BEGIN:VCALENDAR VERSION:2.0 PRODID:icalendar-ruby CALSCALE:GREGORIAN BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:431563 DTSTART:20161104T000000 DTEND:20170128T000000 DESCRIPTION:

**EXTENDED THROUGH SAT\, JANUAR Y 28\, 2017**

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David Krut Projects i s pleased to present UNNATURAL LANDSCAPES\, a group show featuring works by Stephen Hobbs\, William Kentridge\, Diane Victor\, &\; Mary Wafer which explore the social and cultural history of South Africa&rsquo\;s built env ironment.

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South Africa'\;s abund ant rural wildlife and dynamic urban centers tell a complex story of the co untry&rsquo\;s social and political transformation over the past 20 years. Many of these landscapes were manufactured from colonial times\, and during the Apartheid era to include some and exclude others\, creating caverns an d scars on an otherwise vibrant and culturally rich context.

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This exhibition needles this history through the lens of four of Johannesburg&rsquo\;s most highly regarded artists working today\, revealing some of these blemishes and lending insight into the comp lex\, and sometimes muddy interrelationship between nature\, human nature\, and the artifice of the human-made cities as economic and divisive instrum ents of power.

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For more information please contact meghan@davidkrut.com or lauren@davidkrut.com

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\n LOCATION:David Krut Projects\,526 West 26th Street\, #816 \nNew York\, NY 1 0001 SUMMARY:Unnatural Landscapes\, Stephen Hobbs\, William Kentridge\, Diane Vi ctor\, Mary Wafer END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:433551 DTSTART:20161208T000000 DTEND:20170128T000000 DESCRIPTION:

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

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

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

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

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

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

\n LOCATION:Galerie Lelong\,528 W. 26th St. \nNew York\, NY 10001 SUMMARY:Burning all illusion\, Samuel Levi Jones END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:433552 DTSTART:20161208T180000 DTEND:20161208T200000 LOCATION:Galerie Lelong\,528 W. 26th St. \nNew York\, NY 10001 SUMMARY:Burning all illusion END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:434901 DTSTART:20161201T000000 DTEND:20170128T000000 DESCRIPTION:

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

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

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

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

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

\n LOCATION:ClampArt\,247 West 29th Street Ground Floor\nNew York\, NY 10001 SUMMARY:Bruce Sargeant (1898-1938): Parlor\, Gymnasium & Field\, Bruce Sarg eant END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:434902 DTSTART:20161215T000000 DTEND:20170128T000000 DESCRIPTION:

On December 15th\, E dward Tho rp Gallery will inaugurate its new Chelsea space with an exhibit\, &ldquo\; REGROUPING\,&rdquo\; comprising of newly completed work by gallery affiliat ed artists\, severa l of whom will have solo shows in the coming year. This first exhibition will highli ght the program for the season and the contin uing direction of the gallery.

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Each artist will introduce two pieces. \; Works presented will include pain tings utilizing a diverse variety of s cale\, material and support. From ex pressive tactile figuration to cool geometric abstra ction\, images range f rom colorful spatial conundrums to the politically charged to f antastical animalistic forms. \; Th e works of Matthew Blackwell\, Judith Simonian \, Chuc k Webster\, Jenifer Kobylarz\, Shawn Spencer\, June Leaf\, Sarah Ga mble\, and Neil Fa rber are featured in tandem with ​ ​ Markus Baenziger\, who will exhibit his most recen t\, meticulously fabricated\, sculpture\; E dward Finnegan&rsquo\;s and Sarah Faux&rsquo\;s torn\, collaged works on pa per\; and Mark DeLong&rsquo\;s recently completed densely woven\, stitch ed \, cardboard constructions.

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After s ixteen years in i ts original Chelsea location\, &ldquo\;REGROUPING&rdquo\; will mark a new chapter for Edward T horp Gallery and its artists. The cha nge of architectural context will create opportuni ties and possibilities i n which to explore new orientations in their work.

\n LOCATION:Edward Thorp Gallery\,531 W 26th Street 2nd Floor\nNew York\, NY 1 0001US SUMMARY:Regrouping\, Markus Baenziger\, Matthew Blackwell\, Mark Delong\, N eil Farber\, Sarah Faux\, Edward Finnegan\, Sarah Gamble\, Jenifer kobylarz \, June Leaf\, Judith Simonian\, Shawn Spencer\, Chuck Webster END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:434903 DTSTART:20161215T180000 DTEND:20161215T200000 LOCATION:Edward Thorp Gallery\,531 W 26th Street 2nd Floor\nNew York\, NY 1 0001US SUMMARY:Regrouping END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:434984 DTSTART:20170112T000000 DTEND:20170218T000000 DESCRIPTION:

David Zwirner is pleased t o present the gallery&rsquo\;s first exhibition of the collaborative work o f Aline Kominsky-Crumb and R. Crumb in its 525 West 19th \;Street location. Both pioneers of underground and alternative comics\, Kominsky-Crumb and Crumb have created a groundbre aking portrait of their shared lives and creative collaborations over the p ast four decades. In their ongoing &ldquo\;Aline &\; Bob&rdquo\; comics\ , the two artists have rendered their innermost thoughts\, fears\, and fant asies alongside the day-to-day realities of family life in the twentieth an d twenty-first centuries\, each in their own distinctive style. The exhibit ion\, a version of which was previously on view at the Cartoonmuseum Basel\ , will present an extensive selection of collaborative ink drawings from th roughout the run of &ldquo\;Aline &\; Bob\,&rdquo\; as well as solo work s by both artists in a variety of media.

