BEGIN:VCALENDAR VERSION:2.0 PRODID:icalendar-ruby CALSCALE:GREGORIAN BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:61707 DTSTART:20030411T000000 DTEND:20351231T000000 DESCRIPTION:

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

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

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

LOCATION:The Jewish Museum\,1109 Fifth Avenue (at 92nd Street) \nNew York\, NY 10128 SUMMARY:Culture and Continuity (Permanent Exhibition) END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:66390 DTSTART:20090817T000000 DTEND:20200817T000000 DESCRIPTION:

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

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

LOCATION:ARTBREAK\,3956 YONKERS \nNEW YORK\, NY 08574 SUMMARY:RO-SEY\, WM ROSE END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:66391 DTSTART:20090817T180000 DTEND:20090817T200000 LOCATION:ARTBREAK\,3956 YONKERS \nNEW YORK\, NY 08574 SUMMARY:RO-SEY\, WM ROSE END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:155306 DTSTART:20130919T000000 DTEND:20340106T000000 DESCRIPTION:

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

LOCATION:PETER BORGESE MODERN ART GALLERY\,24 Cedar Road \nRingwood\, N.J. 07456 SUMMARY:PETER BORGESE MODERN ART GALLERY\, Peter Borgese END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:155307 DTSTART:20130919T100000 DTEND:20130919T200000 LOCATION:PETER BORGESE MODERN ART GALLERY\,24 Cedar Road \nRingwood\, N.J. 07456 SUMMARY:PETER BORGESE MODERN ART GALLERY\, Peter Borgese END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:174283 DTSTART:20110815T000000 DTEND:20201020T000000 DESCRIPTION:

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

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

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

LOCATION:Housatonic Museum of Art\,900 Lafayette Blvd. \nBridgeport \, Conn ecticut 06604 SUMMARY:Polaridad Complementaria: Recent Works from Cuba END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:184068 DTSTART:20111010T180000 DTEND:20111010T200000 LOCATION:Housatonic Museum of Art\,900 Lafayette Blvd. \nBridgeport \, Conn ecticut 06604 SUMMARY:Polaridad Complementaria: Recent Works from Cuba END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:276213 DTSTART:20130501T000000 DTEND:20230101T000000 DESCRIPTION:

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

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

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

LOCATION:The James Hotel\,27 Grand Street \nNew York\, NY 10013 SUMMARY:Ghost Acre - painting for the pillar in the garden\, Molly Dilworth END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:276214 DTSTART:20130501T180000 DTEND:20130501T200000 LOCATION:The James Hotel\,27 Grand Street \nNew York\, NY 10013 SUMMARY:Ghost Acre - painting for the pillar in the garden\, Molly Dilworth END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:310997 DTSTART:20131109T000000 DTEND:20231109T000000 DESCRIPTION:

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

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

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

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

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

LOCATION:Queens Museum of Art\,Flushing Meadows Corona Park Meridian Rd.\nF lushing\, NY 11368 SUMMARY:World’s Fair Visible Storage END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:316886 DTSTART:20130929T000000 DTEND:20281201T000000 DESCRIPTION:

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

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

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

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

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

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

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

LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:Solo Exhibition\, Anselm Kiefer END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:316887 DTSTART:20130928T000000 DTEND:20281201T000000 DESCRIPTION:

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

\n

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

\n

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

\n

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

\n

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

\n

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

\n

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

LOCATION:MASS MoCA\, North Adams\, MA\,1040 MASS MoCA Way \nNorth Adams\, M A 01247 SUMMARY:Anselm Kiefer END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:317081 DTSTART:20101023T000000 DTEND:20201031T000000 DESCRIPTION:

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

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

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

LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:all utopias fell\, Michael Oatman END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:415399 DTSTART:20160314T000000 DTEND:20190411T000000 DESCRIPTION:

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

LOCATION:Dream Hotel - Midtown\,210 w 55th Street \nNew York\, NY 10019 SUMMARY:Wilderness 11\, Britannie Bond END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:415400 DTSTART:20160314T180000 DTEND:20160314T200000 LOCATION:Dream Hotel - Midtown\,210 w 55th Street \nNew York\, NY 10019 SUMMARY:Wilderness 11\, Britannie Bond END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:417002 DTSTART:20180410T000000 DTEND:20180702T000000 DESCRIPTION:

JAENA KWON: \;TACTILE SPACE

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O NLINE OPENING MAY 2018
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\nSpotte Art is pleased to present  \;Jaena Kwon: Tactile Space\, a solo exhibition of the artist'\ ;s recent work. It is the first collaboration between \;the artist and Spotte Art platform. The collection is available for purchase online from M ay 10th\, 2018.

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\nThe show presents \;20 sculptural pieces from A 4 scale to \;wall-size objects \;organized in small and large sizes . \;
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\nKwon'\;s practice is concerned with the construc tion of the painting space \;and the expansion of painting through inco rporating environmental conditions. Jaena intends to create viable painting moments as a spatial experience\, heightened by the bodily movement\, tact ile emotion\, and the viewer&rsquo\;s subjective involvement. \;Each&nb sp\;shape is cut and sanded to have ergonomic features responding to body p arts and the bodily movement. Each work is an experiment with formal elemen ts such as the surface\, support\, color\, light\, texture\, and how this v ocabulary composes a space. Such analytical approach investigates how paint ings can implicate space beyond its surface through illusory\, psychologica l\, or emotional means. In between tangible matter and intangible effect\, the intention is to weave those concepts together.


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\nJaena K won (b. 1986\, South Korea) lives and works in New York. She received an MF A in Painting and Printmaking at Yale University School of Art\, CT and her BFA at Seoul National University\, South Korea. Her works have been shown at The Painting Center\, NY\; Amy Simon Fine Art\, CT\; SongEun Art Space\, Seoul\; and ING Art Project\; Seoul. She has received awards including 201 4 Boston Young Contemporaries RGH Prize\, the 2014 Carol Schlosberg Memoria l Prize\, and the 2008 Hwajeon Paint Award. She has recently participated i n The Studios in Mass MoCA program.

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\nFor press inquiries or to reque st images:
\nNelba Delmedico | \;info@spotteart.com \;or \;nelba@spotteart.com \;| (646 ) 657-0167  \;
\nVisit us online at \;spotteart.com

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\n LOCATION:www.spotteart.com\,www.spotteart.com www.spotteart.com\nNew York\, NY 10017 SUMMARY:Tactile Space | Solo Show\,  Jaena Kwon END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:429552 DTSTART:20161220T000000 DTEND:20180708T000000 DESCRIPTION:

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

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

\n LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SUMMARY:Masterpieces from the Asia Society Museum Collection END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:429553 DTSTART:20161220T110000 DTEND:20161220T180000 LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SUMMARY:Masterpieces from the Asia Society Museum Collection END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:443488 DTSTART:20160629T000000 DTEND:20180716T000000 DESCRIPTION:

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

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

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

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

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Curated by Elena Pakhoutova

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

\n LOCATION:Rubin Museum of Art\,150 West 17th Street \nNew York\, NY 10011US SUMMARY:Gateway to Himalayan Art END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:455585 DTSTART:20171015T000000 DTEND:20180904T000000 DESCRIPTION:

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

\n LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:The Archaeology of Another Possible Future\, Liz Glynn END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:455586 DTSTART:20171015T110000 DTEND:20171015T170000 LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:The Archaeology of Another Possible Future END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:457446 DTSTART:20171013T000000 DTEND:20180729T000000 DESCRIPTION:

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

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

\n LOCATION:Cooper-Hewitt National Design Museum\,2 East 91st Street \nNew Yor k \, NY 10128 SUMMARY:Hear\, See\, Play: Designing with Sound END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:457997 DTSTART:20171111T000000 DTEND:20181104T000000 DESCRIPTION:
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This presentation in the Museum'\;s fourth-floor collection gallerie s will focus exclusively on works made by artists in their mid to late care ers. Spanning from the late 1960s to today\, the installation chronicles th e many years of sustained experimentation\, daring invention\, and thoughtf ul reconsideration that distinguish an individual artist&rsquo\;s career lo ng after his or her breakthrough moment. Highlighting lesser-known works by prominent artists and key works by some less familiar names\, The Long Run provides another view of the history of art over the last half ce ntury. All works are drawn from MoMA'\;s collection\, and includes examp les by Lee Bontecou\, Louise Bourgeois\, Melvin Edwards\, Gego\, Philip Gus ton\, David Hammons\, Jasper Johns\, Joan Jonas\, Maria Lassnig\, Elizabeth Murray\, Georgia O&rsquo\;Keeffe\, Gerhard Richter\, and many others.

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

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\n LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SUMMARY:The Long Run\, Lee Bontecou\, Louise Bourgeois\, Melvin Edwards\, G ego\, Philip Guston\, David Hammons\, Jasper Johns\, Joan Jonas\, Maria Las snig\, Elizabeth Murray\, Georgia O’Keeffe\, Gerhard Richter END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:457998 DTSTART:20171111T103000 DTEND:20171111T173000 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SUMMARY:The Long Run END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:460592 DTSTART:20171101T000000 DTEND:20180831T000000 DESCRIPTION:


\nThe \;outdoor art installation\, \;< em>Monster\, \;is artist Ivan Wong&rsquo \;s impassioned response to the increasing threats of natural and human-mad e disasters. A large enamel and vinyl billboard standing on the beach of Ma ntoloking\, NJ\, where the ocean breached the shore during Hurricane Sandy in 2012\, the \;artwork captures the luminescent and intersecting force s of sky and ocean\, overlaid with the word &ldquo\;monster&rdquo\; in Japa nese\, which emerges on the shore like Godzilla. \;As the viewers move around the billboard and the light moves across it\, the \;letters  \;appear or disappear.

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Monster is \;presented by the New York - and Los Angeles-based \;American fine art studio \;DANIELLE.

\ n LOCATION:1207 Ocean Avenue\,1207 Ocean Avenue \nMantoloking\, New Jersey 08 738US SUMMARY:Monster\, Ivan Wong END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:461303 DTSTART:20171021T000000 DTEND:20180722T000000 DESCRIPTION:
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This exhibition explores how real and mythical animals&mdash\;such as the dragon \, unicorn\, phoenix\, lion\, ox\, and butterfly&mdash\;are depicted on lux ury materials of late imperial China. Presenting 20 textiles and 50 lacquer s spanning several hundred years&mdash\;from the 13th to the 19th century&m dash\;the exhibition highlights the imagery on a wide range of objects: dra gon robes\, rank badges\, and tapestry panels for interior decoration\, as well as many different types of lacquer vessels from imperial workshops. Th e objects are drawn exclusively from The Met collection\, and some have not been on display for several decades.

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Among the works on view are two carved red-lacquer pieces from the early 15th century: dish with two birds and peonies has a lavish image treatment typica l of the period\; and sutra box with dragons amid clouds\, which depicts a sinewy dragon\, is representative of the elegant boxes produced for use both at th e court and as diplomatic gifts\, particularly to Tibet. Also of note is a late 19th- to early 20th-century woman'\;s informal robe covered with em broidered butterflies.

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\n LOCATION:The Metropolitan Museum of Art\,1000 Fifth Ave. \nNew York\, NY 10 028-0918 SUMMARY:Spirited Creatures: Animal Representations in Chinese Silk and Lacq uer END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:461304 DTSTART:20171021T000000 DTEND:20180722T000000 DESCRIPTION:

This exhibition presents a sel ection of the most refined works from the Bishop collection of jade\, the m ost esteemed stone in China. The works on view represent the sophisticated art of Chinese lapidaries during the Qing dynasty (1644&ndash\;1911)\, as w ell as the highly accomplished works of Mogul Indian (1526&ndash\;1857) cra ftsmen whose skill inspired their Chinese counterparts. Also on display are a set of Chinese lapidary tools and illustrations of jade workshops\, whic h introduce viewers to the traditional method of working jade.

\n LOCATION:The Metropolitan Museum of Art\,1000 Fifth Ave. \nNew York\, NY 10 028-0918 SUMMARY:A Passion for Jade: Heber Bishop and His Collection END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:461305 DTSTART:20171204T000000 DTEND:20180903T000000 DESCRIPTION:

As avatars of royal power and authority in Western Cameroon\, tsesah crests by Bamileke artists stand out for their monumental scale and bold interpretations of the head. In celebration of The Met'\;s recent acquisition of a rare 18th-century masterpiece\, the exhibition presents this tsesah crest along with three examples drawn from other collections. Only 15 works from this genre survive\, and this presentation is the first opportunity in the United Sta tes to view a group of these epic creations together.

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The exhibition is made possible by the Friends of Africa \, Oceania\, and the Americas: Art of Five Continents\, with additional sup port from Kyveli M. Alexiou and Javier Peres.

\n LOCATION:The Metropolitan Museum of Art\,1000 Fifth Ave. \nNew York\, NY 10 028-0918 SUMMARY:The Face of Dynasty: Royal Crests from Western Cameroon END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:461306 DTSTART:20171011T000000 DTEND:20180930T000000 DESCRIPTION:
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In 19 08\, The Metropolitan Museum of Art began to excavate late-antique sites in the Kharga Oasis\, located in Egypt'\;s Western Desert. The Museum'\ ;s archaeologists uncovered two-story houses\, painted tombs\, and a church . They also retrieved objects that reveal the multiple cultural and religio us identities of the people who lived in the region. The finds represent a society between the third and seventh centuries A.D.\, a time of transition between the Roman and early Byzantine periods\, which integrated Egyptian\ , Greek\, and Roman culture and art.

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This exhibition features some 30 works from these excavations. By groupin g objects according to the archaeological context in which they were discov ered\, the exhibition explores the interpretation of ancient identities and artifacts and shows how archaeological documentation can assist in underst anding an object'\;s original function. On view are ceramics\, ostraca ( pottery shards used as writing surfaces)\, jewelry from burials\, glassware \, coins\, copies of frescoes with early Christian images\, and early 20th- century site photography.

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\n LOCATION:The Metropolitan Museum of Art\,1000 Fifth Ave. \nNew York\, NY 10 028-0918 SUMMARY:Art and Peoples of the Kharga Oasis END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:461312 DTSTART:20171216T000000 DTEND:20181216T000000 DESCRIPTION:

The single most potent symbol of Buddhist ritual as performed in Nepal is the Vajracarya priest'\;s cr own. Five examples presented in this exhibition create a cosmic field into which viewers enter\, encircled by paintings of ritual performance. The exh ibition is occasioned by the recent acquisition of a superb early Vajracary a crown dating to the 13th or early 14th century\; this is joined by an 18t h-century crown already in the collection and two others recently discovere d in the Department of Arms and Armor. Bronze and wooden ritual utensils\, Nepalese cloth paintings\, and archival photographs of ritual enactment com plete the exhibition.

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The exhibitio n is made possible by The Miriam and Ira D. Wallach Foundation Fund and Dip ti B. and Rakesh Mathur.

\n LOCATION:The Metropolitan Museum of Art\,1000 Fifth Ave. \nNew York\, NY 10 028-0918 SUMMARY:Crowns of the Vajra Masters: Ritual Art of Nepal END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:461313 DTSTART:20171218T000000 DTEND:20181231T000000 DESCRIPTION:
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Texti le scholar Milton Sonday is one of the world'\;s foremost authorities on the structures of handmade fabrics\, particularly woven textiles and lace. Hired in 1962 by the Textile Museum in Washington\, D.C.\, as a draftsman for a project on Precolumbian ceramics\, he was promoted shortly thereafter to assistant curator responsible for carpets. In 1967\, he joined the cura torial staff of the Cooper Hewitt Museum. Early in his career\, Sonday bega n to put his artistic skills to use in creating legible and visually pleasi ng technical drawings that express the weaves of patterned textiles. He wen t on to teach seminars on fabric analysis\, developing various methods that enabled students (even those who claimed they "\;couldn'\;t draw&qu ot\;) to re-create and therefore understand the structures of historical te xtiles.

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This installation includes a selection of Sonday'\;s studies of lace structures and couched embroid ery\, loom models for patterned weaves\, and diagrams made from classic han dwoven textiles. His clear\, comprehensible\, and attractive drawings and m odels have become more than didactic tools. The wit and imagination evident in Sonday'\;s choices of materials and colors and the skill with which the works are made has inspired delight and appreciation over the years.

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In 2012\, Sonday donated his research archive to the Antonio Ratti Textile Center at The Met. The first portions are available fo r study now while the Museum continues cataloguing and processing this treasure trove. Sonday has generously given his time to assist with the ong oing organization of the archive\, which spans his entire career and includ es his most recent projects.

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\n LOCATION:The Metropolitan Museum of Art\,1000 Fifth Ave. \nNew York\, NY 10 028-0918 SUMMARY:The Secret Life of Textiles: The Milton Sonday Archive END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:461314 DTSTART:20170826T000000 DTEND:20190106T000000 DESCRIPTION:
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< em>From the standpoint of splendid scenery\, painting cannot equal [real] l andscape. But when it comes to the wonders of brush and ink\, [real] landsc ape is no match for painting!
\n \;  \;  \;  \;  \;  \;  \;  \;  \; &n bsp\;  \;  \;  \;&mdash\;Dong Qichang (1555&ndash\;1636)

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About a thousand ye ars ago\, the Chinese landscape painter Guo Xi posed the question\, "\; In what does a gentleman'\;s love of landscape consist?"\; This ques tion is at the heart of the exhibition\, which explores the many uses of la ndscape in the Chinese visual arts.

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This exhibition\, which showcases more than 120 Chinese landscape painting s in three rotations\, offers insights into the tradition and reveals disti nctions between types of landscape that might not be obvious at first glanc e. What initially appears to be a simple mountain dwelling\, for example\, turns out to be the villa of the painter'\;s friend\, encoding a wish fo r his happy retirement. Similarly\, what seems at first to be a simple stud y in dry brushwork turns out to be an homage to an old master\, an expressi on of reverence for what has come before.

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Drawn primarily from The Met'\;s holdings and supplemented by a d ozen private loans\, the presentation is augmented by decorative art object s with landscape themes.

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The exhibi tion is made possible by the Joseph Hotung Fund.

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\n LOCATION:The Metropolitan Museum of Art\,1000 Fifth Ave. \nNew York\, NY 10 028-0918 SUMMARY:Streams and Mountains without End: Landscape Traditions of China END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:461315 DTSTART:20170807T000000 DTEND:20190623T000000 DESCRIPTION:

Bringing together 62 masterpie ces of 16th-century northern European art from The Met collection and one i mportant loan\, this exhibition revolves around questions of historical wor th\, exploring relative value systems in the Renaissance era. Organized in six sections&mdash\;raw materials\, virtuosity\, technological advances\, f ame\, market\, and paragone&mdash\;tapestry\, stained and vessel glass\, sc ulpture\, paintings\, precious metal-work\, and enamels are juxtaposed with pricing data from 16th-century documents. What did a tapestry cost in the 16th century? Goldsmiths'\; work? Stained glass? How did variables like raw materials\, work hours\, levels of expertise and artistry\, geography\, and rarity\, affect this? Did production cost necessarily align with perce ived market valuation in inventoried collections? Who assigned these values ? By exploring different 16th-century yardsticks of gauging worth\, by prob ing extrinsic versus intrinsic value\, and by presenting works of different media and function side-by-side\, the exhibition captures a sense of the s plendor and excitement of this era.

\n LOCATION:The Metropolitan Museum of Art\,1000 Fifth Ave. \nNew York\, NY 10 028-0918 SUMMARY:Relative Values: The Cost of Art in the Northern Renaissance END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:461785 DTSTART:20180102T000000 DTEND:20180731T000000 DESCRIPTION:

Elisa Contemporary Art is pleased to pr esent our new gallery exhibit\, Paper Cuts. \; This gr oup show features four artists all creating dimensional artwork fro m cut paper. \; The exhibit \; runs through April 26 at th e Riverdale NY Gallery. \; It will be open by appointment only through July 31. \; The featured artists are: Amy Genser\, Don Morris and Heidi Whitman.

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The exhibit highlights the intricate and highly detailed proc esses of creating dimensional work from Paper. \; \; Our artists us e knives and scissors to carefully sculpt each paper. \; \; The int erconnectedness of each element creates the patterns that draw the viewer i nto the work with shadows adding additional drama and dimension.

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Amy Genser creates dimensional artwork w ith paper and paint to explore her obsession with texture\, pattern\, and c olor. \; Heidi Whitman&rsquo\;s paper constructions resemble city grids \, ancient ruins and blueprints\, but they also act as metaphors for the co mplicated processes of the mind. \; For Don Morris\, his former trainin g as a plastic surgeon has provided the precision for his comic book constr uctions. \; Each piece is a multi-dimensional and textural work of art. The exhibit also includes a limited edition hand collaged piece by Argentin ian artist\, Ana Marie Hernando.

\n LOCATION:Elisa Contemporary Art Gallery\,5622 Mosholu Avenue (near 256th St reet/Riverdale Library)\nRiverdale\, NY 10471US SUMMARY:Paper Cuts: Dimensional Works of Paper\, Amy Genser\, Don Morris\, Heidi Whitman END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:461963 DTSTART:20171117T000000 DTEND:20181015T000000 DESCRIPTION:

What spaces are sacred to you? Some sacred spaces are public\, like a religious holy site or your communi ty&rsquo\;s house of worship. Others are private\, like a personal sanctuar y for finding peace and concentration. Regardless of where they are or what they look like\, the relationships we build with these sacred spaces infor m how we think about ourselves and relate to the rest of the world.

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The Rubin&rsquo\;s ongoing exhibition S acred Spaces invites visitors to reflect on devotional activities in aw e-inspiring places. This iteration\, The Road To&hellip\;\, focuses on the act and action of pilgrimage for the benefit of one&rsquo\;s future self.

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The Road to Sanchi

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In The Road to Sanchi\, artist Ghiora Aharoni transforms obsolete taxi meters with video screens that capture his travels to sacred sites throughout India for Hindus\, Jews\, Muslims\, and Buddhists. One su ch site is Sanchi\, which is famous for its Great Stupa built over relics o f the Buddha and is considered one of the most important sites in Buddhism. Sanchi and the other sacred sites are never seen\, making the journeys a v ehicle for examining the prism of time and the act of pilgrimage for the vi ewer. They also express India&rsquo\;s history of cultural plurality and th e natural commingling of sacred and secular in India today.

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< i>Kora and Saga Dawa

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Th e videos Kora and Saga Dawa\, created by Arthur Liou\, explor e the vernacular and sacred aspects of Tibetan Buddhist ritual and celebrat ion\, as they take place in the breathtaking environment around Tibet&rsquo \;s holiest mountain\, Mount Kailash. Challenging the distinction between l andscape\, sacred site\, and personal devotional practice\, Liou&rsquo\;s w ork invites the viewer to contemplate the significance of place in spiritua l practice\, and how pilgrimage cultivates intimacy with literal place\, se lf-discovery\, and the divine. The videos will be shown in succession\, beg inning with Kora.

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The Tibetan Buddhist Shrine Room

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An ongoing focal point of Sacred S paces\, the Shrine Room is an immersive installation inspired by tradit ional Tibetan household shrines. Customarily such a space would be used for devotional practices\, elaborate offerings\, prayer\, and contemplation th rough engagement with sculptures\, paintings\, and ritual objects. Each ite ration of the Shrine Room features a specific Tibetan Buddhist tradition&md ash\;this time the Sakya tradition.

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This exhibition is made po ssible by Bob and Lois Baylis\, Matt and Ann Nimetz\, Christopher J. Fussne r\, The 2009 Hoch Charitable Lead Trust\, Tulku Tsultrim\, Audio-Technica\, and contributors to the 2017 Exhibitions Fund.

\n LOCATION:Rubin Museum of Art\,150 West 17th Street \nNew York\, NY 10011US SUMMARY:Sacred Spaces The Road to... and the Tibetan Buddhist Shrine Room END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:461964 DTSTART:20180202T000000 DTEND:20190107T000000 DESCRIPTION:

In 2018\, the future will be b oth present and projected from the past at the Rubin Museum of Art\, with a new exhibition that tells the story of the legendary Indian master Padmasa mbhava. Celebrated by Tibetans as &ldquo\;The Second Buddha\,&rdquo\; Padma sambhava\, the Lotus Born\, is believed to have been instrumental in conver ting the land and people of Tibet to Buddhism. His legends carry universal relevance about triumph over obstacles\, the power of human emotions\, tran sformation\, impermanence\, achieving liberation from life and death\, and notions of time&mdash\;all of which transcend specific cultures and eras.\n\n

The Second Buddha brings toge ther 41 works of art from the 13th to 20th century with interactive technol ogy. Central to the exhibition are themes of the interconnected nature of p ast and future as the basis for constructing identity and projecting teachi ngs into the future. It is said that in the past Padmasambhava concealed hi s teachings\, known as treasure teachings\, throughout the Tibetan landscap e to be discovered by foretold disciples at opportune times in the future. To parallel such discoveries\, visitors will engage with select objects to reveal their hidden meaning and content. As one of the methods for revealin g that which is hidden\, visitors will use Augmented Reality (AR) tablets. The exhibition will also be activated by other interactive technology and p erformances\, which bring the narratives to life and let visitors consider mechanisms of storytelling that touch on the themes of the exhibition\, the past\, the present\, and ways of enabling the future.

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An audi o tour and series of public programs complements the exhibition\, which wil l be accompanied by a publication coproduced with the Frances Young Tang Te aching Museum and Art Gallery at Skidmore College. The exhibition will also travel to the Tang Museum in 2019.

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Curated by Elena Pakhoutova

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This exhibition is made possible in part by the Ellen Bayard Weedon Foundation\, E. Rhodes &\; Leona B. Carpenter Foundation\, and contributors to the 2018 Exhibition Fun d.

\n LOCATION:Rubin Museum of Art\,150 West 17th Street \nNew York\, NY 10011US SUMMARY:The Second Buddha: Master of Time END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:461965 DTSTART:20180202T110000 DTEND:20180202T220000 LOCATION:Rubin Museum of Art\,150 West 17th Street \nNew York\, NY 10011US SUMMARY:The Second Buddha: Master of Time END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:461966 DTSTART:20180210T000000 DTEND:20181111T000000 DESCRIPTION:

Anxiety and hope are often def ined by a moment that has yet to arrive. How often do we memorialize our ho pes and anxieties and consider their relationship to the future? A Monument for the Anxious and Hopeful is an opportunity to express your apprehension s and expectations for tomorrow\, contemplate your sense of the future\, an d engage with the viewpoints of others. \;

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Inspired by Tibetan prayer flags and the anonymity of public sp aces\, artist Candy Chang and writer James A. Reeves ask Rubin visitors to engage with their community by sharing their anxieties or hopes on a card. At a glance\, passersby in our Spiral Lobby will be able to glean the preva iling mood of respondents and\, drawing closer\, explore hundreds of indivi dual meditations that range from personal\, local\, and specific statements to political\, theoretical\, and spiritual reflections. \;

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&ldquo\;We live in a uniquely unsettled moment of technological\, political\, and social flux. Awash in endless currents of information delivered by glowing screens\, each new headline\, discovery \, and development brings a fresh opportunity for hope or anxiety\, dependi ng upon our individual attitudes and philosophies. By definition\, anxiety and hope are determined by a moment that has yet to arrive&mdash\;but how o ften do we pause to fully consider our relationship with the future? Are we optimists or pessimists? And how do our private sensibilities square with the current collective mood?&rdquo\; \;

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&mdash\;Candy Chan g and James A. Reeves

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\n LOCATION:Rubin Museum of Art\,150 West 17th Street \nNew York\, NY 10011US SUMMARY:A Monument for the Anxious and Hopeful END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:461967 DTSTART:20180210T110000 DTEND:20180210T180000 LOCATION:Rubin Museum of Art\,150 West 17th Street \nNew York\, NY 10011US SUMMARY:A Monument for the Anxious and Hopeful END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:462309 DTSTART:20170507T000000 DTEND:20181231T000000 DESCRIPTION:

This exhibition will focus on the Johnson family&rsquo\;s passions\, their belief in the spirit of innova tion and the power of community\, and how the founder&rsquo\;s vision for&n bsp\;The Johnson Atelier Technical Institute of Sculpture \;shaped Grou nds For Sculpture&rsquo\;s early years. \;
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\nCurated by&nb sp\;Lynn DeClemente Losavio\, Collection Manager of \; The Seward Johnson Atelier.

