, he creates a space \; to more critically and compassionately consider the world.

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These Days\; Leaves of Grass is Michael St. Joh n&rsquo\;s fourth solo presentation with the gallery. Michael St. John lives and works in Sheffield\, Massachusetts. This will be St. John 9\;s 14th solo exhibition in New York since 1990\, including an exhibition at Karma in 2013\, for which a major monograph was concurrently published. He has been included in numerous group exhibitions across the United States . Along with an extensive resume of curatorships\, St. John has held severa l teaching positions.

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For medi a and press inquiries\, please contact Justin Conner at \;justin@hellothirdeye.com.

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\n LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SUMMARY:These Days\; Leaves of Grass\, Michael St. John END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002447Z UID:434891 DTSTART:20161129T000000 DTEND:20161231T000000 DESCRIPTION: LOCATION:Bowery Gallery\,530 W. 25 St. 4th Floor \nNew York\, NY 10001 SUMMARY:Through a Glass Darkly\, Thaddeus Radell END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002447Z UID:434894 DTSTART:20161206T000000 DTEND:20161210T000000 DESCRIPTION:

A unique\, rotating exhibition of multiple\, one-week\, one- person shows brings the personal vision of a diverse group of artists to Ch elsea.

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\n LOCATION:Ceres Gallery\,547 West 27th Street Suite 201 \nNew York\, NY 1000 1 SUMMARY:Exposure 2\, Luis Alves\, Niamul Bari\, Lucky Checkley\, Carol Gree nlaw\, Alice Jacob\, Erin Karp\, Jon Keller\, Carey Parks Schwartz\, Helain e Soller\, Lin Wang END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002447Z UID:434900 DTSTART:20161208T180000 DTEND:20161208T200000 LOCATION:Ceres Gallery\,547 West 27th Street Suite 201 \nNew York\, NY 1000 1 SUMMARY:Exposure 2 END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002447Z UID:434900 DTSTART:20161208T180000 DTEND:20161208T200000 LOCATION:Ceres Gallery\,547 West 27th Street Suite 201 \nNew York\, NY 1000 1 SUMMARY:Exposure 2 END:VEVENT BEGIN:VEVENT DTSTAMP:20161209T002447Z UID:434901 DTSTART:20161201T000000 DTEND:20170128T000000 DESCRIPTION:

Opening Reception:
\nThur sday\, December 1\, 2016
\n6:00 &ndash\; 8:00 p.m.

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ClampArt is pleased to announce &ldquo\;Bruce Sargeant (1898-1938): Parlor\, Gymnasium &\; Field&rdquo\;&mdash\;curated by New York artist Mark Beard (Bruce Sargeant&rsquo\;s great nephew).

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Mark Beard has devoted more than two decades o f his life to researching and collecting the work of Bruce Sargeant\, a pai nter who largely concentrated on the idealization and celebration of the ma le form. Had Sargeant not met with a tragic and untimely death at the age o f 40\, he may have gone on to achieve the fame and renown awarded to such p ainters as James McNeill Whistler\, Thomas Eakins\, and Winslow Homer&mdash \;artists to whom his style is often compared. Instead\, Sargeant&rsquo\;s oeuvre remained relatively unknown for years until it was brought to light by the efforts of Beard.

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The curren t exhibition gathers canvases in which Sargeant portrays his young models i n various private settings such as the parlor and studio\; to quasi-public spaces including the gymnasium\; on to the field and in the great outdoors. Mark Beard&rsquo\;s selection of a wide array of scenes reflects his great uncle&rsquo\;s interest in men of all social echelons&mdash\;from ranchers and people of the working class up the social ladder to sportsmen and art collectors alike.

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Mark Beard (1956- ) was born and raised in Salt Lake City. His portraits\, nudes\, bronzes\, and handcrafted books have been exhibited worldwide\, and he has also desig ned more than twenty theatrical sets in New York\, London\, and Germany. Hi s works are in numerous museum collections including the Metropolitan Museu m of Art\, New York\; the Museum of Modern Art\, New York\; the Whitney Mus eum of American Art\, New York\; the Museum of Fine Arts\, Boston\; the Wad sworth Atheneum Museum of Art\, Hartford\, Connecticut\; and the Princeton\ , Harvard\, and Yale University Museums\, among many others.

\n LOCATION:ClampArt\,247 West 29th Street Ground Floor\nNew York\, NY 10001 SUMMARY:Bruce Sargeant (1898-1938): Parlor\, Gymnasium & Field\, Bruce Sarg eant END:VEVENT END:VCALENDAR