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By the time K ominsky-Crumb and Crumb met in 1972\, they had each established themselves as foremost figures in the underground comics scene in San Francisco: Komin sky-Crumb with her autobiographical comics that appeared in the influential all-female anthology \;Wimmen&rsquo\;s Comix\, and Crumb with his genre-defining comic strips of the 1960s and early 1970s like \;Fritz the Cat\, \;Mr. Natural\, and \;Keep on T ruckin&rsquo\;. Indeed\, Crumb had\, almost clairvoyantly\, predicted their union: they were introduced by mutual friends who were inspired by Al ine&rsquo\;s resemblance to a Crumb character named &ldquo\;Honeybunch Kami nski.&rdquo\; Not long after they met the two began to draw themselves and each other in joint strips and these collaborative experiments soon became a central creative endeavor for the couple\, the results of which were firs t published in 1974 as \;Aline and Bob&rsquo\;s Dirty Laundry Comic s.

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From the beginning\, Kominsky-Crumb and Crumb have explored the possibilities of creative tension and juxtaposition in th ese strips. Kominsky-Crumb&rsquo\;s more rough-hewn renderings\, reminiscen t of the expressionist styles of George Grosz and Otto Dix\, stand alongsid e Crumb&rsquo\;s finely crosshatched and exquisitely detailed draftsmanship \, which draws inspiration from the classic illustrators of the late ninete enth and early twentieth centuries. These productive differences are matche d\, however\, by a perfect melding of storytelling and humor: both artists push the boundaries with a taboo-shattering confessional mode in which thei r deepest anxieties and most personal thoughts are laid bare with a satiric al and self-deprecating irony\, at once cutting\, shocking\, and warmly gen erous.

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&ldquo\;Aline &\; Bob&rdquo\; is a unique pr oject within the comics world. Together\, they have created a joint portrai t of their lives\, from the bohemia of the Bay Area in the 1970s to the sou th of France\, where they moved permanently in 1991\, and from the early st ages of dating to their current roles as doting grandparents. Along the way \, this indispensable document of the family has expanded to include their daughter Sophie\, herself a comics artist\, who has collaborated on a numbe r of stories with her parents since 1992.

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Since 1971\, \;Aline Ko minsky-Crumb \;has been a pioneering figure in the world of co mics. Born Aline Goldsmith in Long Island\, New York in 1948\, Kominsky-Cru mb earned her BFA from the University of Arizona in 1971. Kominsky-Crumb wa s one of the first contributors to the all-female anthology \;Wimme n&rsquo\;s Comix \;in 1971\, founded the seminal comics series&nbs p\;Twisted Sisters \;with Diane Noonin in 1976\, and\, during the 1980s\, served as editor for the influential alternative comics antholo gy \;Weirdo\, to which she also contributed throughout its run . A collection of work from throughout her career was published in 2007 as& nbsp\;Need More Love: A Graphic Memoir \;by M Q Publications.< /p>\n\n

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Previous solo exhibitions of her work include those he ld at DCKT Contemporary\, New York (with her daughter Sophie Crumb)\; Art a nd Culture Center/Hollywood\, Florida\; the Museum of Comic and Cartoon Art \, New York\; and Adam Baumgold Gallery\, New York. Her work has been publi shed in \;Artforum\, \;The New York Times\, \ ;The New Yorker\, \;Time Out New York\, and numerous other magazines.

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Born in Philadelphia in 1943\, \; R. Crumb \;has used the popular medium of the comic bo ok to address the absurdity of social conventions\, political disillusionme nt\, irony\, racial and gender stereotypes\, and sexual fantasies and fetis hes. Inspired by Thomas Nast\, Honoré\; Daumier\, T.S. Sullivant\, Ja mes Gillray\, amongst others\, his drawings offer a satirical critique of m odern consumer culture\, and often seem to possess an outsider&rsquo\;s per spective&mdash\;a self-conscious stance which Crumb often relates to his pe rsonal life.

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In 2006\, the artist joined David Zwirner \, where he has had three solo exhibitions. Most recently\, \;Art & amp\; Beauty \;marked Crumb&rsquo\;s first presentation at David Z wirner\, London\, on view April 15 though June 2\, 2016. On occasion of the exhibition\, David Zwirner Books published \;Art &\; Beauty Mag azine: Drawings By R. Crumb.

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The artist&rsquo\;s 2010 gallery show\, \;The Bible Illuminated: R. Crumb&rsquo\;s Book of Genesis\, presented 207 individual black-and-white drawings from h is now landmark \;The Book of Genesis Illustrated by R. Crumb. The exhibition was also on view at the Hammer Museum\, Los Angeles\, in 20 09\, before traveling to the Portland Art Museum\, Oregon\; Columbus Museum of Art\, Ohio\; Bowdoin College Museum of Art\, Brunswick\, Maine\; and th e San Jose Museum of Art\, California. In 2013\, it was presented as part o f the 55th Venice Biennale\, curated by Massimiliano Gioni.