\n LOCATION:Grounds For Sculpture\,18 Fairgrounds Road (mailing address) 126 S culptors Way (GPS location)\nHamilton\, New Jersey 08619 SUMMARY:That’s Worth Celebrating: The Life and Work of the Johnson Family END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:462684 DTSTART:20180228T000000 DTEND:20180630T000000 DESCRIPTION:
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For the first time ever\, the Society is proud to present a selection of work from the award-winning trilogy March.

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Co ngressman John Lewis \;(GA-5) is an American icon\, one of the key figures of the civil rights movement. His commitment to justice and no nviolence has taken him from an Alabama sharecropper&rsquo\;s farm to the h alls of Congress\, from a segregated schoolroom to the 1963 March on Washin gton\, and from receiving beatings from state troopers to receiving the Med al of Freedom from the first African-American president.

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Now\, to share his remarkable story with new generati ons\, Lewis presents \;March\, a graphic nove l trilogy\, in collaboration with co-writer \;Andrew Aydin \;and New York Times best-selling artist \;Nate Powell  \;(winner of the Eisner Award and LA Times Book Prize finalis t for \;Swallow Me Whole).

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March \;is a vivid first-hand account of John Lewis&rsquo\; lifelong struggle for civil and human rights\, meditati ng in the modern age on the distance traveled since the days of Jim Crow an d segregation. Rooted in Lewis&rsquo\; personal story\, it also reflects on the highs and lows of the broader civil rights movement.

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Many years ago\, John Lewis and other student activi sts drew inspiration from the 1950s comic book "\;Martin Luther King and the Montgomery Story."\; Now\ , his own comics bring those days to life for a new audience\, testifying t o a movement whose echoes will be heard for generations.

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Curated by Charles Brownstein (Executive Director\, C omic Book Legal Defense Fund) and John Lind (Partner\, Kitchen\, Lind &\ ; Associates LLC\; Co-Founder and Creative Director at Kitchen Sink Books\, an imprint of Dark Horse Comics).

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\n\n LOCATION:Society of Illustrators\,128 East 63rd Street \nNew York\, NY 1002 1US SUMMARY:The Art of MARCH: A Civil Rights Masterpiece END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:462685 DTSTART:20180228T100000 DTEND:20180228T170000 LOCATION:Society of Illustrators\,128 East 63rd Street \nNew York\, NY 1002 1US SUMMARY:The Art of MARCH: A Civil Rights Masterpiece END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:462693 DTSTART:20180318T000000 DTEND:20180819T000000 DESCRIPTION:
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Being: New Photography 2018\, the latest edition of MoMA&rsquo \;s longstanding and celebrated New Photography series\, investigates charged and layered notions of personhood and subjectivity in recent photography and photo-based art\, presenting works by 17 artists working in the US and internationally.

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The works included in Being re spond to diverse lived experiences and circumstances through a range of iss ues and tactics\, including interrogations of traditional modes of photogra phic portraiture\, the use of surrogates or masks as replacements for the b ody\, tensions between privacy and exposure\, formations of community or so cial relations\, and the agency of the sitter and of the artist. Some works in the exhibition might be considered straightforward figurative depiction s\, while others do not include imagery of the human body at all. Since its earliest manifestations\, photography has been widely seen as a means by w hich to capture an exact likeness of a person\; the artists featured in Being mine or upset this rich history as they explore photographic re presentations of personhood today\, when rights of representation are conte sted for many individuals.

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Bein g: New Photography 2018 is constituted primarily of works made since 2 016\, both by artists who are just starting out in their careers\, some sho wing in New York for the first time\, and by others with more established p ractices who\, in some cases\, have been supporting the field of photograph y through teaching or creating other platforms for production. For all the artists\, this will be the first exhibition of their work at the Museum.

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The artists included are:

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  • Sofia Borges (Brazilian\, born 1984)\n
  • Matthew Connors (American\, born 19 76)
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  • Sam Contis (American\, born 19 82)
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  • Shilpa Gupta (Indian\, born 19 76)
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  • Adelita Husni-Bey (Italian\, b orn 1985)
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  • Yazan Khalili (Palestini an\, born Syria\, 1981)
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  • Harold Men dez (American\, born 1977)
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  • Aï\ ;da Muluneh (Ethiopian\, born 1974)
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  • Hương Ngô\; and Hồng-Â\;n Trương (American\, born Hong Kong\, 1 979\; American\, born 1976)
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  • B. Ing rid Olson (American\, born 1987)
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  • J oanna Piotrowska (Polish\, born 1985)
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  • Em Rooney (American\, born 1983)
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  • Paul Mpagi Sepuya (American\, born 1982)
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  • Andrzej Steinbach (German\, born Poland\, 1983)
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  • Stephanie Syjuco (American\, born Philippines\, 197 4)
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  • Carmen Winant (American\, born 1983)
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Organized by Lucy Gallun\, Assistant Curator\, Department of Pho tography.

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\n LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SUMMARY:Being: New Photography 2018\, Sofia Borges\, Matthew Connors\, Sam Contis\, Shilpa Gupta\, Adelita Husni-Bey\, Yazan Khalili\, Harold Mendez\, Aida Muluneh\, Huong Ngo\, B. Ingrid Olson\, Joanna Piotrowska\, Em Rooney \, Paul Mpagi Sepuya\, Andrzej Steinbach\, Stephanie Syjuco\, Hong-An Truon g\, Carmen Winant END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:462694 DTSTART:20180318T103000 DTEND:20180318T173000 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SUMMARY:Being: New Photography 2018 END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:462695 DTSTART:20180331T000000 DTEND:20180722T000000 DESCRIPTION:
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In 1996 Adrian Piper wrote\, &ldquo\;It seemed that the more clearly an d abstractly I learned to think\, the more clearly I was able to hear my gu t telling me what I needed to do\, and the more pressing it became to do it .&rdquo\; Since the 1960s\, this uncompromising artist and philosopher has explored the potential of Conceptual art&mdash\;work in which the concepts behind the art takes precedence over the physical object&mdash\;to challeng e our assumptions about the social structures that shape the world around u s. Often drawing from her personal and professional experiences\, Piper&rsq uo\;s influential work has directly addressed gender\, race\, xenophobia\, and\, more recently\, social engagement and self-transcendence.

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Bringing together over 290 works\, including d rawings\, paintings\, photographs\, multimedia installations\, videos\, and performances\, the exhibition offers a rare opportunity to experience her provocative and wide-ranging artwork. Occupying the Museum&rsquo\;s entire sixth floor and the Marron Atrium\, Adrian Piper: A Synthesis of Intuit ions 1965&ndash\;2016 charts the artist&rsquo\;s five-decade career\, including early paintings inspired by the use of LSD\; key projects such as Mythic Being (1973)\, in which Piper has merged her male alter eg o with entries from her teenage journals\; My Calling (Card) #1 an d My Calling (Card) #2 (1986)\, business card&ndash\;sized\, text- based works that confront the reader&rsquo\;s own racist or sexist tendenci es\; and What It&rsquo\;s Like\, What It Is #3 (1991)\, a large-sc ale mixed-media installation addressing racist stereotypes\, which will be shown in the Marron Atrium.

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The res ult of a four-year collaboration between the artist\, The Museum of Modern Art\, and The Hammer Museum\, Los Angeles\, this is the most comprehensive retrospective of Piper&rsquo\;s work to date.

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The exhibition is organized by C hristophe Cherix\, The Robert Lehman Foundation Chief Curator of Drawings a nd Prints\, The Museum of Modern Art\; David Platzker\, Curator\, The Depar tment of Drawings and Prints\, The Museum of Modern Art\; and Connie Butler \, Chief Curator\, Hammer Museum\, Los Angeles\; with Tessa Ferreyros\, Cur atorial Assistant\, Department of Drawings and Prints\, The Museum of Moder n Art.

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Major support for the exhibition is p rovided by The Modern Women&rsquo\;s Fund.

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Generous funding is provided by The Friends of Education of The Mus eum of Modern Art.

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Additional suppo rt is provided by the Annual Exhibition Fund with major contributions from the Estate of Ralph L. Riehle\, Alice and Tom Tisch\, The Marella and Giova nni Agnelli Fund for Exhibitions\, The Contemporary Arts Council of The Mus eum of Modern Art\, Mimi and Peter Haas Fund\, Brett and Daniel Sundheim\, Franz Wassmer\, Karen and Gary Winnick\, and Oya and Bü\;lent Eczacıbaş ı.

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\n LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SUMMARY:A Synthesis of Intuitions\, 1965–2016\, Adrian Piper END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:462696 DTSTART:20180331T103000 DTEND:20180331T173000 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SUMMARY:A Synthesis of Intuitions\, 1965–2016 END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:463477 DTSTART:20180302T000000 DTEND:20180715T000000 DESCRIPTION:

Organized with unprecedented a ccess to David Bowie&rsquo\;s personal archive\, this exhibition explores t he creative process of an artist whose sustained reinventions\, innovative collaborations\, and bold characterizations revolutionized the way we see m usic\, inspiring people to shape their own identities while challenging soc ial traditions. David Bowie is has been touring globally for the p ast five years and is taking its final bow at the Brooklyn Museum\, providi ng an opportunity to view this one-of-a-kind material.

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David Bowie is presents approximately 400 obje cts drawn primarily from the David Bowie Archive\, including the artist&rsq uo\;s original costumes\, handwritten lyric sheets from famous songs\, orig inal album art\, photographs\, and videos\, all tracing Bowie&rsquo\;s crea tive process from his teenage years in England through his last twenty year s\, when he resided in New York City. The archive is presented within an im mersive\, multimedia installation that includes continuous audio along with projected animation and video.

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Hig hlights of the exhibition include more than 60 custom-made performance cost umes\, including six designed by Freddie Burretti for Ziggy Stardust / 1980 Floor Show and seven designed by Kansai Yamamoto for Aladdin Sane. There are 85 handwritten lyric sheets\, including those from &ld quo\;Fame&rdquo\; and &ldquo\;Fashion&rdquo\;\; drawings\, including a sket ch for the Young Americans album cover\; and oil paintings\, inclu ding two of musician Iggy Pop\, all by Bowie. There are also more than 40 p ioneering music videos\, television clips\, and filmed roles as well as a m ultimedia presentation of international tour footage with rare scenes from the legendary Diamond Dogs tour\, filmed in Philadelphia. A custom audio mix made up of snippets of Bowie&rsquo\;s songs&mdash\;produced by l ongtime collaborator Tony Visconti&mdash\;is also featured.

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David Bowie is is organized by the Victoria and Albert Museum\, Lond on.

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The Brooklyn Museum presentatio n is organized by Matthew Yokobosky\, Director of Exhibition Design\, Brook lyn Museum.

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The exhibition is accom panied by a richly illustrated catalogue edited by Victoria and Albert Muse um Theater and Performance curators Victoria Broackes and Geoffrey Marsh\, with essays by Camille Paglia\, Jon Savage\, Howard Goodall\, Christopher B reward\, Oriole Cullen\, Nicholas Coleridge\, and a roundtable discussion w ith Sir Christopher Frayling\, Philip Hoare\, Mark Kermode\, and Geoffrey M arsh.

\n LOCATION:Brooklyn Museum of Art\,200 Eastern Parkway \nBrooklyn\, NY 11238- 6052 SUMMARY:David Bowie is END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:463478 DTSTART:20180302T110000 DTEND:20180302T180000 LOCATION:Brooklyn Museum of Art\,200 Eastern Parkway \nBrooklyn\, NY 11238- 6052 SUMMARY:David Bowie is END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:463546 DTSTART:20180125T000000 DTEND:20190106T000000 DESCRIPTION:
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Prese nting a wide array of samurai armor\, blades\, and accoutrements dating fro m the 15th to the 19th century\, this exhibition celebrates the promised gi ft of 37 objects from the collection of Etsuko and John Morris\, as well as other important gifts made by Mr. and Mrs. Morris to The Met'\;s Depart ment of Arms and Armor over the past 17 years.

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The collection was originally assembled in the early 20th centu ry by Dr. Frederick Malling Pedersen (1869&ndash\;1947) of New York. It lat er passed by descent to Mr. and Mrs. Morris\, who have seen to its care and restoration. Key works include a rare complete armor (gusoku) by Bame n Tomotsugu (active 18th century)\; a blade attributed to Fusamune of Sōshū (active la te 15th&ndash\;early 16th century) with mounting\; and a helmet (kawari -kabuto) in the shape of a wave (17th century\, restored 2015). The gi ft of choice objects from the collection represents a significant addition to the Museum'\;s holdings of Japanese arms and armor\, which are the mo st comprehensive of their kind outside of Japan.

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\n LOCATION:The Metropolitan Museum of Art\,1000 Fifth Ave. \nNew York\, NY 10 028-0918 SUMMARY:Japanese Arms and Armor from the Collection of Etsuko and John Morr is END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:463547 DTSTART:20180117T000000 DTEND:20180715T000000 DESCRIPTION:
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This exhibition surveys Conceptual art as it developed in Southern California in the 1970s. It is occasioned by the artist William Wegman'\;s extraordin ary recent gift to the Museum of 174 short videos that he made between 1970 and 1999&mdash\;his entire career in this medium. A 90-minute selection of videos from this gift is shown accompanied by photographs and drawings by Wegman as well as drawings\, prints\, and photographs by his contemporaries in Southern California such as John Baldessari\, Vija Celmins\, Douglas Hu ebler\, Ed Ruscha\, and others.

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Weg man took up video while studying painting at the University of Wisconsin. L ike many artists using the then-new medium\, Wegman appreciated video\, lik e photography\, for its lo-fi reproducibility and anti-artistic qualities&m dash\;and unlike film\, where the negative must be developed and processed before viewing\, video was like a sketchbook that allowed revision in real time.

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It wasn'\;t until he moved to Southern California in 1970 that his video production took off. Althoug h he only lived in Los Angeles for three years\, Wegman found his method: s hort\, staged vignettes using everyday items in which expectations are reve rsed\, puns and homonyms are pursued to absurd conclusions. The artist'\ ;s key early collaborator for most of these short videos was his pet Weimar aner Man Ray\, who enthusiastically participates in the goings on. In contr ast to other early adopters of video\, Wegman eschewed an aesthetic of bore dom for humorous improvised scenarios in which he deflated the pretensions of painting and sculpture while also lampooning the pieties and self-seriou sness of Conceptual Art&mdash\;at a time when it was being codified and ins titutionalized. Beneath the slacker humor\, however\, are poignant points a bout failure and the reversal of expectations that chime with work by fello w West Coast Conceptualist friends and fellow travelers also featured in th e exhibition.

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\n LOCATION:The Metropolitan Museum of Art\,1000 Fifth Ave. \nNew York\, NY 10 028-0918 SUMMARY:Before/On/After: William Wegman and California Conceptualism\, Will iam Wegman END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:463548 DTSTART:20180119T000000 DTEND:20180704T000000 DESCRIPTION:
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The t raditional East Asian lunar calendar consists of a repeating 12-year cycle\ , with each year corresponding to one of the 12 animals in the East Asian z odiac (rat\, ox\, tiger\, rabbit\, dragon\, snake\, horse\, ram\, monkey\, rooster\, dog\, and pig). These animals were first associated with the luna r calendar in China \;in the third century B.C.\, becoming firmly estab lished by the first century. Each animal is believed to embody certain trai ts expressed in the character of the people born in that year. This Lunar N ew Year\, which begins on February 16\, 2018\, is the Year of the Dog. Peop le born in this year are thought to be active\, loyal\, and vigilant.

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Commonly known as "\;man'\;s best friend\,"\; the dog\, as one of the earliest domesticated animals\, ha s long performed many essential tasks\, including hunting\, herding\, pulli ng loads\, protection\, and companionship. Archaeological evidence indicate s that dogs were buried to accompany the deceased as early as in China'\ ;s Shang dynasty (ca. 1500&ndash\;1046 B.C.). By the Han dynasty (206 B.C.& ndash\;A.D. 220)\, dogs were frequently represented in painting and metalwo rk\, as well as in pottery tomb figures\, and they remained a popular motif across all media for two millennia.

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To celebrate the Year of the Dog\, this exhibition presents a selection o f remarkable works\, exclusively from The Met collection\, that illustrate the animal'\;s close association with Chinese daily life.

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\n LOCATION:The Metropolitan Museum of Art\,1000 Fifth Ave. \nNew York\, NY 10 028-0918 SUMMARY:Celebrating the Year of the Dog END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:463551 DTSTART:20180312T000000 DTEND:20180729T000000 DESCRIPTION:
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Drawi ng largely on the encyclopedic holdings of The Met\, this exhibition will i llustrate the horticultural boom that reshaped much of the French landscape during the 19th century. As shiploads of exotic botanical specimens arrive d from abroad and local nurserymen pursued hybridization\, the availability and variety of plants and flowers grew exponentially\, as did the interest in them. The opening up of formerly royal properties and the transformatio n of Paris during the Second Empire into a city of tree-lined boulevards an d parks introduced public green spaces to be enjoyed as open-air salons\, w hile suburbanites and country-house dwellers were inspired to cultivate the ir own flower gardens. By 1860\, the French journalist Eugè\;ne Chapu s could write: "\;One of the pronounced characteristics of our Parisian society is that . . . everyone in the middle class wants to have his littl e house with trees\, roses\, and dahlias\, his big or little garden\, his r ural piece of the good life."\;

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The important role played by parks and gardens in contemporary French life is richly documented in works in The Met collection by artists extending f rom Corot to Matisse\, many of whom were gardeners themselves. The populari ty of botanical and floral motifs at this time is evidenced throughout the pictorial and decorative arts. From paintings by the Impressionists to phot ographs of the era and vases made to display lush bouquets\, this presentat ion of some 150 works will provide a fresh\, multisided perspective on best -known and hidden treasures housed in a Museum that took root in a park: na mely\, New York'\;s Central Park\, which was designed in the spirit of P arisian public parks of the same period.

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#ParksandGardens

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Accompanied by a catalogue.

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The exhibition is made possible by the Sam and Janet Salz Trust\, the Janice H. Levin Fund\, and The Florence Gould Foundation.

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The catalogue is made possible by the Janice H. Lev in Fund\, the Diane W. and James E. Burke Fund\, and the Doris Duke Fund fo r Publications.

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\n LOCATION:The Metropolitan Museum of Art\,1000 Fifth Ave. \nNew York\, NY 10 028-0918 SUMMARY:Public Parks\, Private Gardens: Paris to Provence END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:463552 DTSTART:20180312T100000 DTEND:20180312T173000 LOCATION:The Metropolitan Museum of Art\,1000 Fifth Ave. \nNew York\, NY 10 028-0918 SUMMARY:Public Parks\, Private Gardens: Paris to Provence END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:463557 DTSTART:20180227T000000 DTEND:20190121T000000 DESCRIPTION:
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Paint ing blossomed in Japan during the Edo period (1615&ndash\;1868)\, as artist s daringly experimented with conventional styles. In this exhibition\, more than 40 examples of Edo-period paintings from the collection of Estelle P. Bender and her late husband T. Richard Fishbein&mdash\;mostly gifts and pr omised gifts to The Met&mdash\;will help trace the development of the major schools and movements of this fascinating era. Contemporary Japanese ceram ics will be juxtaposed with Edo-period paintings\, while works in various f ormats and media from The Met collection will provide context. The celebrat ion of the natural world will serve as a unifying theme\, and the intertwin ed relationship between poetry and the pictorial arts&mdash\;so fundamental to Japanese tradition&mdash\;will be a particular focus of the exhibition.

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Accompanied by a catalogue.

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The exhibition and catalogue are made pos sible by the Bender-Fishbein-Goodman Family.

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\n LOCATION:The Metropolitan Museum of Art\,1000 Fifth Ave. \nNew York\, NY 10 028-0918 SUMMARY:The Poetry of Nature: Edo Paintings from the Fishbein-Bender Collec tion END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:463558 DTSTART:20180227T100000 DTEND:20180227T173000 LOCATION:The Metropolitan Museum of Art\,1000 Fifth Ave. \nNew York\, NY 10 028-0918 SUMMARY:The Poetry of Nature: Edo Paintings from the Fishbein-Bender Collec tion END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:463561 DTSTART:20180205T000000 DTEND:20190106T000000 DESCRIPTION:
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Begin ning in the fifth century B.C.\, Medusa&mdash\;the snaky-haired Gorgon whos e gaze turned men to stone&mdash\;became increasingly anthropomorphic and f eminine\, undergoing a visual transformation from grotesque to beautiful. A similar shift in representations of other mythical female half-human being s&mdash\;such as sphinxes\, sirens\, and the sea monster Scylla&mdash\;took place at the same time. Featuring 60 artworks\, primarily from The Met col lection\, this exhibition will explore how the beautification of these terr ifying figures manifested the idealizing humanism of Classical Greek art\, and will trace their enduring appeal in both Roman and later Western art.\n\n

The connection between beauty and ho rror\, embodied above all in the figure of Medusa\, outlived antiquity\, fa scinating and inspiring artists through the centuries. Medusa became the ar chetypical femme fatale\, a conflation of femininity\, erotic desire\, viol ence\, and death. Along with the beautiful Scylla\, she foreshadows the con ceit of the seductive but threatening female that emerges in the late 19th century in reaction to women'\;s empowerment.

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Accompanied by a Bulletin

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The exhibition is made possible by The Vlachos Family Fund and Diane Carol Brandt.

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The accompanyin g Bulletin is made possible in part by the Jenny Boondas Fund. The Met'\;s quarterly Bulletin program is supported in part by the Lila Acheson Wallace Fund for The Metropolitan Museum of Art\, established by the cofounder of Reader'\;s Digest.

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\n LOCATION:The Metropolitan Museum of Art\,1000 Fifth Ave. \nNew York\, NY 10 028-0918 SUMMARY:Dangerous Beauty: Medusa in Classical Art END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:463562 DTSTART:20180205T100000 DTEND:20180205T173000 LOCATION:The Metropolitan Museum of Art\,1000 Fifth Ave. \nNew York\, NY 10 028-0918 SUMMARY:Dangerous Beauty: Medusa in Classical Art END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:464007 DTSTART:20180310T000000 DTEND:20181021T000000 DESCRIPTION:

Explore works featuring exotic \, domestic\, wild and working animals from the Museum'\;s permanent col lection\, including both rarely exhibited watercolors and oil paintings. Wo rks span the 19th and 20th centuries and include works by George Inness\, H enry E. Schnakenberg\, and Robert Brackman.

\n LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317US SUMMARY:Fine Art Animals: From the Collection of the Arkell Museum at Canaj oharie END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:464008 DTSTART:20180310T120000 DTEND:20180310T170000 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317US SUMMARY:Fine Art Animals: From the Collection of the Arkell Museum at Canaj oharie END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:464062 DTSTART:20180223T000000 DTEND:20180728T000000 DESCRIPTION:

We are pleased to announce con temporary artist ​Rachel Lee Hovnanian​'\;s first three-part exhibition\ , The Women&rsquo\;s Trilogy Project\, on view at Leila Heller Gal lery in Manhattan. The multi-part exhibition will run consecutively from Fe bruary 24 to July 28\, 2018\, and will be the artist&rsquo\;s third solo sh ow with the gallery.

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The Women&rsqu o\;s Trilogy Project will include three installments of work\, which evalua te contemporary societal dependencies and cultural pressures \;projecte d through a \;feminist lens. Expanding on familiar themes in her previo us work\, Hovnanian uses each exhibition in this series to initiate difficu lt conversations surrounding modern relationships with technology\, addicti on\, and gender roles\, through a collection of interactive installations\, paintings\, sculptures and works on paper. Hovnanian draws on personal are as of her Southern upbringing\, to juxtapose our current cultural values. S he challenges the viewer to question what gender barriers have been overcom e in our society\, if anything at all\, and the inert societal struggles fe males still face presently.

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Part I of The Women&rsquo\;s Trilogy Project is (Ray Lee Project Vol. 1) NDD Immersion Room\, a large-scale immersive installation whose ti tle derives from the concept of Nature Deficit Disorder (&ldquo\;NDD&rdquo\ ;)\, used to describe a form of human alienation from nature that results i n both a greater susceptibility to negative moods and a reduced attention s pan. In order to enter the exhibition\, visitors will surrender their phone s and in return receive a lantern to enter a dimly lit interior forest barl ey illuminated by a campfire with very few signs of civilization. &ldquo\;H ovnanian challenges viewers to reevaluate their own relationship with digit al technology\,&rdquo\; notes curator Chris Byrne.

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Hovnanian created this exhibition \;under her male  \;pseudonym\, \;Ray Lee\, \;assigned by her peers during adolescenc e to reflect her interest in \;stereotypically \;masculine outdoor past-times like camping and fishing. &ldquo\;As women\, possessions\, gende r roles\, stereotypes drive us to actions and limitations that are artifici al rather than real\,&rdquo\; says the artist. By producing work under her male pseudonym\, Hovnanian \;overcomes the preconceptions of work being created by female artists.

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Expandi ng upon the exhibition that took place during Armory Week at the \;SPRI NG/BREAK Art Show 2017\, \;(Ray Lee Project Vol. 1) NDD Immersion R oom \;has been re-conceptualized and expanded specifically for&nbs p\;Leila Heller Gallery.

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Part II of the Trilogy\, \;HAPPY HOUR\, explores domestic gender roles a nd how it supported a culture of alcoholism\; and \;Part III the Trilog y\, \;PURE\, provides a catharsis for a culture of perfectioni sm and how it has regimented women&rsquo\;s lives. Additional information o n the final two stages of The Women&rsquo\;s Trilogy Project will be shared shortly.

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About Rachel Lee Hovnanian

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Rache l Lee Hovnanian is an American contemporary artist based in New York City w ho was raised in Houston\, Texas\, and received her BFA from the University of Texas\, Austin. Hovnanian works in a wide range of mediums that span fr om photography\, sculpture\, installation\, conceptual work\, and performan ce &ndash\; she has exhibited in both solo and group exhibitions within the United States and internationally. Her work is collected widely in both mu seums and private collections. www.rachelleehovnanian.com | @rachelleehovna nian

\n LOCATION:Leila Heller Gallery - Chelsea\,568 West 25th Street \nNew York\, NY 10001US SUMMARY:The Women’s Trilogy Project\, Rachel Lee Hovnanian END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:464063 DTSTART:20180223T180000 DTEND:20180223T200000 LOCATION:Leila Heller Gallery - Chelsea\,568 West 25th Street \nNew York\, NY 10001US SUMMARY:The Women’s Trilogy Project END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:464248 DTSTART:20180609T000000 DTEND:20180727T000000 DESCRIPTION:

Susan Inglett Gallery is pleased to present \;Night\ , Shortly \;a group exhibition organized by Halsey McKay Gallery f eaturing Colby Bird\, Anne-Lise Coste\, Chris Duncan\, Rachel Foullon\, Jos eph Hart and Brie Ruais opening 6 to 8 PM Saturday 9 June.  \;These art ists employ sculpture\, drawing\, painting\, photography and hybrids of all \, to make complex artworks that allude to the psychological and physical e ffects of time\, the body\, and the entropic nature of organic\, terrestria l matter.  \;While the works are tinged with melancholy\, the artists r eflect informed and hopeful views of the surrounding world. \; The show acts as an uncynical reflection of the times that celebrate the dogged mak ing of physical things. \;

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The exhibition&rsquo\;s title is b orrowed from a sundial motto inscription\, one of many that Chris Duncan ha s sewn into black fabric and placed on his studio roof for a six-month peri od. \; These works continue Duncan&rsquo\;s ongoing exploration of the sun as metaphor\, inspiration and subject. \; The stitched fabric absor bs ultraviolet rays\, rain\, and windblown particles over time and employs the celestial body as fabricator.  \;Without the use of dye\, emulsion or any intentionally manipulated chemical process\, tightly detailed imager y emerges through time and creates a sun-bleached exposure.  \;Once har vested\, the thread is cut and removed\, allowing the scrunched fabric to f latten and reveal the ghostly appropriated messages. \;

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In Co lby Bird&rsquo\;s work\, the photographic image\, here a fruit bowl in a Bu ddhist temple\, becomes a cipher more than a subject. \; The ornate con struction of the frame\, the forced-mirroring of the viewer\, the object-ne ss of the photo itself&ndash\;all of these act in unison to encourage a hol istic reading of the works on display. \; The dark prints topped with g lass\, combined with the gallery&rsquo\;s overhead lighting\, create a mirr oring effect\, serving to put the viewer &ldquo\;on stage&rdquo\; both insi de and outside of the work.  \;Built-in to the reverse side of the work is a tableau of imagined daily activities of the Platonic ideal of &ldquo\ ;the artist&rdquo\;:  \;casual painting\, leisurely reading\, and refle ctive writing. \;

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Anne-Lise Coste&rsquo\;s paintings have the immediacy of graffiti and allow her to express subjective moods mixed with political criticism.  \;Her dada-influenced language and intensely lyr ical images exude irony\, rebellion and emotion.  \;She creates seeming ly straightforward compositions that actually offer us a catalogue of conte mporary anxieties.  \;Her \;Bones \;paintings act as a kind of Rorschach as she cites &ldquo\;these bones that in 2001 Space Odys sey are shown to be the tool of the creator or destroyer. \; These bone s that float in Georgia O&rsquo\;Keefe paintings. \; These bones seem t o cut sharply to the center of something that is keenly alive in the desert even though it is vast and empty and untouchable... \;And knows no kin dness with all its beauty.&rdquo\;

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Brie Ruais&rsquo\; ceramic scu lptures embody a transition from action to outcome and they begin with a li st of limitations. \; These controls\, determine the weight of the mate rial\, the action\, the time\, and the basic shape of her works. \; She begins with her body weight in clay and then confronts it in a highly phys ical process that involves kneeling\, kicking\, spreading\, scraping\, and skimming. \; The body operates as a conduit for receiving and communica ting messages that escape the limitations of our material and social realit y.  \;As a result\, clay and body collapse as subject and material merg e.  \;Clay has the ability to address conceptions of the internal body and the body of the earth\; it is in this space that her work reflects on t he history of shared repression and exploitation of the environment.  \ ;Ruais&rsquo\; \;Craters \;simultaneously look inward towa rds primordial movement\, outward towards the land\, and center on the unde niability of traumatized bodies.

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Joseph Hart&rsquo\;s oversized d rawings reflect his physical size and nudge the gestures toward the figurat ive.  \;The door-like ratio of these lyrical compositions is determined by the artist&rsquo\;s wingspan.  \;His deft line marks reach from top -to-bottom\, and left-to-right depending on the positioning of the paper.&n bsp\; Drawing is crucially important within the ecosystem of Hart&rsquo\;s studio practice.  \;With the humble materials of graphite and paper\, h e is able to ignore the pressures of painting\, play with line and boundari es\, tempo\, and be more impulsive and reactionary\, which he remarks as a &ldquo\;gratifying way of moving and thinking&rdquo\;.

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Rachel Fou llon&rsquo\;s \;Threshold \;revolves around the form of a braid.  \;Constructed from dozens of strands of hand-dyed cotton drawco rd pulled across a stained cedar frame\, Foullon expands on the timeless pe rsonal hair sculpture to yield haptic associations.  \;For the artist\, the braid is a systematized style of control\, a handle\, a tail\, a vulne rability and a permission. Trunk\, \;alludes to the body&rsquo \;s natural system of replenishment and renewal. \; Hand-dyed rope rese mbling the vena cava and aorta weave through pleated linen and cedar as if to supply the work with its own rationale\, enabling its continued existenc e.

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The exhibition will be on view at the gallery located at 522 W est 24 Street Tuesday to Saturday 10 AM to 6 PM\, with Summer hours Monday to Friday 10 AM &ndash\; 6 PM starting 30 June. \; For additional infor mation\, please contact Susan Inglett Gallery at 212 647 911 or info@inglettgallery.com. \; Join in t he conversation on Instagram (@susaninglettgallery)\, Facebook (@Susan Ingl ett Gallery)\, Twitter (@inglettgallery)\, and via the hashtags #NightShort ly and #SusanInglettGallery.

\n LOCATION:Susan Inglett Gallery\,522 West 24th Street \nNew York\, NY 10011 SUMMARY:Night\, Shortly\, Colby Bird\, Anne-Lise Coste\, Chris Duncan\, Rac hel Foullon\, Joseph Hart\, Brie Ruais END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:470699 DTSTART:20180609T180000 DTEND:20180609T200000 LOCATION:Susan Inglett Gallery\,522 West 24th Street \nNew York\, NY 10011 SUMMARY:Night\, Shortly END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:465138 DTSTART:20180202T000000 DTEND:20181104T000000 DESCRIPTION:

Through January 7\, 2019\, in the Second and Third Floor Galleries

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The mudra known as the scorpion gesture is said to have unlimited power a nd potential for transformation. Your presence will transform the Rubin gal leries in Chitra Ganesh&rsquo\;s new series The Scorpion Gesture\, c ausing her large-scale animations to appear as if by magic when you walk by select artworks. Ganesh has created five animated artistic &ldquo\;interve ntions&rdquo\; inspired by pieces in Gateway to Himalayan Art and Masterworks\, using the figures of Padmasambhava\, known as the Second Buddha\, and Maitreya\, the Future Buddha\, as points of departure. The an imations build on Ganesh&rsquo\;s longstanding investigation of mythology\, imagery\, and narrative in her multidisciplinary practice\, integrating he r drawings with elements from the Rubin&rsquo\;s collection. Developed with and animated by the STUDIO.

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Face of the Future

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Through November 4 i n the Theatre Level

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For Face of the Future\, Ganesh reimagines how visual languages of science fiction and fantasy take shape and proliferate around the world in print culture\, literature\, and cinema. In addition to showcasing her own new works on pap er and collage-based pieces\, Ganesh has invited seven emerging artists&mda sh\;Maia Cruz Palileo\, Nontsikelelo Mutiti\, Tammy Nguyen\, Jagdeep Raina\ , Sahana Ramakrishnan\, Anuj Shrestha\, and Tuesday Smillie&mdash\;to expan d and redefine the aesthetics of science fiction by creating posters that r efer to a group of important\, influential films largely outside the Wester n canon.

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Curated by Beth Citron.

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Chitra Ganesh is made possible by Rasika and Girish R eddy\, Manoj and Rita Singh\, Akhoury Foundation\, and contributors to the 2018 Exhibitions Fund.

\n LOCATION:Rubin Museum of Art\,150 West 17th Street \nNew York\, NY 10011US SUMMARY:Solo Exhibition\, Chitra Ganesh END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:465139 DTSTART:20180223T000000 DTEND:20190128T000000 DESCRIPTION:

In the Otolith Group&rsquo\;s transtemporal consideration of modernity in urban India\, the narrator ques tions\, &ldquo\;Why do Indian artists produce so little science fiction?&rd quo\; The reply: &ldquo\;Satyajit Ray&rsquo\;s film The Alien would have rendered this question void. It is this emptiness that allows a nostal gia for a lost future.&rdquo\;

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The three-part exhibition A Lost Future challenges existing histories an d speculative futures across cultures and in Bengal&mdash\;a culturally ric h region divided between present-day India and Bangladesh. The three contem porary artists featured in the exhibition&mdash\;Shezad Dawood\, the Otolit h Group\, and Matti Braun&mdash\;engage an evocative range of mediums that spans virtual reality to an immersive lake along with painting\, film\, scu lpture\, and photography. Through rich storytelling\, A Lost Future explores themes of virtuality\, modernity\, and world-making in ways that a re universal as well as interconnected and specific to this region. A Lo st Future presents still works by all three artists throughout the run\ , while the central cove will rotate to highlight each one individually.

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A Lost Future: Shezad Dawood ( February 23&ndash\;May 21\, 2018) features an interactive virtual reality e xperience of the Indian hill station Kalimpong\, linking a haunting nostalg ic portal to a future alternative reality. Expanding on some of the sites a nd stories in Dawood&rsquo\;s paintings and sculptures on view\, the virtua l reality work allows visitors to travel from the mythic Himalayan Hotel in to the mountains\, an adjacent monastery\, and beyond.

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Timed tickets are required for the virtual reality expe rience. Click here to book.

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A Lost Future: The Otolith Group (June 1&ndash\;S eptember 17\, 2018) presents the world premiere of the Turner Prize&ndash\; nominated filmmakers&rsquo\; new work on the past\, present\, and future of the Nobel laureate Rabindranath Tagore&rsquo\;s radical\, pioneering art s chool Kala Bhavan in Santiniketan\, as well as a selection of earlier films \, including their &ldquo\;premake&rdquo\; of Ray&rsquo\;s unmade film T he Alien\, titled Otolith III (2009).

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A Lost Future: Matti Braun (October 5\, 2018&ndash\;Ja nuary 28\, 2019) transforms the central gallery into an immersive la ke that visitors can traverse. R.T.\, S.R.\, V.S. (2003&ndash\;prese nt) references the lotus pond in the first scene of Ray&rsquo\;s The Ali en\, in which a friendly\, catalytic alien from another time and place lands in a village. It also draws inspiration from the first scene i n Steven Spielberg&rsquo\;s E.T.\, which may have been directly infl uenced by Ray&rsquo\;s script.

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Cura ted by Beth Citron.

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The exhibiti on will be accompanied by an audio tour\, public programming\, and a public ation in fall 2018 documenting all three rotations of the exhibition.\n\n

A Lost Future: Shezad Dawood/The Otolith Group/Matti Braun is supported by Rasika and Girish Reddy\, and by public funds from the New York City Department of Cultural Affairs in partn ership with the City Council. Additional support has been provided by Amita and Purnendu Chatterjee\, Akhoury Foundation\, and contributors to the 201 8 Exhibitions Fund.

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\n LOCATION:Rubin Museum of Art\,150 West 17th Street \nNew York\, NY 10011US SUMMARY:A Lost Future\, Matti Braun\, Shezad Dawood\, The Otolith Group END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:465157 DTSTART:20180429T000000 DTEND:20180722T000000 DESCRIPTION:
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A studio visit pro vides an opportunity for some of the most meaningful encounters\, conversat ions\, and exchanges between artists\, friends\, curators\, and collectors. Agnes Gund&mdash\;or &ldquo\;Aggie\,&rdquo\; as she is affectionately know n&mdash\;is one of the most dedicated and steadfast of studio visitors\, co nsistently inspired by the thrill of looking and talking with artists in th e presence of their artworks. This exhibition celebrates Gund&rsquo\;s cont ributions as art patron\, collector\, and longtime Trustee of The Museum of Modern Art. The presentation pays tribute to the more than 700 works of ar t she has funded over the past half century. These gifts have come steadily and reliably during her decades of service as a key member of several depa rtmental acquisition committees and her tenure as the Museum&rsquo\;s Presi dent from 1991 to 2002.

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Gund is com mitted to supporting a vast range of artists\, from celebrated figures she counts among her close friends to emerging talents whose work she champions . &ldquo\;My friendships with artists\,&rdquo\; she has said\, &ldquo\;as w ell as a sensitivity to the challenges facing women artists and artists of color\, have been formative in shaping my collection\, which is deeply pers onal and deeply autobiographical.&rdquo\; The exhibition will reflect the d epth of her collecting by bringing together a broad-ranging group of artwor ks from the 1950s to today in a non-chronological display that sets visitor favorites\, seldom seen works\, and recent acquisitions in dialogue with o ne another. While presenting only a small fraction of the works Gund has gi ven to MoMA\, the presentation aims to prove that our collection would not be what it is today without her deeply held convictions and unparalleled ge nerosity.

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Organized by Ann Temkin\, The Marie-José\;e and Henry Kravis C hief Curator\, and Cara Manes\, Assistant Curator\, with Mia Matthias\, Cur atorial Fellow\, Department of Painting and Sculpture

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\n LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SUMMARY:Studio Visit: Selected Gifts from Agnes Gund END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:465158 DTSTART:20180429T103000 DTEND:20180429T173000 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SUMMARY:Studio Visit: Selected Gifts from Agnes Gund END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:465159 DTSTART:20180526T000000 DTEND:20181021T000000 DESCRIPTION:
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MoMA presents a full retrospective of Bodys Isek Kingelez (1948&ndash\; 2015)\, the Congolese sculptor who worked with paper\, commercial packaging \, and materials from everyday life to create what he called &ldquo\;extrem e maquettes&rdquo\; that encompass civic buildings\, public monuments\, and national pavilions. Bodys Isek Kingelez spans the artist&rsquo\;s career over three decades\, ranging from early works that were included in the landmark 1989 exhibition Magiciens de la terre at the Centre Pompidou to his streamlined\, dramatic forms of the 2000s. The first retros pective of Kingelez&rsquo\;s work\, and the first substantial monographic p resentation of his work in the US\, this exhibition features works from eac h of the key periods of his career\, from early single-building sculptures\ , to spectacular sprawling cities\, to futuristic late works\, which incorp orate increasingly unorthodox materials. Kingelez was previously featured i n the MoMA exhibition Projects 59: Architecture as Metaphor (1997) . Although his work has long been featured in major international exhibitio ns\, this will the first opportunity to explore the full breadth of his car eer.

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The exhibition unfolds as a ch ronological display with a thematic approach\, bringing together a group of his earliest\, never-before-seen sculptures\, works made during the artist &rsquo\;s first trip to Paris in 1989\, civic structures\, and fantastic ta kes on geographically specific architectural tropes. The installation captu res his transition from single buildings to entire metropolises\, culminati ng in a selection of Kingelez'\;s large-scale cities\, marked by soaring forms that characterize much of his late production. The exhibition brings together rarely seen works from both public and private collections.

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Organize d by Sarah Suzuki\, Curator\, with Hillary Reder\, Curatorial Assistant\, D epartment of Drawings and Prints\, The Museum of Modern Art.

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Exhibition design is produced in collaboration wi th the artist Carsten Hö\;ller (German\, born 1961).

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\n LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SUMMARY:Solo Exhibition\, Bodys Isek Kingelez END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:465160 DTSTART:20180526T103000 DTEND:20180526T173000 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:465164 DTSTART:20180413T000000 DTEND:20180722T000000 DESCRIPTION:

This exhibition contains m ature content and may not be suitable for all audiences.

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This is the first exhibition to explore the grou ndbreaking contributions to contemporary art of Latin American and Latina w omen artists during a period of extraordinary conceptual and aesthetic expe rimentation. Featuring more than 120 artists from 15 countries\, Radica l Women: Latin American Art\, 1960&ndash\;1985 focuses on their use of the female body for political and social critique and artistic expression.

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The artists pioneer radical forms and explore a female sensibility with overt or\, more often\, covert links to feminist activism. Many works were realized under harsh political and so cial conditions\, some due to U.S. interventions in Central and South Ameri ca\, that were complicated or compounded by the artists&rsquo\; experiences as women.

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The artworks on view ran ge from painting and sculpture to photography\, video\, performance\, and o ther new mediums. Included are emblematic figures such as Lygia Pape\, Ana Mendieta\, and Marta Minují\;n\, alongside lesser‐known names such as Cuban‐born abstract painter Zilia Sá\;nchez\; Colombian sculptor Fel iza Bursztyn\; Peruvian composer\, choreographer\, and activist Victoria Sa nta Cruz\; and Argentine mixed‐media artist Margarita Paksa. The Brooklyn p resentation also includes Nuyorican portraits by photographer Sophie Rivera \, as well as work from Chicana graphic arts pioneer Ester Hernandez\, Cuba n filmmaker Sara Gó\;mez\, and Afro-Latina activist and artist Marta Moreno Vega.

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View a PDF listing all of the artists included in the exhibition.

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Radical Women: Latin American Art\, 1960&ndash \;1985 is organized by the Hammer Museum\, Los Angeles\, as part of Pa cific Standard Time: LA/LA\, an initiative of the Getty with arts instituti ons across Southern California\, and guest curated by Cecilia Fajardo-Hill and Andrea Giunta with Marcela Guerrero\, former curatorial fellow\, Hammer Museum. The Brooklyn presentation is organized by Catherine J. Morris\, Sa ckler Senior Curator\, and Carmen Hermo\, Assistant Curator\, Elizabeth A. Sackler Center for Feminist Art\, Brooklyn Museum.

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This exhibition is made possible through lead grants from t he Getty Foundation. Major funding is provided by the Diane and Bruce Halle Foundation and Eugenio Ló\;pez Alonso. Generous support is provided by Marcy Carsey\, Betty and Brack Duker\, Susan Bay Nimoy\, and Visionary W omen. Leadership support for the Brooklyn Museum presentation is provided b y the Ford Foundation. Major support is provided by the Starry Night Fund\, the Horace W. Goldsmith Foundation\, Brooklyn Friends of Radical Women\, a nd Bank of America.

\n LOCATION:Brooklyn Museum of Art\,200 Eastern Parkway \nBrooklyn\, NY 11238- 6052 SUMMARY:Radical Women: Latin American Art\, 1960–1985\, Feliza Bursztyn\, V ictoria Santa Cruz\, Sara Gómez\, Ester Hernandez\, Ana Mendieta\, Marta Mi nujin\, Margarita Paksa\, Lygia Pape\, Sophie Rivera\, Zilia Sánchez\, Grou p Show\, Marta Moreno Vega END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:465165 DTSTART:20180413T110000 DTEND:20180413T180000 LOCATION:Brooklyn Museum of Art\,200 Eastern Parkway \nBrooklyn\, NY 11238- 6052 SUMMARY:Radical Women: Latin American Art\, 1960–1985 END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:465177 DTSTART:20180504T000000 DTEND:20180721T000000 DESCRIPTION:

Shawn Martinbrough is the author of &quo t\;How to Draw Noir Comics: The Art and Technique of Visual Storytelling&qu ot\;\, published by Random House and reprinted in several languages. He is a critically acclaimed creator/artist whose DC\, Marvel and Dark Horse Comi cs projects include "\;Batman: Detective Comics"\;\, "\;Luke Ca ge Noir"\;\, "\;Captain America"\;\, "\;The Black Panther&q uot\; and "\;Hellboy: Secret Nature"\;.

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Shawn has co-created characters featured in the blockbuste r 20th Century Fox feature film\, "\;Deadpool"\;\, the animated &qu ot\;Batman: Gotham Knights"\;\, the FOX television series "\;GOTHAM "\;\, "\;The GIFTED"\; and the "\;JUSTICE LEAGUE"\;feat ure film.

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Shawn is the artist o f &ldquo\;Thief of Thieves&rdquo\;\, published by Skybound/Image Comics. Th e acclaimed graphic novel crime series is written by Robert Kirkman\, creat or of the AMC television series\, &ldquo\;The Walking Dead&rdquo\; and awar d winning author Andy Diggle.

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S hawn&rsquo\;s work has been covered by BBC World America\, ABC\, NBC News\, The New York Times\, The Washington Post\, NPR\, The Hollywood Reporter\, Entertainment Weekly\, BET\, Essence\, Ebony\, The New York Daily News\, US A Today\, AOL\, Publisher&rsquo\;s Weekly\, SIRIUS/XM Radio and others.

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On May 18th\, join Shawn Martinbrough for a conversation with The Blerdgurl founder\, Karama Horne. A Recept ion will follow. \;

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www.shawnmartinbrough.com

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Instagram / Twitter: @smartinbrough

\n LOCATION:Society of Illustrators\,128 East 63rd Street \nNew York\, NY 1002 1US SUMMARY:Storyteller\, Shawn Martinbrough END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:465178 DTSTART:20180424T100000 DTEND:20180424T170000 LOCATION:Society of Illustrators\,128 East 63rd Street \nNew York\, NY 1002 1US SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:465317 DTSTART:20180301T000000 DTEND:20190121T000000 DESCRIPTION:

We are pleased to announce the reopening of Magazzino this T hursday\, \;March 1st\, \;2018 with Arte Povera: From the Olnick Spanu Collection. This exhibition \;presents \;a co mprehensive panorama on the artistic practice of the 12 artists associated with the \;Arte Povera \;movement: Giovanni Anselmo\, Alig hiero Boetti\, Pierpaolo Calzolari\, Luciano Fabro\, Jannis Kounellis\, Mar io Merz\, Marisa Merz\, Giulio Paolini\, Pino Pascali\, Giuseppe Penone\, M ichelangelo Pistoletto and Gilberto Zorio.

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Representing the Olnic k Spanu Collection'\;s core of Post-war Italian art\, the exhibition foc uses specifically on the generation of Italian artists working in a definin g moment in the 1960s. The year 1968 was one of seismic social and politica l change across the globe\, which percolated \;into the time'\;s art scene. As Italy was transitioning into an era of burgeoning industrializat ion\, experiencing student rebellion\, and the decline of the &ldquo\;econo mic miracle&rdquo\; of the 1950s\, these artists \;aimed to eradicate t he boundaries between media as well as between nature and art under the man tra &ldquo\;Art is Life.&rdquo\; \;

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50 years later\, Arte Povera: From the Olnick Spanu Collection\, presents 76 artworks in a variety of media in an effort to display the evolution of each artist&rsquo \;s career over time.

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The show will be on view Thursday through M ondays\, from 11 a.m. to 5 p.m. Visit magazzino.art for more information an d to book a free visit.

\n LOCATION:Magazzino Italian Art\,2700 U.S. 9 \nCold Spring\, New York 10516U S SUMMARY:Arte Povera: From the Olnick Spanu Collection\, Giovanni Anselmo\, Alighiero Boetti\, PierPaolo Calzolari\, Luciano Fabro\, Jannis Kounellis\, Mario Merz\, Marisa Merz\, Giulio Paolini\, Pino Pascali\, Giuseppe Penone \, Michelangelo Pistoletto and Gilberto Zorio. END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:465613 DTSTART:20180510T000000 DTEND:20180731T000000 DESCRIPTION:

JoAnne Artman Gallery\, Presents:
\nURBAN FLORA: Featur ing Penelope Gottlieb\, Anna Kincaide + Greg Miller \;
\nSpring 20 18
\nArtists&rsquo\; Reception: Thursday\, May 10th\, 2018 from 6pm-8p m
\nPlease RSVP: 949.510.5481 by May 1st\, 2018

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JoAnne Artma n Gallery
\n511A West 22nd St. | New York\, NY 10011
\nContact: & nbsp\;JoAnne Artman
\nTelephone:  \;949-510-5481 | E-mail: joannea rtman@aol.com \;
\nWebsite: www.joanneartmangallery.com

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Urban Flora

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Life and growth often find a home in the unlikeliest places. JoAnne Artman Gallery is pleased to present an exhibition that juxt aposes urban grit with the delicacy of flora\, highlighting the often surpr ising congruities in the beauty of both. Much of the motifs in art and desi gn are borrowed from the natural world in which the processes of regenerati on\, life and decay are in constant flux and motion. An especially importan t part of this framework is the flora\, or the particular plants of a regio n\, habitat or geographical area which are as diverse\, unique and localize d as the constitution and customs of any urban population.  \;Artists P enelope Gottlieb\, Anna Kincaide\, and Greg Miller are artists whose work a ddresses this intersection between the beauty of nature and the ethos of ur banity. \;

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Penelope Gottlieb&rsquo\;s paintings on paper\, pa nel and canvas are a rich riot of color and texture that engage the senses while also commentating on the destructive nature of urban development. Fea turing representations of various lost species\, the works are also part of an ongoing project by the artist that explores themes of environmentalism and the global ecological crisis. These highly detailed renderings present a tapestry of various plants and flowers that vibrate with energy\, seeming ly on the verge of breaking through the compositional plane. Based on the a rtist&rsquo\;s own imaginings as well as historical accounts\, the images a re deceptively decorative\, providing endless complexities in concept and c omposition on subsequent investigation. \;

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Anna Kincaide&rsqu o\;s fantastical works in oil on canvas juxtapose a minimalist\, tonal appr oach to the figure with bountiful\, bursting bouquets of botanical topiary rendered in a dazzling array of color. Kincaide pays equal attention to the sleek\, sinuous lines of the human form\, as to the layered\, organic form s of the flora. These surreal dreamscapes are reminiscent of studio portrai ts in format and styling\, paying homage to the tradition of portraiture. B orrowing inspiration from fashion and design history\, Kincaide&rsquo\;s wo rk explores anonymity and transformation as well as contemporary socio-cult ural signposts of status and identity.

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Greg Miller&rsquo\;s mixed media works are instantly recognizable\, drawing on his specific cultural lens and Californian roots. Fragility\, nostalgia\, as well as the fleeting nature of cultural ephemera and collective memory are explored in works th at effortlessly blend familiar imagery of the golden age of print media int o new narratives.  \;Miller&rsquo\;s visual collages are an amalgamatio n of grit and texture\, the layers a visual representation of the destructi on rendered by the passage of time. In Miller&rsquo\;s newest body of work\ , floral elements add a new framework of meaning in his exploration of memo ry and social history. \;
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\nThese artists will insp ire\, provoke\, engage and mesmerize. With visual perceptions always changi ng\, peek behind the stories told and you'\;re sure to find the right ar tistic expression!

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\n LOCATION:JoAnne Artman Gallery\,511 A West 22nd Street \nNew York\, NY 1001 1 SUMMARY:URBAN FLORA\, Penelope Gottlieb\, Anna Kincaide\, Greg Miller END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:465614 DTSTART:20180510T180000 DTEND:20180510T200000 LOCATION:JoAnne Artman Gallery\,511 A West 22nd Street \nNew York\, NY 1001 1 SUMMARY:URBAN FLORA END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220554Z UID:466129 DTSTART:20180503T000000 DTEND:20180630T000000 DESCRIPTION: LOCATION:Bruce Silverstein Gallery\,529 West 20th Street 3rd Floor\nNew Yor k\, NY 10011US SUMMARY:Trine Søndergaard\, Trine Søndergaard END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:466130 DTSTART:20180503T180000 DTEND:20180503T200000 LOCATION:Bruce Silverstein Gallery\,529 West 20th Street 3rd Floor\nNew Yor k\, NY 10011US SUMMARY:Trine Søndergaard END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:466518 DTSTART:20180412T000000 DTEND:20180629T000000 DESCRIPTION:

Acquavella Galleries is please d to present The Worlds of Joaquí\;n \;Torres-Garcí\;a< /em>\, an exhibition comprised of over sixty paintings\, sculptures and wor ks on paper from 1896 to 1949. Drawn from the private collection of the fam ily of the artist\, this group of works has never been exhibited as a whole \, although individual pieces have been loaned to major museums across Euro pe and South America. This show represents the largest and most comprehensi ve survey in an American gallery since Joaquí\;n Torres-Garcí\; a curated his own exhibition at The Sidney Janis Gallery in 1950.

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Best known for his semi-abstract paintings o f universal symbols\, Torres-Garcí\;a defies easy categorization. Thi s exhibition demonstrates his protean reach as an artist\, pushing not only the boundaries of abstraction but also bringing modern vitality and innova tion to landscape\, cityscape\, and portraiture\, themes that preoccupied h im throughout his working life in Barcelona\, New York\, Paris\, Madrid\, a nd Montevideo.

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Born in Montevideo i n 1874\, Torres-Garcí\;a moved to his father&rsquo\;s native Spain in 1892. As a young artist in Barcelona\, he achieved early success painting murals for the Catalan Government and working with Antoni Gaudí\; on the Sagrada Familia Cathedral. After visiting Paris&mdash\;where he met wit h Pablo Picasso and his former student Joan Miró\;&mdash\;Torres-Garc í\;a arrived in New York in 1920 as a pioneering modernist. Exhibitin g with Marcel Duchamp\, Man Ray\, and Stuart Davis at the Whitney Studio Cl ub and the Society of Independent Artists\, his work was bought by Katherin e Dreier and Gertrude Vanderbilt Whitney.

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Returning to Paris in 1926\, Torres-Garcí\;a founded the avant -garde group Circle and Square \;which included Hans Arp\, Wassily Kand insky\, Fernand Lé\;ger\, Piet Mondrian\, and Kurt Schwitters. While in Paris he was inspired by indigenous art from the Americas\, Africa\, and Oceania which reinforced his vision of symbols and cosmic order. In his la ter years in Montevideo\, he founded a school of modern art\, The School of the South\, which was instrumental in bringing European and North American modernism to Latin America. Torres-Garcí\;a was widely admired by hi s fellow artists as a global modernist\; long after his death\, Miró\ ; acknowledged his teacher&rsquo\;s influence\, sending Torres-Garcí\ ;a&rsquo\;s widow a photograph of his paintings from a museum exhibition in scribed\, &ldquo\;Do you see the forms and shapes of the master? \; The y are still with me today.&rdquo\;

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A fully illustrated hardcover catalogue will accompany this exhibition and will include a critical essay by the distinguished art historian Tomá \;s Llorens\, former Director of the Reina Sofia Museum in Madrid\, in addi tion to a text by Abigail McEwen\, Associate Professor and Director of Unde rgraduate Studies at the University of Maryland. The book will also include a fictional short story\, &ldquo\;Lives of the Artists\,&rdquo\; by the aw ard-winning writer Frederic Tuten\, author of Tintin in the New World and Van Gogh&rsquo\;s Bad Café\;.