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A retrospective of Crumb&rsquo\;s work was held in 2012 at the Mus&ea cute\;e d&rsquo\;Art Moderne de la Ville de Paris. In 2011\, his work was t he subject of a solo exhibition at the Museum of American Illustration at t he Society of Illustrators\, New York. A major solo show devoted to Crumb&r squo\;s work was organized by the Yerba Buena Center for the Arts\, San Fra ncisco\, in 2007\, and traveled from 2008 to 2009 to the Frye Art Museum\, Seattle\; Institute of Contemporary Art\, Philadelphia\; Massachusetts Coll ege of Art and Design\, Boston\; and the Grand Central Art Center\, Santa A na\, California.

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Work by the artist is represented in major museum collections worldwide\, including the Brooklyn Museum\, New Yo rk\; Carnegie Museum of Art\, Pittsburgh\; Museum Ludwig\, Cologne\; and Th e Museum of Modern Art\, New York.

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In 2016\, the Carto onmuseum \;Basel hosted the above-mentioned major two-person exhibition \, \;Aline Kominsky-Crumb &\; Robert Crumb &ndash\; Drawn Togeth er\, and published an extensively illustrated catalogue. Collections a nd anthologies of their collaborative work include \;The Complete D irty Laundry Comics \;(Last Gasp\, 1993) and \;Drawn Toget her: The Collected Works of R. and A. Crumb \;(Liveright\, 2012). Kominsky-Crumb and Crumb currently live in the south of France.

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For all press inquiries and to RSVP to the January 12 press previ ew\, contact Kim Donica at David Zwirner +1 212 727 2070 \;kim@davidzwirner.com

\n LOCATION:David Zwirner- 525 W. 19th\,525 W. 19th Street (between 10th Ave. and West St.)\nNew York\, NY 10011-2808 SUMMARY:Drawn Together\, Robert Crumb\, Aline Kominsky-Crumb END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:437019 DTSTART:20170112T180000 DTEND:20170112T200000 LOCATION:David Zwirner- 525 W. 19th\,525 W. 19th Street (between 10th Ave. and West St.)\nNew York\, NY 10011-2808 SUMMARY:Drawn Together END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435062 DTSTART:20170106T000000 DTEND:20170204T000000 DESCRIPTION: LOCATION:Danese/Corey\,511 West 22 Street \nNew York\, NY 10011 SUMMARY:Referenced\, Elise Ansel\, Dotty Attie\, Gabrielle Bakker\, Kathlee n Gilje\, Jeffrey Grant\, Andy Harper\, Hai-Hsin Huang\, Aaron Krach\, Kare n Lederer\, Chason Matthams\, Shelley Reed\, Mia Rosenthal\, Betty Woodman END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435063 DTSTART:20170105T180000 DTEND:20170105T200000 LOCATION:Danese/Corey\,511 West 22 Street \nNew York\, NY 10011 SUMMARY:Referenced END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435244 DTSTART:20161208T000000 DTEND:20170128T000000 DESCRIPTION:
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They are human in scale\, relating both to Grabner&rsquo\;s own body and the physicality of their fabrication. To create these sculptures\, Grabner first made wax positives of the blanket s he intended to cast. Molten bronze was then poured into the moulds\, burnin g out both the fabric and wax\, thereby sacrificing the original textile. G rabner reassembled the full blanket\, changed into bronze\, from these cons tituent parts. \; The draping form of the reconstituted textile reminds the viewer of Grabner&rsquo\;s process and that this hardened bronze sculp ture was once a soft\, pliable fabric. Both blanket and bronze are one obje ct with a single linear history.

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As David Getsy writes in the accompanying catalogue essay\, &ldquo\;Grabner&r squo\;s sculptures&hellip\;conjure the blankets&rsquo\; past lives. Her ini tial choice to use them as patterns for her works gave these textiles a new life and purpose\, and in making paintings from their structures she honor ed the embedded intelligence in the domestic labor and traditions that prod uced them. This canny engagement with conventions of both sculpture and abs tract painting combine to make a twofold case: first\, for the powerful fam ilial associations and intelligence born from traditional artist practices embodied by the blankets she chose and\, second\, for the larger place of s uch &ldquo\;women&rsquo\;s work&rdquo\; of making handmade textiles as cruc ial to major debates in Western art&rsquo\;s history. In their sophisticate d layering of the meanings and uses of these blankets\, throws\, and afghan s\, Grabner&rsquo\;s sculptures demand a different kind of attention to the complexity and capacity of such traditional artistic practices\, themselve s often handed down generation by generation.&rdquo\;

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Michelle Grabner holds an MA in Art History and a BFA in Painting and Drawing from the University of Wisconsin&ndash\;Milwaukee\, and an MFA in Art Theory and Practice from Northwestern University. Grabner is the Cro wn Family Professor of Painting at the School of the Art Institute of Chica go where she joined its faculty in 1996. Other recent faculty appointments include\, Milton Avery Graduate School of the Arts at Bard College\, Yale U niversity School of Art\, and Skowhegan School of Painting and Sculpture. H er writing has been published in Artforum\, Modern Painters\, Frieze\, Art Press\, and Art-Agenda\, among others. Grabner also runs The Suburban and The Poor Farm with her husband\ , artist Brad Killam. She co-curated the 2014 Whitney Biennial at the Whitn ey Museum of American Art along with Anthony Elms and Stuart Comer. Current ly Grabner and Jens Hoffmann are working as co-artistic directors for F RONT\, a triennial art exhibition in Cleveland and vicinity opening in July 2018.