\n LOCATION:Acquavella Galleries\,18 East 79th Street \nNew York\, NY 10075US SUMMARY:The Worlds of Joaquín Torres-García\, Joaquin Torres-Garcia END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:466550 DTSTART:20180202T000000 DTEND:20180930T000000 DESCRIPTION:

Some of New York&rsquo\;s most iconic cultural moments over the past 50 years have been captured by Georg e Kalinsky. Serving as Madison Square Garden&rsquo\;s official photographer \, Kalinsky has turned truly memorable moments―sporting events\, legendary performances\, and notable occasions―into lasting images that have defined the city. Among the quintessential photographs on view will be Pope John Pa ul II hoisting a seven-year-old child onto the Popemobile in Madison Square Garden\, Bill Bradley celebrating a New York Knicks victory\, Frank Sinatr a crooning \;in 1975\, and Jesse Orosco falling to his knees on the mou nd as the Mets won the 1986 World Series. Curated by Marilyn Satin Kushner\ , curator and head\, Department of Prints\, Photographs\, and Architectural Collections.

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New York Through the Lens of George Kalinsky \;is based on the book Legends by George Kalinsky\, available at the \;NYHistory Store. \;

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Supp ort for this exhibition provided by The Blanche and Irving Laurie Foundatio n and The May and Samuel Rudin Family Foundation\, Inc.

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Exhibitions at New-York Historical are made possible b y Dr. Agnes Hsu-Tang and Oscar Tang\, the Saunders Trust for American Histo ry\, the Seymour Neuman Endowed Fund\, the New York City Department of Cult ural Affairs in partnership with the City Council\, and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New Y ork State Legislature. WNET is the media sponsor.

\n LOCATION:New York Historical Society\,170 Central Park West \nNew York\, NY 10024 US SUMMARY:New York Through the Lens of George Kalinsky\, George Kalinsky END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:466551 DTSTART:20180119T000000 DTEND:20180930T000000 DESCRIPTION:

On January 21\, 2017\, hundred s of thousands rallied at the Women&rsquo\;s March on Washington for divers e issues including women&rsquo\;s rights\, racial equality\, and the enviro nment. Counting more than 500 sister marches across the United States\, it was the largest single-day protest in the nation&rsquo\;s history. As part of its History Responds program\, the New-York Historical Society collected a range of artifacts\, including signs\, sashes\, pussyhats\, and colorful props\, to document the moment. \;One year later\, \;Collecting the Women&rsquo\;s Marches \;highlights some of the political and visual themes that emerged\, as well as the efforts of individuals and groups that worked behi nd the scenes. An adjunct display of protest clothing by Olek (Agata Oleksi ak)\, an artist who works in crochet\, and Brick x Brick\, a public art per formance group\, will be on view. Curated by Rebecca Klassen\, assistant cu rator of material culture.

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Exhibiti ons at New-York Historical are made possible by Dr. Agnes Hsu-Tang and Osca r Tang\, the Saunders Trust for American History\, the Seymour Neuman Endow ed Fund\, the New York City Department of Cultural Affairs in partnership w ith the City Council\, and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. WNET i s the media sponsor.

\n LOCATION:New York Historical Society\,170 Central Park West \nNew York\, NY 10024 US SUMMARY:Collecting the Women’s Marches END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:466552 DTSTART:20180406T000000 DTEND:20180715T000000 DESCRIPTION:

Feathers: Fashion and the Fight for Wildlife\, an exhibition exploring the history of the ground -breaking Migratory Bird Treaty Act of 1918\, examines the circumstances th at inspired early environmentalists&mdash\;many of them women and New Yorke rs&mdash\;to champion the protection of endangered birds. Administered by t he U.S. Fish and Wildlife Service\, the Migratory Bird Act prohibited the h unting\, killing\, trading\, and shipping of migratory birds. It \;also  \;regulated the nation&rsquo\;s commercial plume trade\, which had dec imated many American bird species to the point of near extinction. \;\n
\nTo commemorate the centennial of this landmark \; legisla tion\, \;Feathers: Fashion and the Fight for Wildlife \;de lves into the history of the Act by examining the economic and social circu mstances that inspired the early environmentalists and activists who lobbie d for the precedent-setting legislation. New York was the center of the&nbs p\;US \;feather trade\, and the exhibition investigates how the act imp acted the city&rsquo\;s feather importers\, hat manufacturers\, retailers\, and fashion consumers. \;The \;spirited campaign \;is told thr ough clothing and accessories\, books\, ephemera\, photographs\, and origin al watercolor models by John James Audubon for \;The Birds of Ameri ca\, accompanied by recorded bird songs from The Macaulay Library of t he Cornell Lab of Ornithology. \;Curated by Dr. Roberta J.M. Olson\, Cu rator of Drawings\, and Dr. Debra Schmidt Bach\, Curator of Decorative Arts .

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New-York Historical is grateful f or the partnership of the U.S. Fish &\; Wildlife Service and NYC Audubon . Generous support for the exhibition is provided by The William T. Morris Foundation. Exhibitions at New-York Historical are made possible by Dr. Agn es Hsu-Tang and Oscar Tang\, the Saunders Trust for American History\, the Seymour Neuman Endowed Fund\, the New York City Department of Cultural Affa irs in partnership with the City Council\, and the New York State Council o n the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. WNET is the media sponsor.

\n LOCATION:New York Historical Society\,170 Central Park West \nNew York\, NY 10024 US SUMMARY:Feathers: Fashion and the Fight for Wildlife END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:466553 DTSTART:20180406T100000 DTEND:20180406T200000 LOCATION:New York Historical Society\,170 Central Park West \nNew York\, NY 10024 US SUMMARY:Feathers: Fashion and the Fight for Wildlife END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:466554 DTSTART:20180420T000000 DTEND:20181008T000000 DESCRIPTION:

Shoes in recent years have cul turally transcended their utilitarian purpose to become an object of desire and deliberation\, calling up abstract considerations&mdash\;like the frei ghted meanings of femininity\, power\, domination\, and aspiration&mdash\;f or both women and men alike. \;Walk This Way: Footwear from the Stu art Weitzman Collection of Historic Shoes \;highlights examples fr om the shoe designer&rsquo\;s extensive private collection\, assembled over three decades. The exhibition considers the story of the shoe from the per spectives of collection\, consumption\, presentation\, and production with more than 100 \;pairs of shoes on view. The exhibition will explore lar ger trends in American economic history\, from industrialization to the ris e of consumer culture\, with a focus on women&rsquo\;s contributions as mak ers\, designers\, and entrepreneurs. \;Coordinated by Valerie Paley\, v ice president\, chief historian\, and director of the Center for Women&rsqu o\;s History\, with Edward Maeder\, consulting curator\, and Jeanne Gardner Gutierrez\, curatorial coordinator.

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The exhibition catalogue\, \;Walk this Way: Footwear from the Stu art Weitzman Collection\, is available at the NYHistory Store.

\n\n< p style="text-align: justify\;">Exhibitions at New-York Historical are made possible by Dr. Agnes Hsu-Tang and Oscar Tang\, the Saunders Trust for Ame rican History\, the Seymour Neuman Endowed Fund\, the New York City Departm ent of Cultural Affairs in partnership with the City Council\, and the New York State Council on the Arts with the support of Governor Andrew Cuomo an d the New York State Legislature. WNET is the media sponsor.

\n LOCATION:New York Historical Society\,170 Central Park West \nNew York\, NY 10024 US SUMMARY:Walk This Way: Footwear from the Stuart Weitzman Collection of Hist oric Shoes END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:466555 DTSTART:20180420T100000 DTEND:20180420T200000 LOCATION:New York Historical Society\,170 Central Park West \nNew York\, NY 10024 US SUMMARY:Walk This Way: Footwear from the Stuart Weitzman Collection of Hist oric Shoes END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:466559 DTSTART:20180407T000000 DTEND:20180624T000000 DESCRIPTION:

New York City provides a wide array of habitats for birds. \;Numerous species of birds migrate along the Hudson or make Wave Hill&rsquo\;s gardens and woodlands their home. The artworks in this exhibition delve into the relationship between birds and their habitats&mdash\;from the way changes in natural and built environment s affect migration patterns to the role birds play in propagating plants.&n bsp\;

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Visitors can contemplate this dynamic interplay by exploring the gallery and observing avian activity on the grounds. Works in the show will include photography\, video\, artist b ooks\, wall painting\, installation\, drawing and sound. Artists include Tatiana Arocha\, Tanya Chaly\, Marn a Chester\, Nina Katchadourian\, Paula Mc Cartney\, Jeff Mertz\, Peter Morgan\, Sarah Nicholls\, James Prosek\, Jenna Spevack and Fred Tomaselli.

\n LOCATION:Wave Hill\,West 249th Street and Independence Avenue (front gate) 675 West 252nd Street (mailing) \nBronx\, NY 10471-2899 US SUMMARY:Avifauna: Birds + Habitat\, Tatiana Arocha\, Tanya Chaly\, Marna Ch ester\, Nina Katchadourian\, Paula McCartney\, Jeff Mertz\, Peter Morgan\, Sarah Nicholls\, James Prosek\, Jenna Spevack\, Fred Tomaselli END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:467249 DTSTART:20180428T000000 DTEND:20180630T000000 DESCRIPTION:

David Zwirner is pleased to pr esent an exhibition of new work by Marlene Dumas\, her second with the gall ery and her first solo presentation in New York since 2010. On view at the gallery'\;s 537 West 20th Street location\, this exhibition will feature a selection of new paintings that range from monumental nude figures to in timately scaled portraits. Alongside these works\, Dumas will debut an expa nsive series of works on paper originally created for a recent Dutch transl ation by Hafid Bouazza of William Shakespeare&rsquo\;s narrative poem V enus and Adonis (1593). In these drawings&mdash\;tender and erotic wit h hints of violence&mdash\;the artist renders the story of Venus\, the godd ess of love\, and her tragic passion for the handsome youth Adonis in her s ingularly expressive ink wash. \;

\n LOCATION:David Zwirner 537 W 20th\,537 West 20 Street \nNew York\, NY 10011 US SUMMARY:Myths & Mortals\, Marlene Dumas END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468201 DTSTART:20180428T180000 DTEND:20180428T200000 LOCATION:David Zwirner 537 W 20th\,537 West 20 Street \nNew York\, NY 10011 US SUMMARY:Myths & Mortals END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:467302 DTSTART:20180408T000000 DTEND:20180819T000000 DESCRIPTION:

Mel Chin: All Over the Place is the conceptual artist&rsquo\;s first survey organized by a New York City institution. \;
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\nFeaturing more than 70 works\, the survey spans his nearly four decad es of artistic practice. The exhibition will extend out from the Queens Mus eum to a number of sites in New York City including Times Square\, and the Broadway-Lafayette subway station\, and premiere four ambitious commissions : Flint Fit\, Soundtrack\, Unmoored\, and Wake. Chin&rsquo\;s extraordinary range of artistic approaches and unusual use of media allows his work to b e malleable and defy classification. Environmental injustice\, history\, ca rtography and ecology are some of the disciplines that intersect in Chin&rs quo\;s politically charged work that investigates how art can promote socia l awareness and animate representation\; and how collaborative teamwork can posit community-based solutions to ecological and socio-political crises.& nbsp\;
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\nAll Over the Place is co-produced by the Queens M useum and No Longer Empty.

\n LOCATION:Queens Museum of Art\,Flushing Meadows Corona Park Meridian Rd.\nF lushing\, NY 11368 SUMMARY:Mel Chin: All Over the Place\, Mel Chin END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:467303 DTSTART:20180408T140000 DTEND:20180408T170000 LOCATION:Queens Museum of Art\,Flushing Meadows Corona Park Meridian Rd.\nF lushing\, NY 11368 SUMMARY:Mel Chin: All Over the Place END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:467376 DTSTART:20180607T000000 DTEND:20180728T000000 DESCRIPTION:

Light in War time explores the relationship between light and photography in the co ntext of war. The show presents photographers whose work addresses and empl oys the blackout darkness and precarious light conditions characteristic of a life under siege. Photographs are made from sniper holes\, debris\, moon light\, dioramas of memoryscapes\, and imagined or remembered narratives. L ight\, whether it be a source of illumination\, on the metaphoric or techni cal level\, is the impetus behind the creation of the photographs\, bringin g forth new dimensions on the representation of war.\n\n

Rola Kha yyat is a Lebanese visual artist and curator. In 2016 she graduate d with an MFA in photography from Columbia University. Her work explores ne w dimensions on the representation of war\, memory\, and identity. Rola has curated shows in Beirut\, Thessaloniki\, and New York\, such as the BEYrou te for the third Thessaloniki Bienniale\, Lattice Work at the Black and Whi te gallery\, and Simmer at Kunstraum LLC. Her work has been exhibited exten sively both nationally and internationally\, including exhibitions at the M acedonian Museum of Contemporary Art\, Okk / raum 29\, Catalyst Arts Belfas t Photo Festival 2013\, and the 21st International Istanbul Art Fair (Tuyap ). Rola lives and works in NYC.

\n LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013US SUMMARY:Light in Wartime\, Vartan Avakian\, Allan deSouza\, Ziyah Gafic\, R ula Halawani\, Nilu Izadi\, Seba Kurtis\, An-My Le\, David Levinthal\, Rich ard Mosse\, Sebastiano Tomada Piccolomini\, Jo Ractliffe END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:467377 DTSTART:20180606T180000 DTEND:20180606T200000 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013US SUMMARY:Light in Wartime END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:467381 DTSTART:20180405T000000 DTEND:20180630T000000 DESCRIPTION: LOCATION:Edwynn Houk Gallery\,745 Fifth Avenue 4th Floor\nNew York\, NY 101 51US SUMMARY:Solo Exhibition\, Erwin Blumenfeld END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:467384 DTSTART:20180430T000000 DTEND:20180727T000000 DESCRIPTION:

The bird is one of the signs of space\,  \;
\neach one of Chillida&rsquo\;s sculptures represents\, \;
\nmuch like the bird\, a sign of space\; \;
\neach one of th em says a different thing: \;
\nthe iron says wind\, \;
\ nthe wood says song\, \;
\nthe alabaster says light
\nyet the y all say the same thing: \;
\nspace. \;
\nA rumor of lim its\, a coarse song\; the wind\, \;
\nan ancient name of the spiri t\, blows and spins tirelessly in the house of space. \;
\n&ndash\ ; Octavio Paz

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Hauser &\; Wi rth is pleased to present its inaugural exhibition of works by \;Eduardo Chillid a \;(1924 &ndash\; 2002)\, Spain&rsquo\;s foremost sculptor of the twentieth century. Widely recognized for monumental iron and steel public s culptures displayed across the globe\, Chillida is also celebrated for a wh olly distinctive use of materials such as stone\, chamotte clay\, and paper to engage concerns both earthly and metaphysical. On view from 30 April th rough 27 July 2018\, this exhibition showcases the artist&rsquo\;s varied a nd innovative practice through a focused presentation of rarely displayed w orks\, including small-scale sculptures\, collages\, drawings\, and artist books that shed new light on Chillida&rsquo\;s enduring fascination with sp ace and organic form.

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Original ly a student of architecture in Madrid\, Chillida created art guided by its principles\; his early interest in the field had a lasting impact on his d evelopment as an artist\, shaping his understanding of spatial relationship s and sparking what would become a deep-rooted interest in making space vis ible through a consideration of the forms surrounding it. Chillida often dr ew on his Spanish heritage\, as well as influences from European and Easter n philosophies\, poetry\, and history\, to develop an artistic voice that r esonated with a continent undergoing rapid transformation.

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In the 1950s\, Chillida began experimenting wi th materials connected to the industrial heritage of his native Basque regi on\, where he established a foundry in the town of Hernani. Learning techni ques from a local blacksmith\, Chillida coaxed iron and steel into layers o f linear\, angular\, and geometric structures to explore notions of time an d to demonstrate how shapes develop through their interactions with space. Chillida&rsquo\;s formally rigorous constructions from this period &ndash\; such as &lsquo\;Relieve (Relief)&rsquo\; (1957) and &lsquo\;Sueñ\;o Articulado\, Homenaje a Gaston Bachelard (Articulated Dream\, Homage to Gas ton Bachelard)&rsquo\; (1958) &ndash\; are imbued with tension and poise. A t once conceptual and architectural\, these works were the foundations for Chillida&rsquo\;s later investigations into the intersections of geometric and organic forms\, including his L-shaped\, steel sculpture &lsquo\;Begira ri III&rsquo\; (1994).

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During his experimentations with steel and iron\, Chillida also began to make engr avings and collages &ndash\; a core practice that would continue throughout his career. He further developed this technique from the late 1980s into t he early 2000s\, creating &lsquo\;Aromas\,&rsquo\; an artist book comprisin g woodcuts\, etchings\, and screenprints\, as well texts from Chillida and the close circle of poets\, philosophers\, and intellectuals that deeply in fluenced his work. For his Gravitaciones (Gravitations) series\, Chillida l ayered cut paper to create the effects of tension\, weight\, matter\, and l ight. He stitched these works together with thread and suspended them\, ill uminating a delicate contrast between negative and positive space. Chillida &rsquo\;s contour drawings that compose his series Dibujos de Manos indicat e a careful examination of the human body&rsquo\;s lines and shapes\, a cru cial referent for his larger sculptural structures. Some of his most iconic series of sculptures\, including Rumor de Lí\;mites (Rumor of Limits ) and Ikaraundi (Great Trembling)\, have their origins in such works on pap er and emerged from the gestural\, minimal\, abstract drawings that Chillid a produced.

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Even Chillida&rsqu o\;s most solid works maintain an acute sensitivity to lightness and space. &lsquo\;Homenaje a Pili (Homage to Pili)&rsquo\; (2000) is a prime example of this paradoxical relationship that often characterizes his work. Made f rom alabaster\, a material Chillida embraced after travelling extensively t hrough Greece\, Umbria\, Tuscany\, Rome\, and Provence in the early 1960s\, the work appears incandescent as a result of the stone&rsquo\;s translucen t properties. Similarly\, in &lsquo\;Lurra &ndash\; Oxido G-251&rsquo\; (19 92)\, which is coated with a patina that allows the effect of rusted metal\ , and &lsquo\;Lurra G-38&rsquo\; (1984)\, the unique materiality of the scu lpture manifests as an inherent part of the work&rsquo\;s conception and fo rm.

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The exhibition concludes w ith a selection of Chillida&rsquo\;s homages\, created throughout his caree r in tribute to various figures who he respected and admired. These often f ell into three broad groups: works dedicated to artists\, including Constan tin Brâ\;ncuși\, Alexander Calder\, Katsushika Hokusai and Joan Mir&oa cute\;\; musicians like Johann Sebastian Bach and Antonio Vivaldi\; and phi losophers or poets such as Gaston Bachelard\, Martin Heidegger\, Emil Ciora n\, and Pablo Neruda.

\n LOCATION:Hauser & Wirth 69th Street New York\,32 East 69th Street \nNew Yor k\, NY 10021US SUMMARY:Solo Exhibition\, Eduardo Chillida END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:467385 DTSTART:20180430T180000 DTEND:20180430T200000 LOCATION:Hauser & Wirth 69th Street New York\,32 East 69th Street \nNew Yor k\, NY 10021US SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:467408 DTSTART:20180430T000000 DTEND:20180730T000000 DESCRIPTION:

Individuals and objects contri bute to and corroborate accounts of a significant event\, or shift\, in mat erial\, social\, technological\, and/or political realities. But before thi s happens\, there is a period of time between the event and its subsequent narratives when a lapse in comprehension exists. Before there is consensus or familiarity with a fundamental change in understanding\, the parts must be identified and pieced together. The artists in this exhibition directly intervene in these moments to expand on the devices for measurement and doc umentation of what has yet to become widely known or accepted. They make po tential future documents that reflect a range of subjectivities\, human and otherwise. By operating inside the delays\, silent pauses\, sensory impair ments\, and omissions\, the artists examine the shape and weigh the force o f these gaps\, not only as absences but also as sources of knowledge.
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\nIn their approach to subjects and objects\, these artists do not consider form the only means of producing the metaphoric or symbolic. Their materials do not simply stand in for or index broader concepts and politic al issues\, but move beyond the role of representation to become elements t hat are integral to the relevant events. The poetics of their work is embed ded in the rigor of their investigations and the intensity of their observa tions. These artists operate at the limits of perception and detectability\ , they create a new visual lexicon through which those at the threshold of politics can emerge&mdash\;the refugee\, the robot\, the environment\, and others on the outskirts of legality. They anticipate and produce material d ocuments even before the process has been deemed necessary.
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\n The artists in the exhibition extract information from various sources and materials to bring forth new meaning. Shadi Habib Allah (born 1977 i n Jerusalem\; lives and works in New York City) presents his work A Defe ctive Wave Shields Disparate Topographies\, 2016\, which consists of ce ll phones that play recorded communications obtained by the artist of Bedou in smugglers who use the 2G cellular networks in order to maintain secrecy and privacy. George Awde (born 1980 in Boston\; lives and works in D oha and Beirut) makes photographic works that capture and obscure the compl ex conditions and relationships that led to their production. Created mostl y in Lebanon\, where the artist lives\, these intimate images show people i n various locations embedded in covert social relationships. Carolina Fu silier'\;s (born 1985 in Buenos Aires\; lives and works in Mexico Ci ty and Buenos Aires) abstract paintings address the internal spaces of mech anical objects. Researching the modes in which machines&mdash\;from cars to watches&mdash\;are advertised\, Fusilier depicts their internal material q ualities using similar aesthetic techniques. Sidsel Meineche Hansen (born 1981 in Denmark\; lives and works in London) exhibits works related t o her ongoing research into machine learning and surveillance technologies\ , investigating how advances made in pornography industries have a complex potential impact on privacy\, gender\, and sexuality. Hiwa K (born 1 975 in Sulaymaniyah\, Iraqi Kurdistan\; lives and works in Berlin) presents his video work A View from Above\, 2017\, which tells the story of an unnamed man seeking political asylum in a European country\; his efforts are rewarded when he pretends to be from a particular town and inadvertent ly displays knowledge that is more consistent with that of immigration offi cials than of the people living there. Nicholas Mangan (born 1979 in Victoria\, Australia\; lives and works in Melbourne) shows a selection of new collages from his ongoing series Ancient Lights. An outcome of w ide-ranging research\, the works propose a schema that elaborates how the c ycles of the sun have had a role in cultural\, economic\, technological\, a nd environmental events. Sean Raspet and Nonfood (born 1981 in Washi ngton D.C.\; lives and works in Los Angeles) will present a product from No nfood'\;s line of algae-based foods that will be available for purchase. With algae being one of the most sustainable and nutritious food ingredien ts\, Nonfood believes algae has considerable potential for reducing global resource consumption and carbon emissions in the food system. Raspet will a lso present the flavor he composed for the product as a separate work. S usan Schuppli (lives and works in London) introduces a new series relat ed to the 2010 Deepwater Horizon oil spill that considers modes of image pr oduction and representation of the disaster. By combining and analyzing sev eral sources and visual records\, Schuppli generates new knowledge concerni ng the event. Daniel R. Small (born 1984 in Centralia\, Illinois\; l ives and works in Los Angeles) displays a group of new works that consider the mechanisms around human interventions into the concept of time\, bringi ng new immortality movements and technological advances together with ancie nt time-telling devices. Hong-Kai Wang (born 1971 in Huwei\, Taiwan\ ; lives and works in Vienna and Taipei) presents a sound piece that emerged from workshops with Taiwanese farmers in which the participants attempted to reproduce "\;The Sugar Cane Song\,"\; a long- forgotten song wri tten by workers during Japan'\;s colonial rule of Taiwan. Its reconstruc tion suggests new historical perspectives on the past and present.
\n< br />\nTogether\, these ten international artists identify some of the most urgent ideas that inform the production of contemporary art today. 74 m illion million million tons iscurated by Ruba Katrib and Lawr ence Abu Hamdan and is accompanied by a color publication with essays b y the curators.

\n LOCATION:Sculpture Center\,44-19 Purves Street \nLong Island City\, NY 1110 1 SUMMARY:74 million million million tons\, Shadi Habib Allah\, George Awde\, Carolina Fusilier\, Sidsel Meineche Hansen\, Hiwa K\, Nicholas Mangan\, Se an Raspet and Nonfood\, Susan Schuppli\, Daniel R. Small\, Hong-Kai Wang END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:467409 DTSTART:20180429T170000 DTEND:20180429T190000 LOCATION:Sculpture Center\,44-19 Purves Street \nLong Island City\, NY 1110 1 SUMMARY:74 million million million tons END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:467639 DTSTART:20180413T000000 DTEND:20180722T000000 DESCRIPTION:

This is the first exhibition to explore the groundbreaking c ontributions to contemporary art of Latin American and Latina women artists during a period of extraordinary conceptual and aesthetic experimentation. Featuring more than 120 artists from 15 countries\, \;Radical Wome n: Latin American Art\, 1960&ndash\;1985 \;focuses on their use of the female body for political and social critique and artistic expression. (Note: This exhibition contains mature content.)

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The artists pio neer radical forms and explore a female sensibility with overt or\, more of ten\, covert links to feminist activism. Many works were realized under har sh political and social conditions\, some due to U.S. interventions in Cent ral and South America\, that were complicated or compounded by the artists& rsquo\; experiences as women.

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The artworks on view range from pai nting and sculpture to photography\, video\, performance\, and other new me diums. Included are emblematic figures such as Lygia Pape\, Ana Mendieta\, and Marta Minují\;n\, alongside lesser‐known names such as Cuban‐born abstract painter Zilia Sá\;nchez\; Colombian sculptor Feliza Burszty n\; Peruvian composer\, choreographer\, and activist Victoria Santa Cruz\; and Argentine mixed‐media artist Margarita Paksa. The Brooklyn presentation also includes Nuyorican portraits by photographer Sophie Rivera\, as well as work from Chicana graphic arts pioneer Ester Herná\;ndez\, Cuban f ilmmaker Sara Gó\;mez\, and Afro-Latina activist and artist Marta Mor eno Vega.

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View a PDF listing all of the artists \;included in the exhibition.

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Rad ical Women: Latin American Art\, 1960&ndash\;1985 \;is organized b y the Hammer Museum\, Los Angeles\, as part of Pacific Standard Time: LA/LA \, an initiative of the Getty with arts institutions across Southern Califo rnia\, and guest curated by Cecilia Fajardo-Hill and Andrea Giunta with Mar cela Guerrero\, former curatorial fellow\, Hammer Museum. The Brooklyn pres entation is organized by Catherine J. Morris\, Sackler Senior Curator\, and Carmen Hermo\, Assistant Curator\, Elizabeth A. Sackler Center for Feminis t Art\, Brooklyn Museum.

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This exhibition is made possible through lead grants from the Getty Foundation. Major funding is provided by the Di ane and Bruce Halle Foundation and Eugenio Ló\;pez Alonso. Generous s upport is provided by Marcy Carsey\, Betty and Brack Duker\, Susan Bay Nimo y\, and Visionary Women. Leadership support for the Brooklyn Museum present ation is provided by the Ford Foundation. Major support is provided by Pedr o J. Torres and Cecilia Picon\, the Starry Night Fund\, the Horace W. Golds mith Foundation\, Brooklyn Friends of Radical Women\, and Bank of America. Additional support is provided by the Clarissa and Edgar Bronfman Jr. Found ation\, Christina and Emmanuel Di Donna\, Cristina Grajales Gallery\, Domin ique Lé\;vy and Brett Gorvy\, Susan Bay Nimoy\, and the Mexican Cultu ral Institute.

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Image caption/credit: Sandra Eleta (born Panama\, 1942). Ed ita (la del plumero)\, Panamá\; (Edita [the one with the feather dust er]\, Panama)\, 1977\, from the series La servidumbre (Servitude)\, 1978&nd ash\;79. Black-and-white photograph\, 19 ×\; 19 in. (48.3 ×\; 48. 3 cm). Courtesy of Galerí\;a Arteconsult S.A.\, Panama. ©\; Sandr a Eleta

\n LOCATION:Brooklyn Museum\,200 Eastern Parkway \nBrooklyn\, NY 11238-6052US SUMMARY:Radical Women: Latin American Art\, 1960–1985 END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:467664 DTSTART:20180517T000000 DTEND:20180706T000000 DESCRIPTION:
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Cheim &\; Re ad and Nathalie Karg Gallery are pleased to present Al Held: Paris to N ew York\, 1952&minus\;1959\, an exhibition of experimental works in pi gment and wax that anticipate the painter&rsquo\;s well-known\, epic-scaled geometric abstractions. Following exhibitions devoted to the Alphabet Paintings (1961&minus\;1967)\; Armatures (1953&minus\;1954)\; and Black and White Paintings (1967&minus\;1969)\, the c urrent show is the gallery&rsquo\;s fourth examination of a distinct body o f work within Held&rsquo\;s oeuvre. In these paintings\, Held sought to fus e the improvisational\, expressive freedom of Jackson Pollock with the orde r and geometry of Piet Mondrian\; his goal\, as he put it\, was &ldquo\;to give the gesture structure.&rdquo\;

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This large survey of 27 works will be presented across two venues\, w ith the Natalie Karg Gallery (291 Grand St\, New York) featuring paintings made in Paris in 1952&minus\;53. Cheim &\; Read&rsquo\;s exhibition cove rs the years 1954 to 1959\, after the artist returned to New York and moved into a studio on East Broadway. The exhibitions will run at Karg from May 2 to June 15\, and at Cheim &\; Read from May 17 to July 6.

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The works at Cheim &\; Read belong to a series known as the Pigment Paintings\, so named because they were made wi th paint that Held mixed from 100-pound sacks of pigment discarded by the M useum of Modern Art\, where he was working as a custodian. In these monumen tal canvases\, some of which measure as much as nine feet in width\, Held h eightened the smoldering intensity of the raw pigment by thickening the pai nt with wax and other extenders\, then applying it with a trowel to create a dense and visceral surface packed with slabs\, smears\, swipes\, and gash es.

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As Matthew Israel writes i n the full-color catalogue accompanying the exhibition\, &ldquo\;in a momen t where abstract painting has definitely returned to prominence &mdash\; He ld&rsquo\;s 1950s paintings seem like they could have been made by a curren t young abstract painter. [&hellip\;] Broadly this confirms (yet again) tha t abstract painting remains a vital artistic language.&rdquo\;

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Al Held was born in Brooklyn in 1928. Afte r dropping out of high school\, he joined the Navy and served from 1945 to 1947. The following year\, he attended the Art Students League in New York\ , and between 1951 and 1953 he studied at the Acadé\;mie de la Grande Chaumiè\;re in Paris under the GI Bill. His first solo show took pla ce at the Galerie Huit in Paris in 1952. Upon returning to New York\, he be came one of the founding members of the cooperative Brata Gallery and parti cipated in events at The Club\, the meeting place of the Abstract Expressio nists.

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His first solo exhibiti on in New York was at the Poindexter Gallery in 1960\; his work has been ex hibited widely in the United States and Canada\, Latin America\, and Europe \, including one-person shows at the Stedelijk Museum\, Amsterdam\; the San Francisco Museum of Art\; the Corcoran Gallery of Art\, Washington\, DC\; the Metropolitan Museum of Art\, New York\; and the Whitney Museum of Ameri can Art\, New York. In 1963 he became a Visiting Professor at Yale Universi ty and taught there until 1980. He died in Camerata di Todi\, Italy\, in 20 05 at the age of 76.
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Held&rsquo\;s work is represented in dozens of public collections\, i ncluding the Museum of Modern Art\, Metropolitan Museum of Art\, Solomon R. Guggenheim Museum\, Brooklyn Museum\, and Whitney Museum of American Art\, all in New York\; National Gallery of Art\, Washington\, DC\; Art Institut e of Chicago\; San Francisco Museum of Modern Art\; Detroit Institute of Ar ts\; High Museum of Art\, Atlanta\; Museum of Fine Arts\, Boston\; Museum o f Fine Arts\, Houston\; Tate Gallery\, London\; Kunsthaus\, Zürich\; Kunst museum\, Basel\; and Museum Kunst Palast\, Düsseldorf.

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\n LOCATION:Cheim & Read\,547 West 25th St \nNew York\, NY 10001US SUMMARY:Paris to New York 1952–1959 \, Al Held END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:467665 DTSTART:20180517T180000 DTEND:20180517T200000 LOCATION:Cheim & Read\,547 West 25th St \nNew York\, NY 10001US SUMMARY:Paris to New York 1952–1959 END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:467763 DTSTART:20180426T000000 DTEND:20180727T000000 DESCRIPTION:

Cassina Projects is pleased to announce Daily Un familiar\, a group exhibition featuring Italian artists Bruna Esposito\, Antonio Fiorentino\, Alberto Garutti\, Maurizio Nannucci\, Pin o Pascali\, Perino &\; Vele\, Michelan gelo Pistoletto\, and Gilberto Zorio\, with artwo rks ranging from the 1960s to present. The exhibition coincides with the 50 th anniversary of Pino Pascali&rsquo\;s passing.

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In Daily Unf amiliar\, diverse generations of Italian artists converge as a result of their bridged interest in the transcendental and evocative qualities of everyday objects\, materials\, and physical transformations. Through varyin g practices and visual languages\, the artists aim to elevate familiar aspe cts of daily life while translating them into artworks that are catalysts o f energy and time. Objects and habits that were once usual to us\, now seem strange and unfamiliar.

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What happens to the rooms when peopl e have left? Conceptual artist Alberto Garutti\, invi tes us to take a careful look at the furniture now inhabiting the gallery s pace&mdash\;although of ordinary appearance\, they secretly glow while we s leep\, while others remain invisible\, existing solely as voids on a carpet . The interactive dialogue between the viewer and the surrounding environme nt plays an essential role in the perception of the exhibited works. This i s also an overarching theme of Arte Povera artist Michelangelo Pist oletto\, particularly distinguished for his Mirror Paintings of the 1960s. In his more recent work\, Color and Light\, Pist oletto continues to experiment with reflective surfaces in order to integra te the spectator as a major component and participant of the work itself. C oncrete Poetry artist Maurizio Nannucci\, similarly explor es the limitless possibilities of interpreting and reading our milieu. Thro ugh white neon lit words\, we are literally faced with the inescapable real ity of choosing What to see and what not to see. \;

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The exhibition further ventures into the ethereal and sublime character of mundane objects and materials that have evolved from one state to another. A characteristic of Arte Povera\, Gilberto Zorio uses non- traditional mediums such as black leather\, copper\, iron\, ampoules\, and fluorescein\, as well as chemical processes such as dissolution and evapora tion. The Stella or star\, cosmic\, and alchemical motifs\, have b een a recurring subject of his experimental practice\, often relying on sym bols and metaphorical language. Like Zorio\, Contemporary artist An tonio Fiorentino\, assumes the role of artistic creator and alchem ist\, both converting matter into a cycle of transient and spontaneous form s. In Opusimago\, Fiorentino combines elements such as vegetation\ , metallic compounds\, liquid solutions\, and minerals that contained in a manifold of glass amphorae\, react to naturally produce an artwork that is continually changing. Placing the amphorae over a pavement of incised Carra ra marble\, he creates a landscape that reminds of a corroded laboratory su rface mantled with froth.

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Common objects and experiences release themselves from previous associations and acquire new meaning as they exude the artists&rsquo\; own thinking process. In this disorienting present\, C ontemporary female artist Bruna Esposito\, alters our perc eption of reality by placing untamed bamboo brooms and glistening fish eyes next to each other. While Esposito magnifies elements that were before unr emarkable\, in his famous Armi series\, Pino Pascali oppositely reduces the dramatic and violent qualities of weapons. The A rte Povera artist reflects on the impression that popular military culture left on his early life through a kind of ironic adult-childlike lens. Conte mporary artistic duo Perino &\; Vele\, also manage to g enerate varying interpretations from the audience by showing recognizable o bjects in alternate contexts. Characteristically relying on papier-mâ\ ;ché\; made from Italian newspapers\, Perino &\; Vele recycle and reshape a humble material to form a unique body of work capable of invoking important social issues of today.

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In this immersive group exhibi tion\, Italian artists explore the revealing and expressive nature of artwo rks that have been instilled with life. Inexplicably awakening various face ts of our daily lives\, our senses are challenged to experience and glimpse into this unusual world with fresh and inquisitive eyes.

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For pre ss inquiries or further information\, please contact Cassina Projects at in fo@cassinaprojects.com or +1 (212) 242-0444 \;

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Join the conve rsation on Facebook &\; Instagram @CassinaProjects - #CassinaProjects #D ailyUnfamiliar

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About the Artists:

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Bruna Esposito (b. 1960\, Rome\, Italy) liv es and works in Rome. She studied Architecture at the University La Sapienz a in Rome and in 1980 moved to New York. In 1984\, she was selected for the Whitney Museum ISP and later settled in Berlin receiving a grant from the Internazionale Bauhaustellung. Her work has been featured in various instit utions and galleries such as MAXXI in Rome (2017)\, FL Gallery (2014)\, Mus eo MACRO in Rome (2012)\, the Museum of Contemporary Art in Chicago (2009)\ , Museo d&rsquo\;Arte Contemporanea del Castello di Rivoli (2002)\, and Clo cktower P.S.1 New York (1999). She has also participated in international e vents including the Venice Biennale (1999\, 2013)\, the Istanbul Biennial ( 2003)\, and Documenta X (1997). In 2012\, she completed Out of the Blue \, a site-specific work commissioned for the grounds of the Olnick Spa nu Collection in Garrison\, New York. In 1999\, she was awarded the Venice Biennale Golden Lion for the Italian Pavilion Dapertutto with othe r four artists. \;

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Antonio Fiorentino (b. Barletta\, Italy\, 1987) lives and works in Milan. He received his BA from th e Academy of Fine Arts in Carrara (2010) and his MA from the Accademia of F ine Art Brera in Milan (2014). His work has been exhibited in various insti tutions such as MUSAC in Leó\;n\, Spain (2018)\, ISCP in New York (20 17)\, MUHNAC National Museum of Natural History and Science of Lisbon (2017 )\, and the National Gallery of Modern and Contemporary Art in Rome (2016). In 2015\, he was the recipient of the Talent Prize in Rome.

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Alberto Garutti (b. Galbiate\, Italy\, 1948) lives and works i n Milan. His work has been featured in various institutions and galleries s uch as Galleria Massimo Minini in Brescia (2016)\, Mudac in Lusanne (2011)\ , MAXXI in Rome (2009)\, Museum of Contemporary Art in Chicago (2009)\, Pal azzo Grassi in Venice (2008)\, and S.M.A.K. in Ghent (2000). In 2012\, his work was the subject of a solo show at PAC in Milan curated by Paola Nicoli n and Hans Ulrich Obrist. He has also participated in international events including the Istanbul Biennial (2001) and the Venice Biennale (1990).

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Maurizio Nannucci (b. 1939\, Florence\, Italy) lives and works in Florence. His work is associated with Concrete Poetry\, Fluxu s\, and Conceptual Art. His work has been exhibited at various institutions and galleries such as Galleria Fumagalli (2017)\, the Peggy Guggenheim Fou ndation in Venice (2004)\, Museum Ritter (2015)\, Galleria degli Uffizi (20 10)\, and the MACRO in Rome (2012). His work is featured in the collections of museums such as the MoMA\, the Stedelijk Museum\, the Centre Georges Po mpidou\, and the Paul Getty Art Center in Los Angeles. \;

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Pino Pascali (b. 1935\, Bari\, Italy\, d. 1968\, Rome\, Italy) was a leading figure of Arte Povera during the 1960s. He completed his st udies in scene painting and set design at the Accademia di Belle Arti in Ro me in 1959. His first solo exhibition was held at the Galleria Tartaruga in 1965. Pascali died in 1968 at the young age of thirty-two after a tragic m otorcycle accident. This year marks the 50th anniversary of his death. His work has been featured in various museum and galleries such as the Peggy Gu ggenheim Collection in Venice (2016)\, the Fondazione Prada (2015)\, the MA CRO in Rome (2009)\, and Gagosian Gallery (2006). The Pino Pascali Museum w as founded in 1998\, now the Pino Pascali Foundation.

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Per ino &\; Vele: Emiliano Perino (b. 1973\, New York\, USA) and Luca Vele (b. 1975\, Rotondi\, Italy) currently live and wor k in Rotondi. They have been collaborating since 1994 and they have exhibit ed in various institutions and galleries such as the National Gallery of Ar t in Tirana (2017)\, Temple University Rome (2016)\, MAC in Lissone (2016)\ , Museo MADRE in Naples (2014)\, Anna Marra Contemporanea (2014)\, Galleria Alfonso Artiaco (2013)\, and MACRO in Rome (2013). Their work is featured in institutions and public spaces such as the Museo MADRE and the Salvatore Rosa Station in Naples.

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Michelangelo Pistoletto (b. 1933 \, Biella\, Italy) is one of the major proponents of Arte Povera. His first solo exhibition took place in 1960 at Galleria Galatea in Turin a nd from 1961-1962 completed his first iconic Mirror Paintings. In 1966\, his first solo exhibition in the United States was held at the Walke r Art Center in Minneapolis. His work is featured in various museums and pu blic collections including the MoMA\, M HKA Museum of Contemporary Art in A ntwerp\, Solomon R. Guggenheim Museum\, Museo Nacional Centro de Arte Reina Sofí\;a in Madrid\, Tate in London\, MADRE Museum in Naples\, Modern Art Museum of Fort Worth\, and the Walker Art Center. He was the recipient of the Golden Lion for Lifetime Achievement on the occasion of the 2003 Ve nice Biennale.

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Gilberto Zorio (b. 1944\, Andorno Micca\, Italy) is currently based in Turin and is a major exponent of the Arte Povera movement. He studied painting at the Accademia di Belle Arti in Turin from 1963-1970 but dedicated his artistic practice to sculpture\, hi s first solo show of three-dimensional works taking place at Galleria Spero ne in 1967. This year\, Castello di Rivoli is hosting a solo exhibition of his work completed over the last 50 years of his career. He is featured in various museum and public collections including the Centre Georges Pompidou \, Galleria Nazionale d&rsquo\;Arte Moderna in Rome\, Guggenheim Museum in New York and Venice\, MoMA in New York\, Stedelijk Museum\, and Tate Modern in London.

\n LOCATION:Cassina Projects\,508 W 24th Street \nNew York\, NY 10011 SUMMARY:Daily Unfamiliar \, Bruna Esposito\, Antonio Fiorentino\, Alberto G arutti\, Maurizio Nannucci\, Pino Pascali\, Michelangelo Pistoletto\, Perin o & Vele\, Gilberto Zorio END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:467764 DTSTART:20180426T180000 DTEND:20180426T200000 LOCATION:Cassina Projects\,508 W 24th Street \nNew York\, NY 10011 SUMMARY:Daily Unfamiliar END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:467786 DTSTART:20180513T000000 DTEND:20180624T000000 DESCRIPTION:

&ldquo\;Rites of Passage: Spiritual Collages&rdquo\; \;in Dobbs Ferry \; features artist Debra Friedkin&rsquo\;s narrative mixed media collages.  \; \;May 13 &ndash\; June 24\, 2018. Free opening recep tion on May 13\, 11:00 am &ndash\; 2:00 pm. \; \; Gallery hours: &n bsp\;10 am to 4 pm daily. The Donald Gallery at South Presbyterian Church\, 343 Broadway\, Dobbs Ferry\, NY 10522. Call 914-693-0473 or visit \;http://www.southpres.or g/the-donald-gallery \;.

\n LOCATION:The Donald Gallery\,South Presbyterian Church 343 Broadway\nDobbs Ferry\, New York 10522US SUMMARY:Rites of Passage: Spiritual Collages\, Debra Friedkin END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:467787 DTSTART:20180513T110000 DTEND:20180513T140000 LOCATION:The Donald Gallery\,South Presbyterian Church 343 Broadway\nDobbs Ferry\, New York 10522US SUMMARY:Rites of Passage: Spiritual Collages END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:467940 DTSTART:20180420T000000 DTEND:20180727T000000 DESCRIPTION:
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FOR \;IMMEDIATE \;RELEASE

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Tyler Coburn: Remote Viewer

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April 20-June 2\, 2018

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Opening reception: Friday\, April 20\, 6-9PM

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Koenig &\; Clinton is pleased to announce our first solo exhibition of works by Tyler Coburn. The exhibition is comprised of a single-channel digi tal animation\, a text\, and an object designed in collaboration with archi tects Bureau V.

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In 1969\, conceptual artist Dou glas Huebler teased the limits of photography when he announced his impossi ble desire to "\;photographically document the existence of everyone al ive."\; In October of that same year\, the U.S. Department of Defense&# 39\;s Advanced Research Projects Agency Network (ARPANET) \;made its fi rst host-to-host connection between labs at U.C.L.A. and Stanford Universit y. Ten years earlier\, with help from the U.S. Air Force\, the Central Inte lligence Agency launched the CORONA project for the purpose of gathering Im agery Intelligence (IMINT) through photographic satellite reconnaissance.\n\n

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Seen from our era of Big Data\, machine learning \, biometrics\, and asymmetrical warfare\, Huebler'\;s deadpan proclamat ion seems less quixotic than prognostic. After all\, the ability to documen t the existence of every living person is far more plausible when the mecha nisms of state and corporate surveillance are abetted by the intimacies of '\;selfie'\; surveillance\, in which unwitting users yield personal i nformation through quotidian digital interfaces.

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\n\n< p>Eyes that traverse time zones in image feeds belong to bodies that can be geolocated through the very phones that host the feeds. Despite our attemp ts to transcend corporeality\, we are ever more subject to both immaterial and material capture.

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Are we viewing remotely\, or are we being remotely viewed? Who is transmitting\, and who is receivin g? And how might the histories of remote viewing\, automatism\, and psychic scientisim inform how we'\;ve arrived at this moment?

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Tyler Coburn received a BA in Comparative Literature from Ya le University and an MFA from the University of Southern California. He ser ved as a fellow in the Whitney Independent Study Program from 2014-2015. Co burn has presented installations\, performances\, and lectures internationa lly at: Centre Pompidou\, Paris\; The Whitney Museum of American Art\, New York\; Kunsthalle Wien\; Kunstverein Munich\; Hayward Gallery\, London\; So uth London Gallery\, Para Site\, Hong Kong\; and Art Sonje Center\, Seoul. Coburn participated in the 11th Gwangju Biennale(2016) and 10 th Shanghai Biennale (2014). In 2018\, he will participate in the 17th Tallinn Print Triennial and realize exhibitions and projects with Tensta Konsthall\, Stockholm\; Thyssen-Bornemisza Art Contemporary\, Vienna \; the Elizabeth Foundation of the Arts\, New York\; and others. Coburn is the author of two books: I'\;m that angel (2012) and Robot s Building Robots(2013)\, published by the Center for Contemporary Arts Glasgow. His texts have appeared in e-flux journal\, Frieze\, ArtReview\, Dis\, Mousse\, LEAP\, and Rhizome. Coburn'\;s latest writing project\, < /em>Ergonomic Futures (2016-)\, is an evolving website of short stories accessible at www.ergonomicfutures.com.

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Remote Viewer \;was originally&n bsp\;commissioned for \;Techne\, a performing and visual arts production platform created by \;Theater Rampe and Kü\;nstlerhaus S tuttgart. As part of this commission\, Coburn collaborated with poet Ian Ha tcher on remote viewing workshops for the public. These workshops will be c onducted later this year at Triangle Arts Association in New York.

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For further information please contact info@koenigandclinton.com or call (212) 334- 9255. Hours of operation are Thursday-Saturday\, 11AM-6PM and by appointmen t.

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\n LOCATION:Koenig & Clinton\,1329 Willoughby Ave. \nBrooklyn\, NY 11237US SUMMARY:Remote Viewer\, Tyler Coburn END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:467941 DTSTART:20180420T180000 DTEND:20180420T200000 LOCATION:Koenig & Clinton\,1329 Willoughby Ave. \nBrooklyn\, NY 11237US SUMMARY:Remote Viewer END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:467969 DTSTART:20180608T000000 DTEND:20180831T000000 DESCRIPTION:

JoAnne Artman Gallery\, Presents:
\n&ldquo\;ENDLESS SUM MER&rdquo\; Featuring Danny Galieote
\nSummer 2018
\nArtist&rsquo \;s Reception: Thursday\, June 14th\, 2018 from 6pm-8pm
\nPlease RSVP: 949.510.5481 by June 7th\, 2018

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JoAnne Artman Gallery
\n511 A West 22nd St. | New York\, NY 10011
\nContact:  \;JoAnne Artman< br />\nTelephone:  \;949-510-5481 | E-mail: joanneartman@aol.com
\ nWebsite: www.joanneartmangallery.com

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ENDLESS SUMMER

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Da nny Galieote has a propensity for capturing the quintessentials of American a in works that blend realist narratives with a pop sensibility. The works are reminiscent of classic\, vintage postcard imagery with an undercurrent of poetic\, and often surprising\, juxtaposition. The stylistic effect is a blend between the old-school charm of Norman Rockwell\, with the unexpecte d twist of surrealist René\; Magritte. JoAnne Artman Gallery is pleas ed to present an exhibition of new works by Danny Galieote with a focus on iconic American summertime scenes.

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Galieote belongs to a group of contemporary artists and writers that are part of a revitalized interest i n American regionalist history and art.  \;The American Regionalist art movement rose in the 1930s as a response to the Great Depression and was d efined by a traditionalist realist style that appealed to popular American sensibilities of the time. The movement gave rise to a subsequent prolifera tion of realist art\, making a lasting impact as a style that bridged acade mic realism with American Modernism\, breaking American realist art away fr om the European tradition.

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Danny Galieote&rsquo\;s masterfully re ndered paintings tie the stylistic and thematic trends of the Regionalists to contemporary socio-cultural themes. Rendered in a faded\, tonal palette\ , Galieote builds his compositions with references to classic Americana\, p resenting quotidian scenes of American life. Focusing on the figure\, Galie ote sets his compositions in the the iconic decades of mid-century America\ , incorporating whimsical elements with modern social concerns. Many of the scenes include psychological elements such as hints at the inner\, intrusi ve thoughts of the figures\, imbuing the light hearted imagery with deeper connotations and illuminating timeless truths of the dualities of human nat ure. \;

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A California native\, Galieote began his art career i n Disney animation studios\, where he was a top animator for films such as the Lion King and Tarzan as a character artist\, honing his skill at hand d rawing and the human figure. Well versed in art history\, Galieote&rsquo\;s influences include Renaissance masters such as Michelangelo\, Rubens\, and the Mannerist Jacopo Pontormo as well as American realist painter George B ellows and other AshCan artists. Galieote&rsquo\;s work has been widely exh ibited across the U.S.\, with numerous works in prestigious international c ollections. He currently lives and works in Los Angeles. \;

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< br />\nDanny Galieote&rsquo\;s work will inspire\, provoke\, engage and mes merize. With visual perceptions always changing\, peek behind the stories t old and you'\;re sure to find the right artistic expression!

\n LOCATION:JoAnne Artman Gallery\,511 A West 22nd Street \nNew York\, NY 1001 1 SUMMARY:“ENDLESS SUMMER” Featuring Danny Galieote\, Danny Galieote END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:467970 DTSTART:20180608T180000 DTEND:20180608T200000 LOCATION:JoAnne Artman Gallery\,511 A West 22nd Street \nNew York\, NY 1001 1 SUMMARY:“ENDLESS SUMMER” Featuring Danny Galieote END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468000 DTSTART:20180410T000000 DTEND:20180630T000000 DESCRIPTION:

WESTW OOD GALLERY NYC presents a premiere \;New York City exhibition of uniqu e screenprints by Andy Warhol\, curated by James Cavello. The exhibition hi ghlights eleven works on paper from the 1980s. Included are portraits of pe rsonalities such as Vincent Minnelli\, Jane Fonda\, the Marx Brothers\, Lou is Brandeis\, and Sitting Bull\, important German and Swiss figures Mildred Scheel\, Max Bill and Joseph Beuys\, commemorative images such as Truck an d The New York Post and a reinterpretation of the classical painting &ldquo \;The Annunciation&rdquo\;. All artworks presented are authenticated and av ailable for acquisition.

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In the late 70&rsquo\;s and into the 1980&rsquo\;s Wa rhol was at the height of creating silkscreened editions of his art and had streamlined the screenprinting process. He hired master printmaker\, Ruper t Jasen Smith\, who worked with Warhol on the process of silkscreening from inception to final image\, hand pulling thousands of silkscreen prints. Ru pert and his printers worked grueling hours\, yet stayed in the background of Warhol&rsquo\;s limelight. The laborious printing process included selec ting a black and white photograph transferred to a framed silkscreen\, trac ing the image\, delineating paint areas and hand pulling each paint color a cross the screen onto the paper or canvas. The initial screenprint was tran sferred to a large\, experimental sheet of newsprint\, which was easy to di scard if not to Warhol&rsquo\;s liking. The large sheets made it possible t o view various color combinations and qualities of line\, developing unique working material for discussion.

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The unique screenprints in the gallery exhib ition provide a view into Warhol&rsquo\;s creative process\, revealing the imperfections of paint drips and aberrations in the paper. The Marx Brother s portrait exemplifies the initial trial of creating an outline to simulate a hand-drawn line of the faces of Chico\, Harpo and Groucho. However\, in the final\, editioned silkscreens\, the Marx Brothers&rsquo\; faces are dep icted in the same vertical row\, but with added mirrored rows of the brothe rs\, transitioning from outline to distinct faces. The Louis Brandeis uniqu e screenprint on view also differs from its&rsquo\; final edition with vary ing shapes of color blocking out some of the hand drawn lines within the po rtrait. Jane Fonda&rsquo\;s portrait on exhibit uses only three screens of color\, isolating her blue eyes and enhancing her red lips. In comparison t o the unique print\, the resulting commercial image portrays a stark contra st with charged line and color. \; \;

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Warhol&rsquo\;s portraits are sy mbols of the fame and celebrity that made him popular\, but they are also t estimonials of his creative genius in pushing the boundaries of the medium. These experimental screenprints are precursors of what became renowned and sought-after editioned prints\, and the differences between the artworks o n view and the final prints are evident.

\n LOCATION:WESTWOOD GALLERY NYC\,262 Bowery St. \nNew York\, New York 10012US SUMMARY:ANDY WARHOL: Unique Studio Screenprints\, 1979-80\, Andy Warhol END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468023 DTSTART:20180427T000000 DTEND:20180727T000000 DESCRIPTION:
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Curated by Piper Marshall
\nIn Collaboration with Salon 94

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On 27 April 2018\, Mary Boone Gallery wi ll open at its Chelsea location Clothes Make the Man: Works from 1990-19 94\, a solo exhibition featuring the work of LAURIE SIMMONS\, curated b y Piper Marshall. The exhibition\, in collaboration with Salon 94\, opens c oncurrently with Simmons&rsquo\; show of new work at Salon 94\, titled T he Mess and Some New.

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C lothes Make the Man: Works from 1990-1994 brings together Simmons&rsquo \; celebrated Walking &\; Lying Objects series (begun in 1987) wi th Café\; of the Inner Mind (1994) alongside Clothes Make t he Man (1990-ongoing).

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In Walking &\; Lying Objects Simmons appends ordinary domestic objec ts to human legs\, staging them in anthropomorphized tableaux with high-con trast lighting. At once humorous and dramatic\, this ongoing series was pro mpted by Simmons&rsquo\; childhood memory of a television show featuring da ncing matchstick and cigarette boxes. Simmons has described these images as a way of investigating &ldquo\;brawn over brains&mdash\;literally lifting and propping up the domestic object into significance&hellip\; It always st ayed with me as a kind of image of something that was so physical\, without a brain\, without a heart\, without a mind.&rdquo\; This group of five ima ges from Walking &\; Lying Objects features a playful investigati on of desire for food\, including a lush red tomato\, delicately iced dough nut\, and a nostalgic hot dog.

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In Café\; of the Inner Mind\, one of very few series by the a rtist to feature male subjects\, Simmons continues her play on yearning and interior life by staging the secret cravings of men. Wooden ventriloquist dummies are arranged in various settings such as a restaurant\, a men&rsquo \;s bathroom\, a lush country field\, or a vacant staircase. Each dummy has above his head a &ldquo\;thought bubble&rdquo\; revealing image-based fant asies of their inner desires: a mé\;nage à\; trois\, attractive legs in high heels\, missiles\, male body builders\, or alternative meals. Though made in 1994\, Simmons&rsquo\; Café\; series has rarel y been shown and now feels acutely prescient to the media exposure of priva te desires during investigations of sexual harassment and the #metoo moveme nt.