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She has been the subjec t of a solo exhibitions at the Indianapolis Museum of Art\, the Museum of C ontemporary Art\, Cleveland\, INOVA\, The University of Wisconsin\, Milwauk ee\; Ulrich Museum\, Wichita\, Kansas\; and University Galleries\, Illinois State University\, Normal. She has been included in group exhibitions at M useum of Contemporary Art\, Chicago\, Illinois\; Walker Art Center\, Minnea polis\, Minnesota\; Tate St. Ives\, UK\; and Kunsthalle Bern\, Switzerland. Her work is included in the permanent collection of Walker Art Center\, Mi nneapolis\, Minnesota\; Museum of Contemporary Art\, Chicago\, Illinois \; MUDAM\, Luxemburg\; Milwaukee Art Museum\, Wisconsin\; Madison Museum of Co ntemporary Art\, Wisconsin\; Daimler Contemporary\, Berlin\, Germany\; Smit hsonian American Art Museum\, Washington D.C. and the Victoria and Albert M useum\, London\, UK.

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David J. Getsy is the Goldabelle McComb Finn Distinguished Professor of Art History at the School of the Art Institute of Chicago. His books includ e Abstract Bodies: Sixties Sculpture in the Expanded Field of Gender (Yale University Press\, 2015)\; Rodin: Sex and the Making of Modern Sculpture (Yale University Press\, 2010)\; and Body Doubles: Scul pture in Britain\, 1877-1905 (Yale University Press\, 2004).

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\n LOCATION:James Cohan Gallery\,533 West 26th St. \nNew York\, NY 10001 SUMMARY:Solo Exhibition\, Michelle Grabner END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435255 DTSTART:20170106T000000 DTEND:20170212T000000 DESCRIPTION:

LMAKgallery is pleased to anno unce Joan van Barneveld&rsquo\;s Day for night. On view will be a selection of paintings from his recent museum solo-exhibition MIRROR/STAGE at the Bo nnefantenmuseum in Maastricht\, the Netherlands\, in combination with recen tly finished works. Returning to painting Van Barneveld focuses on a distil lation of colors\, under layers of white wash -stepping away from is typica l &lsquo\;black on black&rsquo\; works.

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Van Barneveld&rsquo\;s new works are composed of layers of silkscreen\ , painted areas and washes culminating into ghost like imagery and unfocuse d states of the omitted. The inanimate objects and the elements of time suc h as shadows create mysterious\, calm compositions and which find poetry wi thin the solemn.

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In the work there are slight references of urban landscapes\, but rather than holding on to t he visual narrative the viewer is beckoned into layers of color that lead t o a barren space. These bleached color fields\, give an interesting new per spective on what we usually see uncovered in Van Barneveld&rsquo\;s &lsquo\ ;black&rsquo\; works as they both exult the beauty of the stillness.

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Van Barneveld&rsquo\;s third exhibition w ith the gallery shows his visual development and his persistent and admirab le dedication to finding the content in the bereft\; an oxymoron that has t aken him years to review and the viewer reaps the reward as they are confro nted with an overwhelming wall of visual information of nothing &ndash\; an d its silence is deafening.

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For mor e information or press inquiries\, please contact Bart or Louky Keijsers Ko ning at Bart@lmakgallery.com\, Louky@lmakgallery.com or call 212 255 9707.< /p>\n LOCATION:LMAKgallery\,298 Grand Street \nNew York\, NY SUMMARY:Day for Night\, Joan van Barneveld END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435256 DTSTART:20170106T180000 DTEND:20170106T200000 LOCATION:LMAKgallery\,298 Grand Street \nNew York\, NY SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435303 DTSTART:20170112T000000 DTEND:20170211T000000 DESCRIPTION:

Considered to be one of the leading Korean artists of her gen eration\, for her fifth exhibition with the gallery Lee Bul will present ne w mixed media drawings\, sculpture and installation. Though varied in media and content\, the three series represented are united in their exploration of structural systems&mdash\;from the individual body\, to larger framewor ks of architecture\, cities\, and utopian societies&mdash\;a progressively expanding discipline that has become a hallmark of Lee Bul&rsquo\;s oeuvre.