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Stepping out of the fantas y images of the Café\; series\, Clothes Make the Man pr esents rare sculptures from Simmons&rsquo\; practice: resin dolls cast from real ventriloquist dummies sit upright in custom wooden chairs\, dressed b y Simmons in vintage 1950s children&rsquo\;s clothing. The group of nearly identical dummies play with the clownish cultural assumption that individua ls are profoundly different based solely on shallow appearances. &ldquo\;It was about these kinds of minute differences in the way we look or act that make us feel like we&rsquo\;re so profoundly different. Like &lsquo\;I&rsq uo\;m not like you because you&rsquo\;re wearing a blue shirt\; I&rsquo\;m wearing a yellow shirt. You&rsquo\;re wearing a bow tie\; I&rsquo\;m wearin g a string tie. We are so different.&rsquo\;&rdquo\;

\n\n< p style="text-align: justify\;">The exhibition\, at 541 West 24 Street\, is on view through 27 July 2018. For further information\, please contact Ron Warren a t the Gallery\, or visit our website www.maryboonegaller y.com.

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\n LOCATION:Mary Boone Gallery - 24th St.\,541 W. 24 Street \nNew York\, NY 10 011US SUMMARY:Clothes Make the Man: Works from 1990-1994\, Laurie Simmons END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468025 DTSTART:20180426T000000 DTEND:20180727T000000 DESCRIPTION:
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On 26 April 2018\, Mary B oone Gallery will open at its Fifth Avenue location My Dear Dear Letter< /i>\, an exhibition curated by Piper Marshall of new paintings by MATH BASS .

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My Dear Dear Letter p resents a recent entry to Math Bass&rsquo\;s ongoing &ldquo\;Newz!&rdquo\; paintings\, adding to the artist&rsquo\;s evolving formal vocabulary. Bass& rsquo\;s entries emerge through a process of excision. A contour traced fro m a pre-existing shape is then abstracted away. In this case\, nothing is r ipped or destroyed\, rather the form yields another through its re-orientat ion\, comparable to how N when rotated can appear as Z\, and E could be fli pped to read as W. Similarly\, Bass&rsquo\;s work explores the contour of a shape through repetition\, often within one composition. What follows is a sequence whose legibility asks to be read as mutable\, or as toward multip le.

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In this exhibition\, Bass builds in shifts of focus\, altering the image by scaling up the field on w hich it rests. This grammar comes in part from the movement between positiv e and negative space which appears to contract and expand. This process cou ld be likened to tonality\, how the character of a piece is determined by i ts relations. The play carries over to four columnar sculptures in the exhi bition. Half object\, half sculpture\, these works emit a repetitive soundt rack playing a sequence which names the shapes that appear in the paintings \, resonating with the entire show. With each iteration of the chant\, mean ing both affirms and loosens. This reinforces the idea of Bass&rsquo\;s wor ks as performative. Here\, the visual and audible hold space and meaning ac cumulates through repetition\, changing our perspectives.

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Math Bass (b. 1981\, New York)\, lives and work s in Los Angeles. She received a B.A. from Hampshire College\, Amherst\, in 2003\, and an M.F.A. from University of California\, Los Angeles\, in 2011 . Bass began her career primarily as a performance artist\, but has since e xpanded her practice to include painting\, sculpture\, and video. In 2015\, MoMA PS1 presented the inaugural solo museum exhibition of Math Bass in th e United States. In 2017\, the Yuz Museum in Shanghai hosted her first solo exhibition in China. Bass&rsquo\;s work has been written about in publicat ions such as Artforum\, Art in America\, ArtReview\, < i>Frieze\, Modern Painters\, X-TRA\, and The Uncertain States of America Reader\, published by Sternberg Press in 2008.

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The Mary Boone Gallery exhibition\, at 745 Fifth Avenue\, is on view through 27 July 2018. For further informa tion\, please contact Ron Warren at the Gallery\, or visit our website www.maryboonegallery.com.

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\n\n LOCATION:Mary Boone Gallery - 5th Ave.\,745 5th Ave. \nNew York\, NY 10151U S SUMMARY:My Dear Dear Letter\, Math Bass END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468997 DTSTART:20180426T180000 DTEND:20180426T200000 LOCATION:Mary Boone Gallery - 5th Ave.\,745 5th Ave. \nNew York\, NY 10151U S SUMMARY:My Dear Dear letter END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468034 DTSTART:20180524T000000 DTEND:20180629T000000 DESCRIPTION:

Mitchell-Innes &\; Nash is honored t o present Girl Pictures\, 1997-2002 \;by Justine Kurland. On v iew at the gallery&rsquo\;s Chelsea location on the eve of the project&rsqu o\;s 20th anniversary\, this exhibition is the first presentation of the ar tist&rsquo\;s complete first printing of the Girl Pictures\; the series is comprised of sixty-nine vintage prints. The gallery will publish a limited edition monograph by the same name to accompany the exhibition with an essa y by the artist. This is Justine Kurland&rsquo\;s fourth solo show with the gallery.

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The works on view we re made as Kurland drove across the United States and span a period of four years between 1997 and 2002. Beginning in New Haven\, where she was comple ting her graduate studies\, the photographs cover a range of settings from the dystopian non-place of a roadside truck stop to the dreamlike landscape of an Arcadian meadow. The primary subject of Kurland&rsquo\;s pictures\, however\, are the adolescent girls who inhabit these places\, both familiar and uncanny\, captured by the artist&rsquo\;s camera. The fact that Kurlan d&rsquo\;s pictures are carefully staged seems to contradict their intimate \, candid quality. Speaking about her work\, Kurland has said that she cons tructs pictures in order to let them unravel\, working along a &ldquo\;spec trum between the perfect and the real.&rdquo\;

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Productive conflicts\, often alluringly elusive\, abound i n Kurland&rsquo\;s work. There is\, for one\, the push and pull between nat ure and culture\, as evidenced by images like Play Mountain (2000) where rolling green hills\, which at first glance look curiously manicured \, are actually manmade vestiges of a landfill. In his New York Times revie w of the artist&rsquo\;s first solo exhibition in New York in 1999\, Ken Jo hnson notes that the &ldquo\;particular appeal of Ms. Kurland&rsquo\;s work is in its deadpan tension between the matter of fact and the mythic.&rdquo \; This balancing act is mirrored in the artist&rsquo\;s own life\; indeed\ , Kurland has noted the autobiographical parallels in her work\, specifical ly her competing desires to both escape and fight back\; to document and al legorize\; and to capture &ldquo\;vaporous abstractions&rdquo\; like the ca refree freedom of her &ldquo\;runaway girls.&rdquo\;

\n LOCATION:Mitchell-Innes & Nash - 26th St.\,534 W. 26th St. \nNew York\, NY 10001US SUMMARY:Girl Pictures\, 1997-2002\, Justine Kurland END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468035 DTSTART:20180524T180000 DTEND:20180524T200000 LOCATION:Mitchell-Innes & Nash - 26th St.\,534 W. 26th St. \nNew York\, NY 10001US SUMMARY:Girl Pictures\, 1997-2002 END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468037 DTSTART:20180415T000000 DTEND:20180903T000000 DESCRIPTION:
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MoMA PS1 will present the first solo museum exhibition of New York-based artist Julia Phillips (German and American\, b. 1985)\, featuring six newly commis sioned major works alongside existing sculptures. Primarily working with ce ramics\, Phillips creates objects and scenes that are intimately connected to the body. Her sculptures mostly avoid direct figuration\, instead propos ing various support structures for the body and emphasizing its absence. Im pressions of the human form are visible through casts of orifices\, handpri nts\, and other corporeal traces. While suggestive of particular functions and purposes that are overtly physical\, these works also produce social an d psychological resonances. For Phillips\, the body is entangled in both th e real and abstract spaces of politics\, made evident through indications g iven in her arrangements as well as the works&rsquo\; titles\, which are of ten directives for specific actions.

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Julia Phillips lives and works in New York City. She has been includ ed in group exhibitions at The Studio Museum in Harlem\, New York\; The Kit chen\, New York\; and Kunsthaus\, Hamburg. Phillips is currently featured i n the New Museum&rsquo\;s 2018 Triennial\, Songs for Sabotage.

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< em>Julia Phillips: Failure Detection is organized by Ruba Katrib\, Cur ator\, MoMA PS1\, with Josephine Graf\, Curatorial Assistant\, MoMA PS1.

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The exhibition is supported by The Tom Sl aughter Emerging Artists Endowment Fund.

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Additional funding is provided by the MoMA PS1 Annual Exhibition Fund.

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\n LOCATION:MoMA PS1\,22-25 Jackson Ave \nLong Island City\, NY 11101US SUMMARY:Failure Detection\, Julia Phillips END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468038 DTSTART:20180415T120000 DTEND:20180415T180000 LOCATION:MoMA PS1\,22-25 Jackson Ave \nLong Island City\, NY 11101US SUMMARY:Failure Detection END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468039 DTSTART:20180415T000000 DTEND:20180903T000000 DESCRIPTION:
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MoMA PS1 presents the US premiere of photographer Gauri Gill&rsquo\;s most recen t body of work\, Acts of Appearance\, a series of vivid color photographs f or which the artist worked closely with members of an Adivasi community in Jawhar district\, Maharashtra\, India. Gill&rsquo\;s collaborator-subjects are renowned for their papier-mâ\;ché\; objects\, including trad itional sacred masks. In these pictures they engage in everyday village act ivities while wearing new masks\, made expressly for this body of work\, wh ich depict living beings with the physical characteristics of humans\, anim als\, or valued objects. A range of scenarios and narratives\, situated in both &ldquo\;reality&rdquo\; and dreamlike states\, come together in the ph otographs\, which simultaneously portray symbolic or playful representation s as well as the familiar experiences of community members against the back drop of their home and culture.

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Trained as a painter and applied artist\, Gill (b. 1970\, Chandigarh\, In dia) later turned to photography as her primary medium. Her photographs\, w hich chronicle the lives of those rendered powerless by state forces and so cietal structures\, are deeply attentive to the means by which individuals try to overcome their circumstances. Acts of Appearance is presented here a longside a selection of Gill&rsquo\;s older photographs from Rajasthan\, re vealing echoes between works made over several years in different locations across India\, and emphasizing her continuing involvement with rural commu nities and local artists.

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Acts of Appearance was created with the participation of:

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Bhagvan Dharma Kadu\, Subhas Dharma Kadu\, Yuvraj B hagvan Kadu\, Rahul Arvind Kakad\, Rahul Bhagvan Kadu\, Makhaval Bhagvan Ka du\, Madhuri Subhas Kadu\, Rangeeta Arvind Kakad\, Darshana Devram Kakad\, Ganesh Ganpat Lokhande\, Sangeeta Ganesh Lokhande\, Sangeeta Navnath Kadu\, Kusum Bhagvan Kadu\, Harishchandra Rama Kadu\, Suvrna Harishchandra Vad\, and Anjana Sachin Kurbude.

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Wit h Sachin Sankar Kurbude\, Sanjay Sakharam Vatas\, Ganpat Ganga Lokhande\, R upesh Arvind Kakad\, Nalini Pradip Valvi\, Jyoti Sanjay Vatas\, Shravan Bud hya Tumbda\, Saraswati Subhas Kadu\, Sapna Bhagvan Kadu\, Bhawna Bhagvan Ka du\, Pooja Arvind Kakad\, Tushar Prakash Vatas\, Tushar Dinkar Vatas\, Vija ya Navnath Kadu\, Suraj Tukaram Vad\, Nishant Tulshiram Thalkar\, and Nilam Sunil Marad.

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Organized by Lucy Gallun\, Assistant Curator\, Department o f Photography\, The Museum of Modern Art.

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The Elaine Dannheisser Projects Series is made possible in part by the Elaine Dannheisser Foundation and The Junior Associates of The Muse um of Modern Art.

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\n LOCATION:MoMA PS1\,22-25 Jackson Ave \nLong Island City\, NY 11101US SUMMARY:Projects 108: Gauri Gill\, Gauri Gill END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468040 DTSTART:20180415T120000 DTEND:20180415T180000 LOCATION:MoMA PS1\,22-25 Jackson Ave \nLong Island City\, NY 11101US SUMMARY:Projects 108: Gauri Gill END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468041 DTSTART:20180415T000000 DTEND:20180909T000000 DESCRIPTION:
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Fernando Palma Rodrí\;guez (Mexican\, b. 1957) combines his train ing as an artist and mechanical engineer to create kinetic sculptures that utilize robotics and custom software to perform complex\, narrative choreog raphies. His works respond to issues facing indigenous communities in Mexic o\, addressing human and land rights\, violence\, and urgent environmental crises. Palma Rodrí\;guez lives in the agricultural region of Milpa A lta outside Mexico City\, where he runs Calpulli Tecalco\, a non-profit org anization dedicated to the preservation of Nahua language and culture. This marks the first solo museum exhibition of the artist'\;s work in the US .

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Central to the Palma Rodrí\ ;guez&rsquo\;s practice is an emphasis on indigenous ancestral knowledge\, both as an integral part of contemporary life and a way of shaping the futu re. Drawing on Aztec mythology and pictorial codices&mdash\;as well as colo nial histories&mdash\;his works reframe language through the physical activ ation of these symbols. He often brings together evolving traditions with p resent-day concerns through a mix of cultural references and materials\, fr om robotic constructions and found objects (work boots and sewing machines) to organic materials (seeds\, soil\, and feathers). Through their constant and complex movements\, these works transform seemingly static symbols int o active agents.

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The exhibition inc ludes works made over the past two decades\, several of which have been rec ently restored in collaboration with engineering students at Universidad Te cnoló\;gica de Valles Centrales de Oaxaca as part of his recent retro spective exhibition at the Museo de Arte Contemporá\;neo de Oaxaca\, Guex Liu\, Kuu ñ\;unro\, Totlahuan\, organized by Oliver Mar tí\;nez Kandt.

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Fernando Palma Rodrí\;guez lives and works in San Pedro Atocpan\, Mexico. He was th e subject of a retrospective at Museo de Arte Contemporá\;neo de Oaxa ca (2017). His work has been included in group exhibitions at FRAC des Pays de la Loire\, Carquefou\, France (2016)\; Parallel Oaxaca\, Mexico (2016)\ ; Nottingham Contemporary\, England (2015)\; the Biennial of the Americas\, Denver\, Colorado (2015)\; Museo Universitario del Chopo\, Mexico City\, M exico (2014)\; and SITE Santa Fe\, New Mexico (2014).

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Fernando Palma Rodr& iacute\;guez: In Ixtli in Yolotl is organized by Ruba Katrib\, Curator \, MoMA PS1\, with Oliver Shultz\, Curatorial Assistant\, MoMA PS1.

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Special thanks to Museo de Arte Contempor& aacute\;neo de Oaxaca.

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The exhibiti on is made possible by the MoMA PS1 Annual Exhibition Fund.

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\n\n LOCATION:MoMA PS1\,22-25 Jackson Ave \nLong Island City\, NY 11101US SUMMARY:In Ixtli in Yolotl\, Fernando Palma Rodríguez END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468042 DTSTART:20180415T120000 DTEND:20180415T180000 LOCATION:MoMA PS1\,22-25 Jackson Ave \nLong Island City\, NY 11101US SUMMARY:In Ixtli in Yolotl END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468043 DTSTART:20180415T000000 DTEND:20180903T000000 DESCRIPTION:
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Land: Zhang Huan and Li Binyuan brings together a selection of performance works by two Chine se artists of different generations that address the relationship between t he body and the land. Since the 1980s\, the status of land in China has bee n undergoing radical transformation\, mirroring shifts from collectivism to individualism and from socialism to capitalism. The exhibition juxtaposes videos and photographs of early performance works by Zhang Huan (Chinese\, b. 1965) with those of more recent performances by Li Binyuan (Chinese\, b. 1985).

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Organized by Klaus Biesenbach\, Director\, MoMA PS1\, and Chief C urator at Large\, The Museum of Modern Art\; with Oliver Shultz\, Curatoria l Assistant\, MoMA PS1.

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Land: Zhang Huan and Li Binyuan is supported by the MoMA PS1 Annu al Exhibition Fund.

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\n LOCATION:MoMA PS1\,22-25 Jackson Ave \nLong Island City\, NY 11101US SUMMARY:Land\, Li Binyuan\, Zhang Huan END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468044 DTSTART:20180415T120000 DTEND:20180415T180000 LOCATION:MoMA PS1\,22-25 Jackson Ave \nLong Island City\, NY 11101US SUMMARY:Land END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468046 DTSTART:20180125T000000 DTEND:20180812T000000 DESCRIPTION:

Derrick Adams is a New York&ndash\;base d\, multidisciplinary artist working in performance\, video\, sound\, texti le- and paper-based collage\, and multimedia sculpture. His practice is roo ted in deconstructivist philosophies such as the fragmentation and manipula tion of structure and surface\, and the marriage of complex and improbable forms. Through these techniques\, Adams examines the force of popular cultu re and the media on the perception and construction of self-image.

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Derrick Adams: Sanctuary cons ists of 50 works of mixed-media collage\, assemblage on wood panels\, and s culpture presented in an installation designed by the artist that reimagine safe destinations for the black American traveler during the mid-twentieth century. The body of work was inspired by The Negro Motorist Green Boo k\, an annual guidebook for black American road-trippers published by New York postal worker Victor Hugo Green from 1936 to 1967\, during the Jim Crow era in America.

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Referred to simply as The Green Book in its day\, the publication served a s a guide to finding businesses that were welcoming to black Americans\, in cluding hotels and restaurants\, during an era when open and often legally prescribed discrimination against nonwhites was widespread. These designate d safe spaces were places of refuge and leisure\, where one could spend qua lity time with friends and family. The depiction of black America at leisur e is a theme of continued interest to Adams\, who explores how engaging in leisure as a form of relaxation and reflection can be a political act when embraced by members of black or working-class communities.

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Derrick Adams: Sanctuary reflects on the plight of working-class black people before and during the Civil Rights Movement\, and their determination to pursue the same American Dream affor ded to others. Today\, \;The Green Book \;serves as a poig nant artifact and reminder of the importance of equality during a time in w hich uneven law enforcement continues to negatively shape the lives and exp eriences of many black Americans.

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Derrick Adams: Sanctuary is guest curated by Dexter Wimberly\, Executive Director of Aljira\, a Center for Contemporary Art (Newark)\, wi th support from the Museum of Arts and Design&rsquo\;s Assistant Curator Sa mantha \;De \;Tillio.

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Major support for Derrick Adams: Sanctuary is provided by Exhibiti on Chairs Michael and Patti Dweck. Additional support is generously provide d by Mike De Paola\, Barbara T. Hoffman\, Esq.\, Shari Siadat Loeffler and Nicholas Loeffler\, The Paulsen Family Foundation\, Ron and Ann Pizzuti\, B arbara and Donald Tober\, and George Wein.

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Derrick Adams is proudly represented in New York by Tilton Gal lery.

\n LOCATION:Museum of Arts and Design\,2 Columbus Circle \nNew York\, NY 10019 US SUMMARY:Sanctuary\, Derrick Adams END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468047 DTSTART:20180301T000000 DTEND:20180923T000000 DESCRIPTION:
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&ldquo\;Borders separate but also unite.&rdquo\; &mdash\;Octavio Paz\, Mexican poet and diplomat

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Nearly two thousand miles long\, the US-Mexico border (la frontera) is the most frequently crossed international border in the world. \ ; \;Although predominantly depicted in the American media as a hub of d rug trafficking and violence\, the border&mdash\;porous in nature&mdash\;is also a place that allows for the exchange of ideas\, wealth\, and culture.

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Recently at the forefront of political and cultural conversation following the current US President&rsqu o\;s anti-immigration discourse and executive orders\, the border has been characterized by contradictions since the nineteenth century\, when the US annexed an important portion of Mexican territory. For Mexicans\, Central A mericans\, and the United States citizens living alongside it\, the border presents daily challenges that carry within them both hope and devastation. It is a complex physical\, economic\, cultural\, social\, and emotional la ndscape of human interaction.

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The exhibition La Frontera: \;Encounters Along the Border seek s to explore this space and what it represents. Jewelry artists from Mexico \, the United States\, Latin America\, and Europe expose the underlying cur rents of the border environment within geographic\, political\, economic\, social\, cultural\, and ideological contexts. The artists transform metal\, fiber\, wood\, and other materials into representations of their experienc es\, their influences\, their dreams\, and their nightmares.< /p>\n\n

< span style="font-size: 18px\;">La Frontera was originally organize d and curated by Lorena Lazard and Velvet da Vinci Gallery. It premiered at the Museo Franz Mayer in Mexico City in 2013. It then traveled to Velvet d a Vinci\, San Francisco\, California\; the Art Gallery at Indiana Universit y Kokomo\, Kokomo\, Indiana\; and the Houston Center for Contemporary Craft \, Houston\, Texas.

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< span style="font-family:serif\;">La Fro ntera: Encounters Along the Border is co-curated by Mike Holmes and Lo rena Lazard with the assistance of MAD&rsquo\;s Assistant Curator\, Barbara Paris Gifford\, and Assistant Manager of Curatorial Affairs\, Angelik Vizc arrondo-Laboy.

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Major funding f or La Frontera: Encounters Along the Border is provided by Barbara Waldman\, Sondra Gilman and Celso Gonzalez-Falla\, and the Rotasa Fund.

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This exhibition is supported\, i n part\, by public funds from the New York City Department of Cultural Affa irs in partnership with the City Council.

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&ldquo\;Las fronteras separan\, pero tambié\;n un en.&rdquo\; &mdash\;Octavio Paz\, poeta y diplomá\;tico mexicano

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Con casi 2\,000 millas de extensi& oacute\;n\, la frontera es el cruce internacional má\;s transitado en el mundo. Aunque con una reputació\;n infame en los medios debido al trá\;fico de drogas y la violencia\, esta frontera &ndash\;porosa po r naturaleza&ndash\; es tambié\;n un espacio que permite el intercamb io de ideas\, riqueza y cultura.

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En la actualidad el tema de la frontera ha aparecido en medios pol&iacut e\;ticos y culturales debido al discurso anti-inmigratorio y ordenes ejecut ivas del actual Presidente estadounidense\, sin embargo\, desde el siglo XI X cuando \;Estados Unidos anexó\; una importante porció\;n del territorio mexicano este ha sido un espacio lleno de contradicciones. P ara los ciudadanos mexicanos\, centro-americanos y estadounidenses que vive n a lo largo de la frontera esta es una parte significativa de la vida. Ell a presenta retos diarios que a su vez son esperanzadores y devastadores. Es un complejo panorama de interacció\;n humana\, desde el punto de vis ta fí\;sico\, cultural\, econó\;mico\, social y emocional.

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La exposició\;n \;La Frontera: \;Encuentros a lo largo de é\;sta\,  \;busca explorar este espacio y lo que representa. Artistas de joyerí \;a contemporá\;nea de Mé\;xico\, Estados Unidos\, Amé\;r ica Latina y Europa exponen las corrientes subyacentes del entorno fronteri zo desde los contextos geográ\;fico\, polí\;tico\, social\, cul tural e ideoló\;gico. Cada artista transforma el metal\, la fibra\, l a madera y otros materiales representando sus propias experiencias\, influe ncias\, sueñ\;os y pesadillas.

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La Frontera \;fue organizada y curada originalmente&nbs p\;por Lorena Lazard y la Galerí\;a Velvet da Vinci. Comenzó\; en el Museo Franz Mayer en la Ciudad de Mé\;xico en 2013. Viajó \; despué\;s a la Galeria Velvet da Vinci de San Francisco\, Californ ia\; la Galerí\;a de Arte en la Universidad Kokomo\, Kokomo Indiana\; y al Centro de Arte Contemporá\;neo de Houston Texas.< /p>\n\n

< span style="font-size: 18px\;">La Frontera: Encuentros a lo largo de &e acute\;sta\, es co-curada por Mike Holmes y Lorena Lazard con la asist encia de la Curadora Asistente del MAD\, Barbara Paris Gifford\, y la Geren te Asistente de Asuntos Curatoriales del MAD\, Angelik Vizcarrondo-Laboy.

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Los fondos principales para La Frontera: Encuentros a lo largo de é\;sta son proporcionados por Barbara Waldman. Apoyo adicional fue proporcionadó\; generosamen te por Sondra Gilman y Celso Gonzalez-Falla y Rotasa Fund.

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Esta exposició\;n es apoyada\, en parte\ , por fondos pú\;blicos del Departamento de Asuntos Culturales de la Ciudad de Nueva York en asociació\;n con el Consejo Municipal.

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\n LOCATION:Museum of Arts and Design\,2 Columbus Circle \nNew York\, NY 10019 US SUMMARY:La Frontera: Encounters Along the Border END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468049 DTSTART:20180322T000000 DTEND:20180909T000000 DESCRIPTION:
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29 \;works by Miriam Schapiro
\n28 works by contemporary artists including \;Sanford Biggers\, Josh Blackwell\, Edie Fake\, Jeff rey Gibson\, Judy Ledgerwood\, Jodie Mack\, Sara Rahbar\, Ruth Root\, and J asmin Sian

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< span style="font-family:serif\;">In June of 2015\, Miriam Schapiro\, the pioneering feminist artist and founding membe r of the Pattern and Decoration movement\, passed away at the age of ninety -one. Surprisingly\, given her status as the elder stateswoman of the femin ist art movement\, the tremendous impact of her oeuvre on contemporary art has yet to be fully acknowledged or critically assessed. This exhibition se eks to redress this gap in the history of American art through an explorati on of Schapiro&rsquo\;s signature femmages\, the term she coined to describe her distinctive hybrid of painting and collage inspired by women&rsquo\;s domestic arts and crafts and the feminist critique of th e hierarchy of art and craft.

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In examining the aesthetic and political objectives of Schapiro&rsquo\;s femmages\, this exhibition highlights the pivotal role her work and leadership played in the expansion of the art world to include his torically marginalized forms of craft\, decoration\, and abstract patternin g associated with femininity and women&rsquo\;s work. Although she is unher alded as the source\, the influence of Schapiro&rsquo\;s subjective approac h to forms of decoration can be identified today in an remarkably diverse g roup of artists who continue to find inspiration in her embrace of artistic practices outside the art historical canon. To highlight this legacy\, wor ks by a select group of contemporary artists\, including \;Sanford Bigg ers\, Josh Blackwell\, Edie Fake\, Jeffrey Gibson\, Judy Ledgerwood\, Jodie Mack\, Sara Rahbar\, Ruth Root\, and Jasmin Sian\, will be exhibited along side Schapiro&rsquo\;s signature femmages. This juxtaposition of h istoric and contemporary work brings into critical focus the tremendous rol e Schapiro&rsquo\;s femmages played in the reframing of craft and decoration\, while shining a light on the way artists today\, both distingu ished and emerging\, continue to approach the decorative as a language of a bstraction tied to the personal and the political.

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As a complement to Schapiro&rsquo\;s work\, this exhib ition also includes a selection of the artist&rsquo\;s own source material drawn from her estate\, such as fabric swatches\, embroidery and other hist oric needlework\, and folk art.

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Surface/Depth: The Decorative After Miriam Schapiro is curated b y Elissa Auther\, MAD&rsquo\;s Windgate Research and Collections Curator wi th the support of Assistant Manager of Curatorial Affairs\, Angelik Vizcarr ondo-Laboy.

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Leading support fo r Surface/Depth: The Decorative After Miriam Schapiro is provided by Michele and Marty Cohen. Additional support is generously provided by Th e Coby Foundation\, Ltd.\, The Feminist Institute\, Eric Firestone Gallery and The Estate of Miriam Schapiro\, Sharon Karmazin\, Laura and Lewis Kruge r\, Anthony Meier Fine Arts\, and Marjorie Silverman.

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Research for this exhibition was supported by a Cra ft Research Fund grant from the Center for Craft.

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\n LOCATION:Museum of Arts and Design\,2 Columbus Circle \nNew York\, NY 10019 US SUMMARY:Surface/Depth: The Decorative After Miriam Schapiro\, Sanford Bigge rs\, Josh Blackwell\, Edie Fake\, Jeffrey Gibson\, Judy Ledgerwood\, jodie mack\, Sara Rahbar\, Ruth Root\, Miriam Schapiro\, Jasmin Sian END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468050 DTSTART:20180322T000000 DTEND:20180909T000000 DESCRIPTION:

This spring\, the Museum of Arts and De sign launches 1ST SITE\, a new project space located in the reception area of their 2 Columbus Circle location.1ST SITE features work by artists and d esigners that interact with and interpret the interior architecture and amb iance of the &ldquo\;entry.&rdquo\; \;

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This spring\, to coincide with the opening of \;Surface/Depth: The Dec orative After Miriam Schapiro\, the museum will feature \; Interlace\, a large-scale vinyl mural by Brooklyn-based artist Samanth a Bittman. \;

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Interlac e \;wraps the entry-level elevator bank in a colorful\, oversize w eaving draft&ndash\;the pattern weavers follow to work out their designs in advance\, dress their loom\, and subsequently weave a piece of cloth. This particular weaving draft represents a &ldquo\;sample blanket\,&rdquo\; a t extile that uses different warp and weft combinations in small sections in order to experiment with weave structures\, yarn and color. Printed at this scale\, the pattern is recognizable as a tool specific to textile work\, w hile resembling the pixels associated with the digital. \;

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The relationship between the handcrafted a nd the digital is a hallmark of Bittman&rsquo\;s practice. The artist sets her hand-painted\, hand-woven textiles against the backdrop of digitally pr inted wallpaper\, for which she creates graphics using Photoshop. She sets the resolution of the wallpaper (pixels per inch) to the thread count of th e painting that will hang on it\, such that the wallpaper becomes an extens ion of the painting as well as a support\, fusing weaving\, painting\, and graphics in a multilayered exploration of pattern. \;

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By juxtaposing a very old practice with modern software\, Bittman highlights their similarities. There is a sameness betwe en the grid-based warp and weft interlacements of handwoven cloth and the p ixelated Photoshop file\, pointing to the ability of both mediums to embody pixel-based pictorial information. \;

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Bittman&rsquo\;s painting practice developed from an interest in the woven structure as picture. Working on a 12-harness floor loom\, she weaves patterned textiles that she then stretches over a wooden frame befo re applying acrylic paint onto select threads. Matching the paint to the th read\, she inverts the textile&rsquo\;s pattern\, merging thread and paint to create optical illusions with shape\, line and pattern. \; \;

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Referencing weavers and painters alike&mdash\;from Anni Albers to Bridgett Riley&mdash\;Bittman carves out a shared space between weaving and painting\, drawing them together through an exploration of figure-ground. \;

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Samantha Bittman is an artist and educator based in Brooklyn\, N Y. She has participated in residency programs at the Joseph and Anni Albers Foundation\, Sharpe-Walentas Studio Program\, Skowhegan School of Painting and Sculpture\, and Bemis Center for Contemporary Art\, and Ox-Bow School of Art. \; In 2012\, she received the Artadia Award. \; Recent solo exhibitions include\, Ronchini\, London\, UK\; Andrew Rafacz\, Chicago\, I L\; Morgan Lehman\, NY\, NY\; and Greenpoint Terminal Gallery\, Brooklyn\, NY. She has been included in numerous group exhibitions including David Cas tillo\, Miami\, FL\; Shane Campbell\, Chicago\, IL\; and Rhona Hoffman\, Ch icago\, IL.

\n LOCATION:Museum of Arts and Design\,2 Columbus Circle \nNew York\, NY 10019 US SUMMARY:Interlace\, Samantha Bittman END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468051 DTSTART:20180508T000000 DTEND:20181002T000000 DESCRIPTION:

Los Angeles&ndash\;based artist and des igner Tanya Aguiñ\;iga has established herself as a crucial voice wor king at the intersection of fiber art\, design\, social practice\, and acti vism. Her work\, ranging from her &ldquo\;Performance Crafting&rdquo\; seri es&mdash\;which uses craft to generate dialogues about identity\, culture\, and gender&mdash\;to furniture whose material and form reimagine its funct ionality to provide &ldquo\;support\,&rdquo\; shows a commitment to design thinking as political. At the heart of her practice is an inquiry into how community is created\, and the role that craft\, design\, and materiality p lay in its formation.

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Founded by Aguiñ\;iga and launched in 2015\, AMBOS (Art Made Between Opposite Sides) is a long-term initiative that activates sites along the U S&ndash\;Mexico border through collaborative art-making and storytelling pr ojects. Started as a month-long activation at the San Ysidro border crossin g in Tijuana\, it has evolved its focus to record and paint a picture of li fe along the length of the border. To date\, AMBOS\, in collaborat ion with artists and community organizations working with border issues/the mes\, has produced programs along the border between the United States and Mexico\, stopping at thirteen US/Mexico ports of entry\, and crossing a tot al of forty times. In 2018 Aguiñ\;iga will complete the project\, act ivating the remainder of the border from where she left off at El Paso/Ciud ad Juá\;rez.

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AMBOS was born out of Aguiñ\;iga&rsquo\;s drive to use her skills in se rvice to the ongoing issues that her family and community face in Tijuana\, Mexico\, where she was raised\, and from which she crossed the border ever y day for fourteen years to get her education in the United States. Through the different phases of the project\, AMBOS has fostered a greate r sense of interconnectedness in the border regions it has visited. AMB OS as a project has become multifaceted: it is part documentation of t he border\, part collaboration with artists\, part community activism\, par t exploration of identities influenced by the liminal zone of the borderlan ds. By connecting with local artists\, activists\, and makers in the border region\, AMBOS works to capture an accurate representation of the sister cities and communities living and working on both sides.

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Positioning photographic documentation\, radio broadcasts\, ephemera\, data\, and other materials generated by AMBOS within Aguiñ\;iga&rsquo\;s ongoing design practice\, Tanya Aguiñ\;iga&rsquo\;s eponymously titled exhibition at MAD demonstrates the link that the artist is forging between des ign thinking and community work. &ldquo\;Design thinking\,&rdquo\; which re fers to the creative strategies for problem solving\, is situated here as s omething inherent to craft&mdash\;a vehicle utilized by Aguiñ\;iga fo r self-care and community building.

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Tanya Aguiñ\;iga will be on view in the second-floor g allery\, MAD&rsquo\;s gallery space dedicated to deepening visitors&rsquo\; experiences of exhibitions through opportunities for interactive learning\ , research\, and reflection. The exhibition also includes Performance C rafting\, a new\, site-specific installation inspired by the backstrap loom. The installation will connect MAD&rsquo\;s Suspension Staircase and Tiffany &\; Co. Foundation Jewelry Gallery\, where the thematically link ed exhibition La Frontera: Encounters Along the Border will be on display.

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As a member of the Bo rder Art Workshop/Taller de Arte Fronterizo (BAW/TAF)\, Tanya Aguiñ\; iga played a central role in the creation of a community arts center in an autonomous land-squat run by indigenous women on the outskirts of Tijuana b efore launching the Creative Capital&ndash\;funded project AMBOS. After leaving the Border Art Workshop\, she worked with indigenous communit ies in Chiapas and Oaxaca\, native peoples in Alaska\, and underserved urba n communities in Los Angeles. Aguiñ\;iga holds an MFA in Furniture De sign from Rhode Island School of Design and a BA from San Diego State Unive rsity. She is a United States Artists Target Fellow in the field of Crafts and Traditional Arts\, as well as a NALAC and Creative Capital 2016 grant a wardee. The subject of a cover article for American Craft Magazine \, Aguiñ\;iga has also been featured in PBS&rsquo\; Craft in Amer ica series.

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Tanya Agu iñ\;iga is curated by Shannon R. Stratton\, MAD&rsquo\;s William and Mildred Lasdon Chief Curator\, with the support of Assistant Manager o f Curatorial Affairs Angelik Vizcarrondo-Laboy.

\n LOCATION:Museum of Arts and Design\,2 Columbus Circle \nNew York\, NY 10019 US SUMMARY:Craft & Care \, Tanya Aguiñiga END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468052 DTSTART:20180508T100000 DTEND:20180508T180000 LOCATION:Museum of Arts and Design\,2 Columbus Circle \nNew York\, NY 10019 US SUMMARY:Craft & Care END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468078 DTSTART:20180428T000000 DTEND:20180624T000000 DESCRIPTION:

Rachel Uffner Gallery is pleased to pre sent By Sea\, a solo exhibition of new work by Curtis Talwst Santi ago. This will be Santiago&rsquo\;s second exhibition with the gallery.

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Born and raised in Edmonton\, Can ada\, Curtis Talwst Santiago explores issues of transculturalism\, memory\, and ancestry in the contemporary Diasporic experience. In By Sea\ , the artist continues to consider the absence of certain narratives and th e presence of others in dominant culture\, and to question the means and pr oduction of our historical understanding. Santiago draws upon theories of g enetic memory and ancestral imagination to reveal\, open\, and show alterna te histories and narratives. Following his subconscious\, Santiago allows h is imagination and intuition to guide him to serendipitous moments in both space and time that resonate with ancestral vibrations.

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In developing the works in \;By Sea \, Santiago was particularly drawn to the representations of an African Kni ght in everyday life in Renaissance Portugal\, such as the Knight depicted in the painting Chafariz d'\;el Rey\, c. 1570-80 by an unknown painter. Santiago was also inspired by the whimsical tradition of 17th century Capri ccio landscape \;paintings\, where a mixture of real and imaginary feat ures share the same fantastical space.

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In \;By Sea\, the history and story of the Black Knig ht that figured in several Renaissance paintings and literary accounts is r e-imagined in Santiago&rsquo\;s signature\, hand-held dioramas and contempo rary tableaus of spray paint\, oil\, charcoal\, and pastel on canvas. As Sa ntiago blurs recorded past with an imagined ancestral past\, he creates his own visual history of unknown ancestors and predecessors. Santiago'\;s assemblage of a handmade\, full suit of armor\, full chain mail\, and a bea ded knights helmet become the imagined archeological artifacts for his tabl eau of the life of the black knights depicted in his paintings and drawings .

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Curtis Talwst Santiago (b. 1979\ , Edmonton\, Canada) is a former apprentice of Lawrence Paul Yuxweluptun. S antiago has exhibited internationally in solo and group shows including at the Studio Museum in Harlem (New York\, NY)\, Perez Art Museum (Miami\, FL) \, the Art Gallery of Mississauga (Mississauga\, Canada)\, the Art Gallery of Ontario (Toronto\, Canada)\, Cooper Cole (Toronoto\, Canada)\, the New M useum (New York\, NY)\, ICA at Virginia Commonwealth University (Richmond\, VA)\, Analix Forever (Geneva\, Switzerland)\, and the Dakar Bienniale (Sen egal\, Africa). Following his recent stint as an artist-in-residence at Pio neer Works (Brooklyn\, NY)\, he participated in a residency with Gallery MO MO (Cape Town and Johannesburg\, South Africa). His work is included in the permanent collection of the Studio Museum in Harlem (New York\, NY). Santi ago lives and works in Lisbon\, Portugal.
\n LOCATION:Rachel Uffner Gallery\,170 Suffolk Street \nNew York\, NY 10002US SUMMARY:By Sea\, Curtis Talwst Santiago END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:469126 DTSTART:20180428T180000 DTEND:20180428T200000 LOCATION:Rachel Uffner Gallery\,170 Suffolk Street \nNew York\, NY 10002US SUMMARY:By Sea END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468079 DTSTART:20180428T000000 DTEND:20180624T000000 DESCRIPTION:

Rachel Uffner Gallery is pleased to pre sent On View\, an exhibition of new works by Los Angeles based art ist Hilary Pecis. Comprised of nine new acrylic paintings\, this is the art ist&rsquo\;s first exhibition with the gallery.

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\nThe works in On View reference the histo ry and medium of painting. Following the traditional motifs of still life a nd landscape painting\, Pecis challenges the genre with her use of energeti c and vibrant swaths of color\, highly pigmented patterns\, and manipulated perspectives.

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\nUsing h er surroundings as inspiration\, each work in this series is based off of a photograph sourced from Pecis&rsquo\; personal cache of images\, which she takes on a regular basis. Spanning the upstairs gallery\, we see blooming flowers\, street vistas\, and a friend&rsquo\;s record collection. Each wor k uniquely reflects the light\, aesthetics\, and pace of Los Angeles and of fers an intimate glimpse into her daily life. The process of translating th ese photographs into paintings allows Pecis the opportunity to meditate on the specific moment and memory captured\, helping her to create\, as she sa ys\, &ldquo\;a sincere translation of my own experiences&rdquo\; for hersel f and for the viewer.

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Pecis of ten changes the original photograph through the process of painting\, empha sizing texture and brush stroke. With the inclusion of cultural references\ , such as the books in Camellias or the album covers in Sean&r squo\;s Records\, Pecis offers a set of visual cues to the viewer. The se subtle yet clear indicators offer context and a point of entry into Peci s&rsquo\; world and create a space for the viewer to reflect on and form th eir own associations.

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\n Hilary Pecis received both her BFA (2006) and her MFA (2009) from San Franc isco&rsquo\;s California College of the Arts. Recent solo exhibitions inclu de Halsey McKay Gallery\, East Hampton\; Guerrero Gallery\, San Francisco\; and Joshua Liner Gallery\, New York. Pecis has appeared in several group e xhibitions including at V1\, Copenhagen\, Denmark\; Hunted Projects\, Tilbu rg\, Netherlands\; Greenpoint Terminal Gallery\, Brooklyn\; Torrance Art Mu seum\, Torrance\, CA\, among others. Her work has been featured on ArtI nfo\, KQED\, SF Gate\, as well as in the summer 2017 print issue of Artforum.

\n LOCATION:Rachel Uffner Gallery\,170 Suffolk Street \nNew York\, NY 10002US SUMMARY:On View\, HILARY PECIS END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:469125 DTSTART:20180428T180000 DTEND:20180428T200000 LOCATION:Rachel Uffner Gallery\,170 Suffolk Street \nNew York\, NY 10002US SUMMARY:On View END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468101 DTSTART:20180523T000000 DTEND:20180630T000000 DESCRIPTION:
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Steven Harvey Fine Art Projects is ple ased to present our third solo exhibition of work by Susanna Coffey\, Crime s of the Gods. This exhibition includes works from the 1980s\, along with r ecent paintings.

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Featured in th e exhibition are woodcuts from Coffey&rsquo\;s 1988 limited edition artist book\, The Homeric Hymn to Demeter\, utilizing a translation by Apostolos A thanassakis. The myth is the story of Persephone&rsquo\;s kidnapping by Had es\, the response of her mother\, the goddess Demeter\, and Persephone&rsqu o\;s ultimate resolution. The book was printed in letterpress\, alongside C offey&rsquo\;s woodblock illustrations. The exhibition also includes painti ng\, from the same period\, that deals with the Homeric myth along with rec ent self-portraits\, some of which verge on abstraction.

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The 1988 book captures what Coffey describes as t he &ldquo\;criminal behavior of patriarchs\,&rdquo\; which has a strong rel ationship to the current #metoo movement. Her woodcuts and self-portraits&n bsp\;together reveal the modern experiences of women and their relationship to the several \;thousand year old hymn. In an essay that accompanies the exhibition\, Coffey writes\, &ldquo\;Now I see \;that the tale told in The Homeric Hymn is more of an ongoing truth than a myth and that all o f \;my art has been involved with its lessons.&rdquo\;

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Accompanying the woodcuts are several recent se lf-portraits painted from direct observation. The artist&rsquo\;s represent ation of herself depicts more than just her portrait alone\, but rather con nects her to the stories and voices of women from ancient times and today. In an essay titled\, Demeter and Persephone\, Kia Penso writes\, &ldquo\;Su sanna Coffey&rsquo\;s woodcuts&hellip\;look possessed by the emotional ener gies of this poem: the sum of all women&rsquo\;s anger the way the hymn is a sum of all of women&rsquo\;s fates\, most of those fates still hidden in its shadows.&rdquo\;

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Susanna Co ffey studied at Yale University and is the F.H. Sellers Professor in Painti ng at the School of the Art Institute\, Chicago. She is known for her self- portraits\, and also works across the genres of still-life and landscape. S he has been the subject of two other solo exhibitions at SHFAP\, in 2012 an d 2014. Recent solo shows include A Night Painting Project at the Anchorage Art Museum in Alaska\, and Going to Ground at the Alexander Hogue Gallery of Art in Tulsa\, OK. Her work is included in the collections of The Boston Museum of Fine Arts\, The Art Institute of Chicago\, The Indianapolis Muse um of Art\, The Akron Museum of Art\, The Weatherspoon Art Museum\, The Hon olulu Academy of Art\, and The Minneapolis Museum of Art.

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The exhibition is accompanied by a catalog with a reproduction of the original Homeric Hymn to Demeter accompanied by a new essay by Kia Penso and a text from the artist.

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\n LOCATION:Steven Harvey Fine Art Projects\,208 Forsyth Street \nNew York \, NY 10002US SUMMARY:Crimes of the Gods\, Susanna Coffey END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:470409 DTSTART:20180523T180000 DTEND:20180523T200000 LOCATION:Steven Harvey Fine Art Projects\,208 Forsyth Street \nNew York \, NY 10002US SUMMARY:Crimes of the Gods END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468117 DTSTART:20180503T000000 DTEND:20180707T000000 DESCRIPTION:

Sundaram Tagore Gallery is pleased to p resent a solo exhibition by acclaimed Korean artist Chun Kwang Young. The s how&mdash\;the artist&rsquo\;s first in New York \;in four years&mdash\ ;features a comprehensive survey of work from his noted \;Aggregati on \;series\, which explores themes of harmony and conflict.
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\nChun Kwang Young \;began his career as a painter\, but shifted his focus to paper sculpture in the mid-1990s. \;Incorporating elements of both painting and sculpture\, Chun&rsquo\;s \;Aggregat ions \;are assemblages: freestanding and wall-hung amalgamations o f small\, triangular forms \;wrapped in antique mulberry paper\, often tinted with teas or pigment.
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\nBorn in Hongchun\, South Korea\, in 1944\, Chun grew up during the end of Japanese colonization and the brutality of the Korean War. In the early 1970s\, he moved to the Unit ed States to pursue a Master&rsquo\;s Degree at Philadelphia College of Art \, where he was deeply drawn to Abstract Expressionism. &ldquo\;It seemed t o be the best way to freely express my surprise and sadness at witnessing t he huge gap between idea and reality\,&rdquo\; he says.
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\nOver time\, Chun became disillusioned with the materialistic drive that seemed to fuel the American dream and feelings of loneliness intensified his longi ng for home. During this period\, Chun&rsquo\;s paintings\, which explored the effects of light and color\, reflected his interest in Abstract Express ionism\, however\, he ultimately found the expression inauthentic. Chun dec ided to return to Korea and focus on developing his own methodology\, one t hat was wholly unique and reflective of his history and cultural identity.< br />\n \;
\nThe development of Chun&rsquo\;s signature technique was sparked by childhood memories of seeing medicinal herbs wrapped in mulb erry paper\, tied into small packages and hung from the ceiling of the loca l doctor&rsquo\;s office. He became intrigued with the idea of merging the techniques\, materials and sentiment of his Korean heritage with the concep tual freedom he experienced during his Western education. \;
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\nChun&rsquo\;s decision to use mulberry paper&mdash\;known as&nb sp\;hanji \;in Korea&mdash\;is significant. It embodies the es sence of Korean history and imparts a spiritual power\, even in its most mu ndane applications. Derived from native trees and prized for its strength a nd ability to resist water\, \;hanji has been used in Korea for centuri es for everything from writing and drawing to packaging and weatherproofing .

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With history in mind\, Chun sources paper from antique books printed. &ldquo\;The \;hanji \ ;that I am currently using are from books between fifty and a hundred years old\,&rdquo\; he says. &ldquo\;Each has its history and each generati on of our ancestors&rsquo\; joys and sorrows can be seen in the thousands o f aggregated fingerprints that make my work even more mystical and precious . It&rsquo\;s almost as if these fingerprints are trying to have conversati on with me\, to explain their reasons for being there.&rdquo\;
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\nTo create his compositions\, Chun starts with the triangular forms\, whi ch are individually cut from polystyrene\, wrapped in \;hanji& nbsp\;and tied with string made from the same material. \;He then adher es each wrapped piece to a flat support or sculptural substructure. Once ad hered\, some of the forms are painted by hand. The process\, multifaceted a nd repetitive in nature\, necessitates an almost meditative approach.
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\nChun&rsquo\;s arrangements vary from seemingly uniform sur faces to works that burst from their frames\, constituting low reliefs. His palette ranges from subtle\, sepia-toned hues\, which naturally result fro m the teas he uses to tint the paper\, to pigments in vibrant blue\, red\, orange and yellow. Some of the works employ subtle shifts in tone and color to create the illusion of craters\, dips and depressions. Rendered in a re strained palette of natural hues\, the overall effect is organic\, geologic al&mdash\;almost cosmic in appearance.
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\nOver the years\, Chun &rsquo\;s Aggregations have become more colorful and evolved in co mplexity and scale\, but the use of mulberry paper remains at the core of h is practice. Although imbued with the spirit of Korean tradition and histor y\, Chun&rsquo\;s work\, with its intricate\, abstract compositions\, is gr ounded in a purely contemporary context.
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\nA printed catalogue with an essay by Dr. Marius Kwint\, reader in Visual Culture\, School of A rt and Design\, University of Portsmouth\, U.K.\, accompanies the exhibitio n.
\n
\nABOUT THE ARTIST
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\nChun Kwang Young r eceived a Bachelor of Fine Arts Degree from Hongik University\, Seoul\, and a Master of Fine Arts from the Philadelphia College of Art\, Pennsylvania. His work is in numerous public collections\, including The Rockefeller Fou ndation and the United Nations\, New York\; the Woodrow Wilson Internationa l Center for Scholars\, Washington\, D. C.\; the Philadelphia Society Build ing\, Pennsylvania\; the National Museum of Modern and Contemporary Art\, S eoul\, and the Seoul Museum of Art\; the National Gallery of Australia\, Ca nberra\; the Victoria and Albert Museum\, London\; and the National Museum of Fine Arts\, Malta.
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\nHe was named Artist of the Year by the National Museum of Modern and Contemporary Art\, Seoul\, in 2001 an d in 2009 he was awarded the Presidential Prize in the 41st Korean Culture and Art Prize by the Ministry of Culture\, Sports and Tourism. \;

\n LOCATION:Sundaram Tagore Gallery - Chelsea\,547 West 27th Street \nNew York \, NY 10001US SUMMARY:Aggregation\, Chun Kwang Young END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:469387 DTSTART:20180503T180000 DTEND:20180503T200000 LOCATION:Sundaram Tagore Gallery - Chelsea\,547 West 27th Street \nNew York \, NY 10001US SUMMARY:Aggregation END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468119 DTSTART:20180310T000000 DTEND:20180630T000000 DESCRIPTION:

Talwar Gallery is d elighted to present On and on it goes on\, an exhibition of new wo rks by Ranjani Shettar.

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On view are recent works where Shettar extracts the possibili ties of wood. Dominating in the front gallery is Meandering lines\, sea rching rivers &ndash\; in which graceful lines in wood gently rise\, b end\, converge and turn creating a sculptural drawing on the wall. In anoth er work\, two vertical and angular forms in wood appear to be dancing with their feet barely touching the ground. Tendu hugs a corner in the gallery where hundreds of strips of bent walnut wood join in as if coming t ogether to push the walls aside and not caving in. In the other major work\ , How long is a mile on two wings\, organic forms in burnished red created from steel and muslin hover like flowers freed by wind gusts float ing in midair. Inhabiting the space\, it invites the viewer to come in clos er &ndash\; immersed in it\, one becomes part of a larger\, dynamic whole\, a totality whose rhythms and cadences can be felt viscerally.

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It becomes clear\, upo n first encountering and then later experiencing Ranjani&rsquo\;s works\, t hat they speak with their own unique and elegant language. Refusing to be p laced in any preexisting category or a singular viewpoint they seem to eman ate a latent force\, transforming any place they occupy. Given the scale an d magnitude of their effect\, Ranjani&rsquo\;s works often begin in small a nd surprisingly simple ways &mdash\; emerging most often from her interest in her materials. Discovering and challenging the potential and the limits of each material she espouses\, what ensues is a process of deep research\, the kind that is measured less in days than in months and years. Shettar f orges a relationship with her materials through sustained contact and proxi mity. Wood is carved entirely by hand\, aided by the simplest tools\, allow ing for the slow revelation of its hidden possibilities. Motivated by proce sses that allow this kind of close involvement\, her engagement exposes the permeability of the often-distinct thresholds between craft and art\, trad ition and modernity\, the physical and the spiritual\, while transforming t he simple and mundane into the magical.

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Ranjani&rsquo\;s approach establishes the kin d of revaluation of the relationship between humanity and &ldquo\;nature\,& rdquo\; the consideration of the earth as more than an extractable resource or a surface for construction. The deep respect and even affection for the natural world so evident in Ranjani&rsquo\;s work is not\, however\, a nos talgia for a bucolic idyll. Her work may be whimsical\, entrancing\, beauti ful&mdash\;but they are not Romantic in their conceptions of nature. Hers i s an ethical as much as an aesthetic commitment to the natural world\, a ph ilosophical framework as well as a way of life.

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Ranjani Shettar&rsquo\;s works have b een the subject of several museum exhibitions including solo presentations at The Institute of Contemporary Art (ICA)\, Boston\, MA (2008)\; The Moder n Art Museum\, Fort Worth\, TX (2008-9)\; The San Francisco Museum of Moder n Art (SFMoMA) (2009)\; National Gallery of Victoria\, Melbourne\, Australi a (2011)\; Hermes Fondation\, Singapore (2011) and BDL Museum\, Mumbai\, In dia (2012). Her works have also been featured in exhibitions at Museum of M odern Art (MoMA)\, NY (2010)\; Kiran Nadar Museum\, New Delhi (2011\, 2012\ , 2013)\, 5th Moscow Biennale (2013)\; 10th Liverpool Biennial\, UK (2010)\ ; 55th Carnegie International\, Carnegie Museum of Art\, PA (2008)\; 9th Ly on Biennial\, France (2007)\; 8th Sharjah Biennial (2007)\; 15th Sydney Bie nnale\, Australia (2006)\; Artpace\, Texas (2006)\; Cartier Fondation\, Par is (2005)\; Wexner Center\, OH (2005) and The Walker Art Center\, MN (2003) . In 2012 in collaboration with The Museum of Modern Art (MoMA)\, New York the artist created a limited-edition project\, Varsha.

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Ranjani Shettar lives and work s in Karnataka\, India.

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Shettar&rsquo\;s solo Seven ponds and a few raindrops is on view at The Metropolitan Museum of Art\, New York
\n(The MET) from March through August 2018.

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Ranjani&rsquo\;s works are in the public and private collections around the world including:
\nThe Metropolitan Museum of A rt (MET)\, New York
\nSan Francisco Museum of Modern Art (SFMOMA)\, Sa n Francisco\, CA
\nMuseum of Modern Art (MoMA)\, New York
\nKiran Nadar Museum of Art (KNMA)\, New Delhi
\nThe Guggenheim Museum\, New York
\nThe Walker Art Center\, Minneapolis\, MN

\n LOCATION:Talwar Gallery - NY\,108 East 16th Street \nNew York\, NY 10003US SUMMARY:On and on it goes on\, Ranjani Shettar END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468121 DTSTART:20180406T000000 DTEND:20180812T000000 DESCRIPTION:

A leading figure in the art wo rld for four decades\, Terry Winters became well known in the 1980s for his materially-conscious drawings and paintings. Representing the patterns and schema that undergird physical and intellectual life&mdash\;French philoso pher Gilles Deleuze is cited as an important reference&mdash\;Winters&rsquo \;s drawings of grids\, networks\, and knots illustrate complex encounters between biological drives\, technological systems\, and mental processes. T he Drawing Center&rsquo\;s Main Gallery will present an overview of Winters &rsquo\;s drawings from 1980 to the present including full cycles of drawin gs as well as a selection of large-scale works on paper that foreground the overarching theme of Winters&rsquo\;s practice: the desire to make sense\, however fictively\, of the manner in which the visible world is constructe d and received. Rather than offering a comprehensive drawing retrospective\ , the show will be organized with an eye to morphological relationships so that\, as viewers move through the gallery\, they will recall and ideally r eturn to earlier related images.
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\nOrganized by Claire Gil man\, Chief Curator.

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\n< em>Terry Winters: Facts and Fictions
is made possible by Jack Shear\; Agnes Gund\; Kathy and Richard Fuld\; The Ellsworth Kelly Foundation\; Jane Dresner Sadaka and Ned Sadaka\; Waqas Wajahat\; and Harry W. and Mary Marg aret Anderson.