\n LOCATION:Lehmann Maupin\,536 West 22nd Street \nNew York\, NY 10011 SUMMARY:Solo Exhibition\, Lee Bul END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435304 DTSTART:20170112T180000 DTEND:20170112T200000 LOCATION:Lehmann Maupin\,536 West 22nd Street \nNew York\, NY 10011 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435420 DTSTART:20161216T000000 DTEND:20170128T000000 DESCRIPTION:
Jack Shainman Gallery \;i s pleased to present \;Titus Kaphar&rsquo\;s \;second solo exhibiti on\, on view at both our Chelsea locations. \;Shifting Skies \;is a n investigation into the highest and lowest forms of recording history. Fro m monuments to mug shots\, this body of work seeks to collapse the line of American history to inhabit a fixed point in the present. Historical portra iture\, mug shots\, and YouTube stills challenge viewers to consider how we document the past\, and what we have erased. Rather than explore guilt or innocence\, Kaphar engages the narratives of individuals and how we as a so ciety manage and define them over time. As a whole\, this exhibition explor es the power of rewritten histories to question the presumption of innocenc e and the mythology of the heroic.
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Kaphar received an MFA from the Yale School of Art and is the distinguish ed recipient of the Gwendolyn Knight and Jacob Lawrence Fellowship. In 2016 \, he was named the Artist as Activist Fellow: Racial Justice + Mass Incarc eration by the Robert Rauschenberg Foundation\, and in 2015 he was awarded a Creative Capital Grant for the Visual Arts. Kaphar&rsquo\;s work has been included in solo and group exhibitions \;at MoMA PS1\; the Studio Muse um in Harlem\; the Seattle Art Museum\; and the Savannah College of Art and Design. His work is included in the collections of The Museum of Modern Ar t\, New York\; Brooklyn Museum\; Pérez Art Museum Miami\; and the Studio M useum in Harlem\, among others.
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K aphar&rsquo\;s ambitious installation\, \;The Vesper Project\, is curre ntly on view at the Lowe Art Museum in Miami\, the last stop on a tour that also included at the Contemporary Arts Center\, Cincinnati\, Ohio\; the Ka tzen Arts Center at American University\, Washington\, DC\; and the New Bri tain Museum of American Art\, Connecticut.
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Gallery hours are Tuesday through Saturday from 10 am to 6 pm. Fo r additional information and photographic material please contact the galle ry at info@jackshainman.com
\n LOCATION:Jack Shainman Gallery 20th Street\,513 W. 20th St. \nNew York\, NY 10011 SUMMARY:Shifting Skies\, Titus Kaphar END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435421 DTSTART:20161216T180000 DTEND:20161216T200000 LOCATION:Jack Shainman Gallery 20th Street\,513 W. 20th St. \nNew York\, NY 10011 SUMMARY:Shifting Skies END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435424 DTSTART:20170105T000000 DTEND:20170218T000000 DESCRIPTION:

From January 5 to \;Feb ruary \;18\, 2017\, \;MIYAKO YOSHINAGA \;is pleased to pres ent \;Surface Unrest\, the gallery&rsquo\;s group exhibition by& nbsp\;Anh Thuy Nguyen\, \;Dana Levy\, \;Margeaux W alter\, and \;Taro Masushio. \;An opening recepti on for the artists \;will be held on \;Thursday\, January 5\, 2017 from 6pm to 8pm.  \;The artists will be present.  \;  \;

\n LOCATION:Miyakoyo Shinaga Art Prospects\,547 W. 27th St 2nd Fl.\nNew York\, NY 10001 SUMMARY:Surface Unrest\, Dana Levy\, Taro Masushio\, Anh Thuy Nguyen\, Marg eaux Walter END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435425 DTSTART:20170105T180000 DTEND:20170105T200000 LOCATION:Miyakoyo Shinaga Art Prospects\,547 W. 27th St 2nd Fl.\nNew York\, NY 10001 SUMMARY:Surface Unrest END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435474 DTSTART:20170112T000000 DTEND:20170205T000000 DESCRIPTION:

303 Gallery is proud to presen t our second solo exhibition of new work by Matt Johnson.
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\nFor this occasion\, Johnson will exhibit a selection of sculptures in carved\, bent\, and painted wood. The objects depicted in his new works are the casual detritus of art studios or building sites\, whose forms are the result of usage and discarding. Crumpled cardboard boxes\, shards of cut d rywall\, a discarded cup\, pizza box\, and rolls of blue painter&rsquo\;s t ape are preserved in stasis\, forms that would normally be realized only in the temporality between utility and refuse. These simple moments of dispos session become the generators of their own poiesis\, as their incidental el egance is preserved through replication as sculpture. In a conceit to the t ransient fragility of sculpture proffered by artists like Fischli &\; We iss\, a certain lack of the essential qualities that confer existence upon an object is imbued in Johnson'\;s forms. This impermanent nature is bor ne out by the sculptural constructions themselves\, as their wooden armatur es form the supports for objects that you would usually expect to see crumb le in front of you.
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\nJohnson'\;s approach to displa y lends the exhibition a scientific quality\, as objects are arranged in co nstellations that seem to hint at a gravitational attraction created by the ir masses and the spaces between them. Long concerned with creating rifts i n the negotiation between expectation and reality\, Johnson'\;s sculptur es are arranged to communicate with each other\, and seem to morph accordin g to their imposed relations. The rubble of production\, artistic\, commerc ial and otherwise\, is used to create a new type of codification\, one in w hich objects between states and materials in flux become their own profliga te and surreptitious communicators. An incorporeal form of predicate dualis m begins to take hold\, wherein an object can be both itself and signify a potential beyond both form and function.
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\nMatt Johnson has exhibited widely in such international venues as The Serpentine Galler y\, London (2005)\; The Hammer Museum\, Los Angeles (2005\, 2009)\; The Mor i Art \;Museum\, Tokyo (2007)\; The Hydra Workshop\, Hydra\, Greece (20 11)\; The Walker Art Center\, Minneapolis (2012). A series of the artist 9\;s Lautner Beams\, inspired by cast-offs from John Lautner&rsquo \;s demolished Shusett House was installed in the lobby of the Pacific Desi gn Center in West Hollywood in 2015. His site-specific work \;Untit led (Swan) was unveiled as part of Wanderlust\, a group exhibition ins talled along New York&rsquo\;s Highline in 2016\, where it is on view until March 2017. \; Born in \;New York\, Johnson currently lives and wo rks in Los Angeles.