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\nSpecial than ks to Matthew Marks Gallery\, New York.

\n LOCATION:The Drawing Center\,35 Wooster Street \nNew York\, NY 10013US SUMMARY:Facts and Fictions\, Terry Winters END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468122 DTSTART:20180426T000000 DTEND:20180812T000000 DESCRIPTION:

Ellen Berkenblit&rsquo\;s first film Lines Roar (2018) presents a look into her process. Concentrating on the explosive nature of Berkenblit&rsquo\;s line\, the film features famil iar motifs from her paintings and drawings: a long-nosed female\, a tiger\, a stiletto. Lines Roar intermingles autobiographical footage take n by Berkenblit in both her home and studio. Also interlaced throughout the film are photographs of Berkenblit&rsquo\;s family and images taken by her father\, who was an amateur photographer and chemist. The result is a film that combines Berkenblit&rsquo\;s life with her work\, an intimate look at what drives the artist&rsquo\;s practice.

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\nOrganized by Brett Littman\, Executive Director.

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\nLines Roar was cre ated by the Ellen Berkenblit in collaboration with directors Mó\;nica Brand and Francisco Lopez of Mogollon. The score of the film features musi c by Zeena Parkins. This film was commissioned by The Drawing Center and co -produced by Anton Kern Gallery.

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\nEllen Berkenblit: Lines Roar is made possible by Rhiann on Kubicka.
\nSpecial thanks to Anton Kern Gallery.

\ n LOCATION:The Drawing Center\,35 Wooster Street \nNew York\, NY 10013US SUMMARY:Lines Roar\, Ellen Berkenblit END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468123 DTSTART:20180426T120000 DTEND:20180426T200000 LOCATION:The Drawing Center\,35 Wooster Street \nNew York\, NY 10013US SUMMARY:Lines Roar END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468136 DTSTART:20180418T000000 DTEND:20180916T000000 DESCRIPTION:
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The Bronx Mus eum of the Arts is proud to present Landing / Aterrizaje \, a new installat ion by Bronx artist Moses Ros conceived specifically for the museum&rsquo\; s Terrace\, from April 18 through September 19\, 2018.

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\nLanding / Aterrizaje is inspired by recent migrations to the United States caused by environmental and manma de disasters and catastrophes that have wrenched people away from their hom elands. In this new body of works\, Ros focuses on the Caribbean experience \, creating large\, freestanding sculptures based on a main staple and expo rt of the islands\, the platano (plantain banana). \; Using cut-out\, p lywood sheets to form a type of DIY &ldquo\;assembly kit&rdquo\; of the wor k\, the large-scale\, painted winged forms\, along with the post-cut templa te panels that once held them are juxtaposed within the space. Set against the terrace walls and surrounding the composited sculptures\, the now empty forms of the template panels are reclassified and labelled with the underl ying socio-political reasons behind the mass migrations. \;
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\nPress Contact:
\nAyesha Akhtar\, Community Engagement and Marketing Associate aakhtar@bronxmuseum.org 212-470-0557
  \; \;

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\n LOCATION:Bronx Museum of the Arts\,1040 Grand Concourse at 165th Street\nBr onx\, NY 10456US SUMMARY:Landing / Aterrizaje\, Moses Ros END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468137 DTSTART:20180418T130000 DTEND:20180418T180000 LOCATION:Bronx Museum of the Arts\,1040 Grand Concourse at 165th Street\nBr onx\, NY 10456US SUMMARY:Landing / Aterrizaje END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468138 DTSTART:20180425T000000 DTEND:20180701T000000 DESCRIPTION:

Like countless New Yorkers who arrived from distant lands\, Oded Halahmy has a rich personal history of exile\, mi gration and travels. Born in the old city of Baghdad in 1938\, the artist c ame from a family of Orthodox Jews with deep roots in ancient Babylonian cu lture. He refers to his home as the &ldquo\;land of wheat\, barley\, grapes \, figs\, pomegranates\, olives and dates.&rdquo\; Although New York has be en his home for over 45 years\, memories of Iraq left an indelible imprint on his life and work. Known for his dynamic yet often playful figurative sc ulptures in wood and bronze\, he fills his work with images &mdash\; albeit abstracted from reality &mdash\; that evoke the landscape\, architecture a nd rich colors of the Middle East. Palm trees\, doves\, pomegranates\, temp les and age-old symbols abound along with deep reds\, amber\, sky blue and the familiar greenish-blue hues of aged bronze.

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\nOded Halahmy: Exile is Home \;includ es over 100 works representing Halahmy&rsquo\;s work from the mid-1960s to the present and features a selection of Judaica &ndash\; handmade by the ar tist for Hanukkah and Sukkah celebrations with close friends. Halahmy curre ntly lives and works in New York and Old Jaffa\, Israel. His work has been included in numerous solo and group exhibitions throughout the United State s\, Europe and the Middle East. His work is in the permanent collections of the Aldrich Museum of Contemporary Art\, Ridgefield\, CT\; Solomon R. Gugg enheim Museum\, New York\, NY\; Hirshhorn Museum and Sculpture Garden\, Was hington\, DC\; Indianapolis Museum of Fine Art\, Indianapolis\, IN\; Israel Museum\, Jerusalem\, Israel\; Jewish Museum\, New York\, NY\; and New Jers ey State Museum\, Trenton\, NJ\, among others.

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< span style="font-family:serif\;">Oded H alahmy: Exile is Home is organized by guest curator: Margaret Mathews- Berenson\, and made possible by the lead sponsorship of an anonymous patron and the additional support of the Bronx Museum&rsquo\;s Director&rsquo\;s Circle.

\n LOCATION:Bronx Museum of the Arts\,1040 Grand Concourse at 165th Street\nBr onx\, NY 10456US SUMMARY:Exile Is Home\, Oded Halahmy END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468139 DTSTART:20180425T130000 DTEND:20180425T180000 LOCATION:Bronx Museum of the Arts\,1040 Grand Concourse at 165th Street\nBr onx\, NY 10456US SUMMARY:Exile Is Home END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468140 DTSTART:20180516T000000 DTEND:20180715T000000 DESCRIPTION:
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This exhibiti on in honor of the late Tim Rollins takes as its departure point the concep t of dialog that was central to his vision as an artist and educator. Deepl y influenced by the educational theories of Brazilian philosopher Paulo Fre ire\, Rollins used dialog to bring out the truth in each pupil\, harmonizin g different voices in their varied nuances. Working as a Public School teac her in the South Bronx starting in 1981\, his educational approach was pivo tal in infusing a sense of pride and belonging among students that often fe lt alienated from the mainstream. Famously\, his call to arms was: &ldquo\; Do you want to make history?&rdquo\; Those who would respond to his call wo uld invariably become masters of their own narrative. For Rollins\, the ide a of dialog was also an integral part of his art practice\, and we might co nsider the whole of his collaboration with K.O.S. as a sustained dialog not only among members of the group\, but most importantly\, with great interl ocutors of the past\, like W.E.B. DuBois\, Martin Luther King\, George Orwe ll\, and Franz Kafka to mention but a few.

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Dialoguing with noted precursors is also essential to Glenn Li gon&rsquo\;s practice\, whose work often borrows from noted African America n visionaries like James Baldwin\, Zora Neale Hurston\, and Ralph Ellison. Like Rollins\, Ligon is perceptive to the power of words\, and to how they can elevate or stigmatize individuals. Born in the Bronx in 1960\, he belon gs to a generation of Black intellectuals that furthered the revolutionary ideas sowed by leader of the Civil Rights movement in the previous decades.

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This exhibition invites the v iewer to explore parallels between the approaches of Tim Rollins &\; K.O .S. and of Glenn Ligon\, and identify their distinct traits. For although t he practice of borrowing from different literary sources is at the very bas is of their practices\, they ultimately arrive at different results. While the works of Rollins &\; K.O.S. often strike an elegiac tone\, Ligon see ms rather intent on speaking through the language of others. A case in poin t is how the topic of slavery is dealt differently in works such as Inciden ts in the Life of a Slave Girl (1997)\, and the series of lithogra phs Runaways (1993). Form\, however\, often works as an equalizer and we find a surprising echo between Ligon&rsquo\;s reworking of a poster used during the sanitation workers assembly in Memphis in 1968 (I AM A MAN) \, and Rollins &\; K.O.S.&rsquo\; homage to Ralph Ellison&rsquo\;s T he Invisible Man (2008).

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\nDialogues: Tim Rollins &\; K.O.S. and Glenn Ligon has b een organized by Antonio Sergio Bessa and Rick Savinon.

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\n LOCATION:Bronx Museum of the Arts\,1040 Grand Concourse at 165th Street\nBr onx\, NY 10456US SUMMARY:Dialogues: Tim Rollins & K.O.S. and Glenn Ligon\, Tim Rollins & K.O .S.\, Glenn Ligon END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468141 DTSTART:20180516T130000 DTEND:20180516T180000 LOCATION:Bronx Museum of the Arts\,1040 Grand Concourse at 165th Street\nBr onx\, NY 10456US SUMMARY:Dialogues: Tim Rollins & K.O.S. and Glenn Ligon END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468142 DTSTART:20180503T000000 DTEND:20180630T000000 DESCRIPTION:
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The gallery is pl eased to present a solo exhibition\, \;Trine Sondergaard: \;A R eflection\, which examines several images from multiple recent bodies of work\, alongside select pieces across previous series\, creating a dynam ic dialogue between past and present. Sø\;ndergaard&rsquo\;s work is marked by a precise sensibility that co-exists with a rigorous interrogatio n of the medium of photography and its boundaries. \;\n\n
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She is highly regarded for her formal depictions of contemporary w omen of all ages that define the concept of the &ldquo\;interior portrait&r dquo\;. In her newest series\, she explores the notion of "\;a room ins ide"\;\, a phrase found in the diary of Franz Kafka\, alluding to a pri vate space that all humans possess. \; This cerebral room contains that which is not shared\, hardly thought\, or ever spoken. \; \;Layere d with quiet emotion\, Sø\;ndergaard&rsquo\;s works are highly acclai med for their visual intensification of our perception of reality. \; & nbsp\; \;
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\n LOCATION:Bruce Silverstein Gallery\,529 West 20th Street Third Floor\nNew Y ork\, NY 10011US SUMMARY:A Reflection\, Trine Sondergaard END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468143 DTSTART:20180503T180000 DTEND:20180503T200000 LOCATION:Bruce Silverstein Gallery\,529 West 20th Street Third Floor\nNew Y ork\, NY 10011US SUMMARY:A Reflection END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468179 DTSTART:20180419T000000 DTEND:20180630T000000 DESCRIPTION:

This solo exhibition consists o f 4o paintings by Heather Rae Hatton from 2017. Titles express themes preva lent in her inner journeys. Pyschadelia\, discovery\, reverence and nonstop ritual influence Simpler Times. \;Heather is a Brooklyn based artist w hose artwork has been shown in the New Britain Museum of American Art\, gal leries across North America\, and as far as Australia\, Portugal\, UK and A msterdam. \;IG: @hrh.nyc < /a>// \;www.hrh.nyc&n bsp\;// \;fb.com/hrh.ny c \;

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Spring/Su mmer 2017 paintings:
\n Red\, White\, Blue and Gold II
\nRed\, Whit e\, Blue and Gold I
\nThe Past is Ever Pres ent
\nVocal
\nSheltered Power
\nFortune
\n Heaven Send
\nLove for Money
\nSet A 1
\nSet A 2
\nSet B 1
\nSet B 2
\nSet B 3
\nSet C I
\nSet C II
\nSet C III
\nEsteem 1
\nSafety
\nPhysiological
\nSelf Actualiza tion
\nHaunted by Love
\nPeace of Mind
\nBlood Moon

\nSelf Portrait
\nPuppetry of the Divine Eternal Self
\n Boundaries
\nWeightless
\nHead in the Womb
\nStill Lif e
\nUnited
\nAreola
\nA Friend

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Fall/Winter 2017/18 paintings:< br />\nSubtly Taming
\nView thru a Fence II
\nInvigorate< br />\nAsleep on the Farm
\nLeavening
\nWhimsy
\nHitch
\nSeason of the Heart

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\n(price list upon request\; mo st all work paint on wood)

\n LOCATION:Prosper Gowork Gallery\,1024 Broadway \nBrooklyn\, NY 11221US SUMMARY:Simpler Times\, Heather Rae Hatton END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468180 DTSTART:20180419T190000 DTEND:20180419T210000 LOCATION:Prosper Gowork Gallery\,1024 Broadway \nBrooklyn\, NY 11221US SUMMARY:Simpler Times END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468217 DTSTART:20180309T000000 DTEND:20180722T000000 DESCRIPTION:

This exhibition br ings together artists from across the United States&mdash\;Carolina Caycedo \, Demian Diné\;Yazhi´\; with Ginger Dunnill\, Torkwase Dyson\, Cy Gavin\, Lena Henke\, and Erin Jane Nelson&mdash\;whose work responds to the precarious state of the environment through a personal lens. Experiment ing with form and narrative in painting\, video\, and sculpture\, these art ists address how ideology&mdash\;as much as technology\, industry\, and arc hitecture&mdash\;impacts all living things.

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Though each contends with facts or histories that are real and observable\, none takes a documentary approach. Rather\, these artists adopt a highly subjective position\, embracing emotion\, intuition\, spiri tuality\, and myth to help understand our intrinsic place within the &ldquo \;natural&rdquo\; world. They share the sense that scientific\, or &ldquo\; rational\,&rdquo\; thought can reinforce a limited view of our planet and i ts inhabitants&mdash\;one that assumes they can and should be controlled.\n
\nT he works on view present a wide range of subjects\, from the controversial transformation of New York in the mid-twentieth century by city official Ro bert Moses to the affirmation of a vital Indigenous presence in the face of institutionalized colonialism. They draw from distinct visual traditions\, including Southern handcraft\, sixteenth-century architecture\, history pa inting\, and hard-edge abstraction. Through their varied interests and form al approaches\, all of these artists assert the relevance of individual exp erience and perspective to address concerns that are global in scale and ef fect. In the words of artist Torkwase Dyson\, this exhibition is not just a bout &ldquo\;the way we connect...but understanding also the waters that ar e between us.&rdquo\;

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The e xhibition is organized by Elisabeth Sherman\, assistant curator\, and Marga ret Kross\, curatorial assistant.

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Maj or support for \;Between the Waters \;is provided by John R. Eckel\, Jr. Foundation.

\n LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014US SUMMARY:Between the Waters\, Carolina Caycedo\, Demian DinéYazhi´\, Ginger Dunnill\, Torkwase Dyson\, Cy Gavin\, Lena Henke\, Erin Jane Nelson END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468304 DTSTART:20180427T000000 DTEND:20180728T000000 DESCRIPTION:

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Judd Foundation is pleased to present 15 x 105 x 15\, an exhibition of extruded aluminum works by Donald Judd on the ground floor of 101 Spring Street in New York. The installation will open t o the public on Friday\, April 27\, 2018. \;

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Judd made the ed ition of 12 extruded aluminum works in 12 anodized colors in 1991\, one of a series of three-dimensional works published by Edition Schellmann and doc umented in the catalogue raisonné\; \;Donald Judd: Prints And Works In Editions.[1] \;The exhibition wil l present the works as a full set installed on both the floor and the walls \, as per Judd\, a configuration not previously realized. Extruded out of s olid aluminum\, these works are the only works by Judd designed and fabrica ted as single-piece extrusions. \;

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&ldquo\;The primacy of sym metry in art and architecture is not very definitive or restrictive because there are so many kinds\, some very close to asymmetry\, such as some of t he numerical progressions that I use. Absolute symmetry is marvelous and it &rsquo\;s also marvelous when symmetry itself allows variation\, when the l ogic of the situation causes or allows an approach to symmetry.&rdquo\;[2]

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The extrusion profile was designed by Judd as a logical division of symmetrical space. The complex form simultaneousl y open and closed\, with each work in the dimensions of 15 x 105 x 15 centi meters. The colors of the works\, ranging from black to turquoise to clear\ , were executed through the anodizing of the aluminum\, an industrial proce ss by which the color becomes part of the material. \;

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The ex hibition will be accompanied by a series of talks\, free and open to the pu blic\, at 101 Spring Street that will explore Judd&rsquo\;s work. The serie s will include a lecture by Alex Kitnick on Judd&rsquo\;s paintings and pri nt editions\, Randy Kennedy in conversation with Larry Bell and Yasmil Raym ond on process\, and Jarrett Earnest in conversation with Anna Betbeze and Simone Kearney on color. \;

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Curated by Flavin Judd\, Curator and Co-President\, Judd Foundation. \;

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Lead support for 15 x 105 x 15 is provided by Tomas Maier. Additional support provided by Anton a nd Jennifer Segerstrom\, and the Consulate General of Switzerland in New Yo rk.  \;

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[1]Donald Judd: Print s And Works In Editions \;(Munich: Edition Schellmann\, 1993)\, 15 2-159

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[2]Donald Judd\, &ldquo\;Symmetry\,&rdq uo\; 1985\,Donald Judd Writings\, eds. Flavin Judd and Caitlin Mur ray\,
\n \;(New York: Judd Foundation and David Zwirner Books\, 20 16)\, 419

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About Donald Judd + Judd Foundation

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Donald Judd (1928&ndash\;1994) remains one of the most significant ar tists of the twentieth century\, whose radical ideas and work continue to p rovoke and influence the fields of art\, architecture\, and design. Before he transitioned to work in three dimensions\, Judd began as a painter and a n art critic\, having studied philosophy and art history at Columbia Univer sity and painting at the Art Students League. He developed his idea of the permanent installation of his work and collections first in New York\, at 1 01 Spring Street\, and later in Marfa\, Texas. Throughout his lifetime Judd advocated for the importance of art and artistic expression\, he regarded land preservation\, empirical knowledge\, and engaged citizenship as fundam ental aspects of society and he wrote extensively on these and other subjec ts. He established the ideas of Judd Foundation in 1977\, founded to preser ve his art\, spaces\, libraries\, and archives as a standard for the defens e of his work.

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For almost four decades\, Judd exh ibited regularly throughout the United States\, Europe\, and Asia with his work in museum collections worldwide. Major exhibitions of his work include the Whitney Museum of American Art\, New York \; \;(1968\, 1988)\; the National Gallery of Canada\, Ottawa (1975)\; Stedelijk Van Abbemuseum\ , Eindhoven\, The Netherlands (1987)\; and Tate Modern\, London (2004). A m ajor retrospective of Judd&rsquo\;s work is forthcoming at The Museum of Mo dern Art\, New York. \;

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Judd Foundation is a tax-exempt 501(c)(3) not-for-profit organization created to preserve the pe rmanently installed living and working spaces of Donald Judd in New York an d Marfa\, Texas. The Foundation promotes a wider understanding of Judd&rsqu o\;s artistic legacy by providing access to these spaces and resources and by developing scholarly and educational programs.

\n LOCATION:Judd Foundation\,101 Spring Street \nNew York\, NY 10012 SUMMARY:15 x 105 x 15\, Donald Judd END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468305 DTSTART:20180426T180000 DTEND:20180426T200000 LOCATION:Judd Foundation\,101 Spring Street \nNew York\, NY 10012 SUMMARY:15 x 105 x 15 END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468355 DTSTART:20180606T000000 DTEND:20180720T000000 DESCRIPTION:

Alexander Gray Associates presents its t hird exhibition of work by Hugh Steers (b.1962&mdash\;d.19 95)\, The Nullities of Life. Before his death at 32 from AIDS rela ted complications\, Steers created allegorical images that captured the emo tional and political tenor of New York in the late 1980s and early 1990s. E mbracing representational painting and figuration at a time when such appro aches were deemed unfashionable\, his intimate compositions are poignant sy mbols of life under the specter of AIDS. Featuring a selection of paintings and works on paper\, the show highlights Steers&rsquo\; interest in captur ing what he once described as &ldquo\;my &lsquo\;nullities of life\,&rsquo\ ;&rdquo\; seemingly insignificant moments rendered extraordinary through lu minous color and light and evocative forms.

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Steers first came across this phrase in a 1990 review of a bio graphy of Vincent van Gogh in The New York Times Book Review. Encl osing the article in a letter to a friend\, he wrote that the description w as &ldquo\;a complete articulation of what I at least think I&rsquo\;m tryi ng to do.&rdquo\; His cooption of the term to describe his own paintings re veals the impact of figures like van Gogh&mdash\;as well as Pierre Bonnard\ , El Greco\, and Edward Hopper&mdash\;on his practice. The direct influence of these artists is made explicit in works like Phones: Tribute to El Greco (1988)\, which depicts two male nudes in sumptuously rendered in teriors whose bodies and surroundings evoke those of the Baroque painter.

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Reveling in dazzling color\, ric h fabrics\, and the quiet domesticity of daily life\, Steers&rsquo\; art co mmunicates joy even in the face of despair\, recalling his assertion that h is work deals in &ldquo\;gorgeous bleakness.&rdquo\; At the same time\, by painting everyday moments that are imbued with a disconcerting charge\, his scenes invite ambiguous narratives of mortality\, defiance\, and compassio n. These themes are omnipresent in Mr. Coffee (1993)\, which portr ays a seated man loosely embracing a standing figure in a sparse kitchen. F or Steers\, such subject matter reflected his own desires. As he explained\ , &ldquo\;I would like to be able to act or have someone care about me the way some of the people in my paintings act or care about each other. It&rsq uo\;s as if painting it will make it become real.&rdquo\;

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Transforming mundane moments and prosaic spaces into tableaus suffused with longing\, loneliness\, fear\, and eroticism\, S teers&rsquo\; paintings inhabit a melancholy architecture of intense emotio n. As he wrote\, &ldquo\;I think I&rsquo\;m in the tradition of a certain k ind of American artist &hellip\; Edward Hopper\, Jackson Pollock\, Franz Kl ine &hellip\; They found beauty in the most brutal forms. I think that&rsqu o\;s what characterizes America &hellip\; that soft glow of brutality.&rdqu o\; Capturing the &ldquo\;soft glow of brutality\,&rdquo\; his images&mdash \;sensuous and unsettling&mdash\;gain new resonance in a contemporary art l andscape informed by a return to figuration and a critical reappraisal of a rt from the 1980s and early 1990s.

\n LOCATION:Alexander Gray Associates\,510 West 26 Street \nNew York\, NY 1000 1US SUMMARY:The Nullities of Life\, Hugh Steers END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468356 DTSTART:20180606T180000 DTEND:20180606T200000 LOCATION:Alexander Gray Associates\,510 West 26 Street \nNew York\, NY 1000 1US SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468359 DTSTART:20180428T000000 DTEND:20180728T000000 DESCRIPTION:
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Katrina Bello \;(Montclai r)\, \;Gregory Brellochs \;(Camden)\, \;Michele Brody \;(Jersey City)\, \;Jeff­\;rey Campbell(Wanaque)\, \;gwen charles \;(Mon tclair)\, \;Angeles Cossio \;(Jersey City)\, \ ;Wendy Gordon \;(Lambertville)\, \;Kay Ken ny(South Orange)\, \;Dong Kyu Kim \;(Fort Lee)\, \;Joy Kreves \;(Ewing)\, \;Rob ert Lach \;(West Orange)\, \;Elizabeth Mackie(Frenchtown)\, \;Donald Moore \;(Sicklerville) \, \;Julie Nagle \;(Jersey City)\, \;A imee Odum \;(Jersey City)\, \;Kaitlyn Paston(Frenchtown)\, \;Dolores Poacelli \;(Collingswo od)\, \;Amanda Thackray \;(Newark)\, \;Rachel Udell \;(Collingswood)\, \;Lennox Warner \;(Atlantic City)\, \;Mauro Zamora \;( Ewing)

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Navigating Elements \;highligh ts twenty-one contemporary artists from across the state exploring environm ental themes through installation\, painting\, photography\, sculpture\, so und\, and video.

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Rowan University Art Gallery is proud to partner with the New Jersey State Council on the Arts to present the next New Jers ey Arts Annual for Fine Art.

\n LOCATION:High Street Gallery at Rowan University\,301 West High Street Firs t Floor\nGlassboro\, NJ 08028 SUMMARY:Navigating Elements END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468360 DTSTART:20180428T030000 DTEND:20180428T060000 LOCATION:High Street Gallery at Rowan University\,301 West High Street Firs t Floor\nGlassboro\, NJ 08028 SUMMARY:Navigating Elements END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468458 DTSTART:20180517T000000 DTEND:20180629T000000 DESCRIPTION:

Tim Braden
\nLong\, Long\, to Ever ywhere
\nMay 17 &ndash\; June 29\, 2018
\nReception: Thursda y\, May 17\, 6-8pm
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RYAN LEE is pleased to announce Long\, Long\, to Everywhere\, an exhibition of new paintings by B ritish artist Tim Braden. In these latest works\, Braden brings new perspec tive to familiar subjects\, revisiting themes of wanderlust\, exploration a nd adventure. Dreamy scenes of sailboat races\, southern French beaches\, B razilian explorers and Spanish gardens evoke memories of travel rather than depicting specific locations. These fragmented landscapes are meditations on the act of looking as much as they are visualizations of their content.< /p>\n\n

Drawing on his own travels\, his collection of vintage travelogue s and snapshots from his friends&rsquo\; vacations for his subject matter\, Braden&rsquo\;s paintings combine patches of color and light to produce sc enes that recall both the specificity of personal experience and nostalgia for a time and place. They are exercises in the fictionalization of memory\ , images that point to how the surrounding visual culture shapes personal h istories and futures. He explains\, &ldquo\;for me\, that is an opportunity both to inhabit any country in the world and also to take liberties with d ates. Anachronistic paintings. I like the idea that these paintings will be come confusing objects\, they might look like paintings of the 1950s\, but they couldn&rsquo\;t possibly be confused with the kind of painting made in the 1950s.&rdquo\; For Braden\, nostalgia for something one has never seen is an act of invention.

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This cultivation of nostalgia is also th e result of Braden&rsquo\;s interest in the association and atmosphere of p articular forms of reproduction&mdash\;Pathé\; films\, early Technico lor and color separation in printing. These modes of looking and seeing als o inform his conception of abstraction and representation. Rather than rele gating abstraction and representation to opposite ends of a spectrum\, he v iews abstraction as a means of zooming in\, functioning as a close-up shot might in film. This dialogue between the specific and the abstract is furth ered by Braden&rsquo\;s technique of interrogating vignettes from his own e arlier work with such intensity that they become abstractions.

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In large canvases such as Regatta and Monte Carlo (both 201 8)\, close cropping of each scene suggests a particularly focused viewpoint \, one that implies an activity or location without revealing a narrative. While Regatta presents sailboats gathered for a race\, it is uncle ar at which point the viewer is given access to the event as it unfolds or whether they are on land or at sea. Monte Carlo is a lively abstra ction centering on a blue and green palm tree-like form. Colorful brushstro kes hint at streets and structures\, while the specific site and subject re main ambiguous. Braden&rsquo\;s vibrant palette and frequent use of negativ e space imbues his canvases with striking luminosity. They conjure a longin g for luxuriating in summer sun and sand as well as an escapist desire to d isappear and leave it all behind.

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Tim Braden (b. 1975\, Perth\, U K) received his MA from Ruskin School of Fine Art at Oxford University and attended Rijksakademie van Beeldende Kunsten in Amsterdam. Braden has exhib ited at Baibakov Art Projects\, Moscow\; Gemeente Museum\, The Hague\; Hamb urger Bahnhof\, Museum fü\;r Gegenwart\, Berlin\; Kunstnernes Hus\, Osl o\; Museum Van Loon\, Amsterdam\; and Van Gogh Museum\, Amsterdam. His work is held in the collections of Ashmolean Museum\, UK\; Nederlandse Bank\, A msterdam\; Pembroke College\, UK\; Walsall Museum and Art Gallery\, UK\; an d Zabludowicz Collection\, UK.

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For p ress inquiries\, please contact Bridget Casey at bridget@ryanleegallery.com or 212-397-0742.

\n LOCATION:RYAN LEE\,515 West 26th Street \nNew York\, NY 10001 SUMMARY:Long\, Long\, to Everywhere\, Tim Braden END:VEVENT BEGIN:VEVENT DTSTAMP:20180624T220555Z UID:468459 DTSTART:20180517T180000 DTEND:20180517T200000 LOCATION:RYAN LEE\,515 West 26th Street \nNew York\, NY 10001 SUMMARY:Long\, Long\, to Everywhere END:VEVENT END:VCALENDAR