\n LOCATION:303 Gallery\,555 W 21st Street \nNew York\, NY 10011 SUMMARY:Wood Sculpture\, Matt Johnson END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435475 DTSTART:20170112T180000 DTEND:20170112T200000 LOCATION:303 Gallery\,555 W 21st Street \nNew York\, NY 10011 SUMMARY:Wood Sculpture END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435478 DTSTART:20170107T000000 DTEND:20170211T000000 DESCRIPTION:

Alexander Gray Associates in c ollaboration with Matthew Stephenson presents a rare private collection of drawings by the Russian filmmaker and theorist\, Sergei Eisenstein on view for the first time in the Americas. These sexually explicit drawings\, comp leted between 1931&ndash\;1948\, span the period of his travels in Mexico a nd the United States in the 1930s until his death in Moscow in 1948.
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\nA renowned film director and film montage innovator\, Eisenstein a lso wrote extensively and made upwards of 5\,000 drawings throughout his li fe\, including designs for film sets and storyboards. This group\, however\ , reveals Eisenstein&rsquo\;s sexual imagination\, in part informed by his own bisexuality as well as his considerable reading and travel. Arranged in groupings that demonstrate a diversity of content\, the drawings on view a re intimately scaled\, mostly monochromatic\, with flashes of colored penci l typically in red or blue.
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\nAs historian Joan Neuberger note s\, during his time in Mexico\, &ldquo\;Eisenstein confirmed that drawing w as no less important in his work as an artist than film-making and theory w riting\,&rdquo\; though it remains lesser-known. Many of his films are subt ly subversive in his refusal to broadly prioritize propagandistic Soviet Re alism over experimentation with camera techniques. In his &ldquo\;sex drawi ngs\,&rdquo\; Eisenstein engages in pointed institutional critiques\, occas ionally through the inclusion of Christian iconography and clergy members e ntwined in sexual acts that might be read as sacrilegious. He also illustra tes figures engaged in intercourse in public spaces including the circus\, nightclubs\, and the streets. One red and black pencil drawing includes the text &ldquo\;Drag\,&rdquo\; and features two figures in an environment tha t evokes a nightclub\, likely in New York. One figure wearing a man&rsquo\; s suit appears to be reaching up the second figure&rsquo\;s dress as they r ecline on a sofa. Through his exploration of this content\, Eisenstein cons tructs succinct and transgressive visual stories in a medium that was inten tionally less public-facing than his films.
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\nAlso present in many of these drawings are irreverent depictions of inter-species relations including: a scene of matadors and bulls engaged in oral sex\, and a forni cating alligator and rabbit captioned &ldquo\;Fucking\, according to the Be st System.&rdquo\; These pairings highlight Eisenstein&rsquo\;s fascination with dualities\, which he called the &ldquo\;unity of opposites\,&rdquo\; as well as his interest in representing a broad range of behaviors and desi res reflecting the Freudian topicality of their time. Eisenstein&rsquo\;s e xperiences in Hollywood are apparent in these drawings\, in particular his interest in Walt Disney&rsquo\;s films\, which he claimed were &ldquo\;the greatest contribution of the American people to art\,&rdquo\; and which inf ormed his sometimes cartoonish style demonstrated in a drawing of a nude ma n draped backwards over an expressively wide-eyed giraffe.
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\nA fter spending six months in California\, Eisenstein traveled to Mexico to b egin filming ¡\;Que Viva Mé\;xico!\, an epic about the co untry&rsquo\;s history. He intended his trip to last three to four months\; it lasted over a year. In 1946\, Eisenstein wrote\, &ldquo\;it was in Mexi co that my drawing underwent an internal catharsis\, striving for mathemati cal abstraction and purity of line. The effect was considerably enhanced wh en this abstract\, &lsquo\;intellectualized&rsquo\; line was used for drawi ng especially sensual relationships between human figures.&rdquo\; This int erest in line and interplay of figures underscores his connection to the wo rk of Mexican muralists including Diego Rivera\, who Eisenstein first met i n 1927\, and whose work he greatly admired.
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\nThe drawings on view have a rich history. When departing Mexico\, Eisenstein was stopped\, questioned and his luggage searched at the United States border where the d rawings were nearly confiscated for their incendiary nature. Upon his retur n to Moscow at the height of Stalin&rsquo\;s rule he kept the explicit imag es hidden until his death in 1948. His widow\, the writer and filmmaker Per a Atasheva\, donated most of his graphic archive\, with the exception of hi s sex drawings\, to the Russian State Archives of Literature and Art in Mos cow (RGALI). Atasheva entrusted the erotic drawings to Eisenstein&rsquo\;s close friend and collaborator\, the famous Soviet cinematographer Andrei Mo skvin\, who protected the director&rsquo\;s reputation by keeping these dra wings hidden. After Moskvin&rsquo\;s death in 1961\, his widow safeguarded the drawings. In the late 1990s her heirs sold the drawings to the family o f present owner. A quarter of the drawings were also donated to the permane nt collection of the State Hermitage Museum in St. Petersburg.
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\nAlso on view to provide visual context and connection to Eisenstein&rsqu o\;s cinematic practice is a continual projection of the 1979 edit of &i excl\;Que Viva Mé\;xico!\, Eisenstein&rsquo\;s unfinished film wh ich he began filming in Mexico in 1931. The film footage was edited by vari ous people and released without Eisenstein&rsquo\;s participation in 1933\, 1934\, 1939\,1940\, and ultimately by his assistant director\, Grigorii Al exandrov in 1979.
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\nAbout Matthew Stephenson
\nMatthew Stephenson is a London based art dealer advising and represent ing artists and artist&rsquo\;s estates and assisting private collectors an d institutions through the exhibition\, acquisition and selling of 19th\, 2 0th century and contemporary art.

\n LOCATION:Alexander Gray Associates\,510 West 26 Street \nNew York\, NY 1000 1 SUMMARY:Drawings 1931–1948\, Sergei Eisenstein END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435479 DTSTART:20170107T180000 DTEND:20170107T200000 LOCATION:Alexander Gray Associates\,510 West 26 Street \nNew York\, NY 1000 1 SUMMARY:Drawings 1931–1948 END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435480 DTSTART:20170106T000000 DTEND:20170204T000000 DESCRIPTION:

Andrea Rosen Gallery is please d to present the first solo exhibition in the United States of Colombian-Du tch artist Miguel Á\;ngel Cá\;rdenas (1934-2015). Born in Colom bia\, Cá\;rdenas moved to Amsterdam in 1962\, where he adopted the na me Michel Cardena. While he ambitiously explored a variety of media includi ng painting\, assemblage\, performance\, video\, and photography\, this exh ibition focuses on a group of his wall-bound sculptures\, as well as exampl es of video and drawing.

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Cá\; rdenas&rsquo\;s sculptures are recognizable within the context of concurren t post-war movements such as Nouveau Ré\;alisme in France\, Pop Art i n the United States\, and the Nul Group in the Netherlands\, while also dra wing from his Latin American heritage. Sharing with these groups an interes t in utilizing everyday consumer goods as a new artistic material\, C&aacut e\;rdenas&rsquo\;s work remains distinct with its playful and provocative i maginings of sexuality and eroticism.

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Rejecting repressive cultural traditions (starting with his Catholic upb ringing in Colombia)\, Cá\;rdenas&rsquo\;s multi-faceted body of work stems from his embrace of openness and experimentation. Recalling Claes Ol denburg&rsquo\;s soft sculptures and Arman&rsquo\;s consumer good \;Accumulations\, Cá\;rdenas&rsquo\;s assemblages arrange everyda y objects\, such as packaged food and colorful plastic toys\, into suggesti ve compositions evocative of internal sex organs or genitalia peeking out f rom behind unzipped pants. In these &ldquo\;tensages&rdquo\; (tensions)\, a s Cá\;rdenas called them\, ribbed tubes connect slick geometric forms \, and taut vinyl flaps open to reveal a rotary telephone with its receiver exposed\, supine\, atop a finger dial and a pastel pink goblet.

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A pioneer of video and performance art in the Netherlands\, Cá\;rdenas situated the body \;at the heart of his practice\, much like many of his contemporaries working in these media suc h as Marina Abramović\, Vito Acconci\, Chris Burden\, and Carolee Schneeman n. Refuting perceptions of the body as taboo\, abject or vulnerable\, C&aac ute\;rdenas&rsquo\;s work uniquely positions itself as a site for positive sensation and connective potential. Staging happenings and video works unde r his production company \;warming up etc. etc. etc. \;(re presented by a logo of an abstracted flower/sex organ)\, Cá\;rdenas e xplored the notion of &ldquo\;warmth&rdquo\; in relation to social interact ions and sexual arousal. Infusing "\;warmth"\; into everyday enviro nments and actions&mdash\;raising the thermostat\, facilitating conversatio n\, melting an ice cube\, cooking a meal&mdash\;Cá\;rdenas&rsquo\;s b old works created a friction which he hoped would lead to an increasingly l iberated society.

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Miguel &Aacut e\;ngel Cá\;rdenas was born in El Espinal\, Colombia\, in 1934 and di ed in Amsterdam\, the Netherlands\, in 2015. He studied architecture at the Universidad Nacional in Bogota (1952-1953) and visual arts at the Academia de Bellas Artes (1955-1957) and the Escuela de Artes Grá\;ficas in B arcelona (1962)\, before moving to the Netherlands where he lived for the r emainder of his life. In \;1964 Cá\;rdenas was included in the seminal exhibition &ldquo\;New Realists and Pop Art\,&rdquo\; which travelled from The Hague to Vienna and Brussels. In 1972 Cá\;rdenas e stablished an artist-run space called the In-Out Center along with a group of Amsterdam-based international artists. The In-Out Center hosted exhibiti ons of early video and performance art in addition to supporting conceptual and collaborative projects.  \;Cá\;rdenas&rsquo\;s work is in th e collections of the Stedelijk Museum\, Amsterdam\, Netherlands\; Moderna M useet\, Sweden\; Gemeentemuseum\, The Hague\, Netherlands\; and Museum Boij mans Van Beuningen\, Rotterdam\, Netherlands\, among others.

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With thanks to Instituto de Vision\, Bogota\ , Colombia for their support of this exhibition.

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For media and press inquiries\, please contact Brittni Zotos at b.zotos@rosengallery.com.< /p>\n LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SUMMARY:Solo Exhibition\, Miguel-Ángel Cárdenas END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:436648 DTSTART:20170106T180000 DTEND:20170106T200000 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435483 DTSTART:20170107T000000 DTEND:20170211T000000 DESCRIPTION:

Andrew Kreps Gallery is please d to announce Merman\, Fredrik Vaerslev&rsquo\;s third exhibition with the gallery.

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 \;Central to Væ\;rslev&rsquo\;s practice is the detour\, and even the avoidance of the artist&rsquo\;s gesture. In his works\, he \;employs marks that ra nge from colloquial appropriations to those that find bedfellows in paintin g&rsquo\;s past. Often leaving his paintings outdoors\, Væ\;rslev conf lates these references with the uncertainty of nature\, undermining his own decided actions \;and moves and allowing the works to accrue the accid ental traces of weather - like turpentine gone sour\, or monochromes corrod ed into color fields. As they become inextricably tied to the environment i n which they were created\, abstraction gradually expands into the represen tation of real objects and phenomena. \;

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 \;In his most recent body \;of works\, Væ\;rslev en velops his own practice as a material\, literally stitching together elemen ts belonging to his past series &ndash\; both canopy paintings\, which rese mble commercial awnings\, and monochromes. \; Recombined\, these retros pective compositions verge on figurative\, likening themselves to boat sail s\, some of which are even adorned with maritime insignia. The works situat e themselves as an autobiographical conceit\, further tying the constituent abstract elements to a collaborative network of intention\, history\, and chance. \;

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 \;Fredrik V&ael ig\;rslev&rsquo\;s work is currently the subject of a traveling exhibition titled \;All Around Amateur\, \;on view at Le Consortium\, Dijon\, curated by Anne Ponté\;gnie\, through February 17\, 2017\, o riginated at \;Bergen Kunsthall\, curated by Martin Clark\, 2016. Other solo exhibitions include: \;Kunsthal Aarhus\, Aarhus\, 2016\, Museo Ma rino Marini\, Florence\, 2015\, CAC &ndash\; Passerelle\, Brest\, 2015\, an d The Power Station\, Dallas\, 2014.

\n LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SUMMARY:Merman\, Fredrik Værslev END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435484 DTSTART:20170107T180000 DTEND:20170107T200000 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SUMMARY:Merman END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435493 DTSTART:20170112T000000 DTEND:20170218T000000 DESCRIPTION:
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Casey Kaplan and Massimo De Carlo are pleased to present Self Portraits and Herbivorous Carnivo rous\, two concurrent exhibitions by Italian artist Diego Perrone (b. 1970\, Asti). Debuting in New York and Milan\, Perrone presents new glass s culptures accompanied by Biro on paper drawings.

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Diego Perrone approaches his practice with aesthetic inventiv eness by reimagining stylistic and classically technical processes. He acce sses a transitory space that merges representation with the indescribable. At the center of this exhibition\, a bridge between convention and innovati on is built through Perrone&rsquo\;s exploration of a time-honored techniqu e of casting glass. As molten glass solidifies within its plaster mold\, in dividual fragments are heated and fused together to produce distinct yet am orphous shapes and imagery. Pigment-infused minerals and oxides form gradat ions and clouds of color that filter through the translucent glass\, each l ayer caught between crystal and soil.

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Perrone&rsquo\;s usage of cast glass originated from his previous series of fiberglass sculptures\, entitled La fusion della campana (The casti ng of the bell) (2005-2008). Conceived from traditional metal and bron ze casting techniques\, Perrone merged the three stages of bell casting int o objects that were not bells\, but bizarrely abstracted tubular and natura l forms attached to bell shells. Tradition\, time\, and space were compress ed into liquefied structures resembling excavated landscapes.

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In a 2013 presentation at Museion Bolzano\, Ital y\, Perrone applied this process using glass\, presenting a series of sculp tures in which representations of an ear and its spiral innards emerged. Th e repetition of the ear canal throughout the artist&rsquo\;s practice\, ini tially appearing in Biro on paper drawings in 1995\, connects an anatomical anomaly to organic forms within nature. To Perrone\, a material&rsquo\;s c apacity to simultaneously cloak the passing of time through a physical obje ct merges notions of permanence with the elusiveness of elements forever in motion. Curing for months on end\, immiscible liquids are paused in a forc ed interaction within each glass sculpture. This tumultuous phase\, resulti ng in the irregular contouring of diverging planes\, is captured in a singl e object nebulously shaped as the artist in profile.

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The spherical glass heads contain recurring motifs within Perrone&rsquo\;s practice. Imagery of koi fish and tractors circle the spa ce of the artist&rsquo\;s psyche. The repetition of symbols rooted in the a rtist&rsquo\;s rural upbringing alludes to living landscapes\, by land or b y sea (or in this case\, pond)\, as they persist within the artist&rsquo\;s consciousness. In a surreal daze the tractor plows through from the corpor eal to the cerebral. Perrone&rsquo\;s works on paper embody similar perspec tives of the artist in profile. Viewed from peculiar downward angles\, the agitated red Biro drawings are guided by striations of color and line\, con verging into forms that seem to shift and vibrate.

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Translated by the physical and mental consumption of his su rroundings\, natural shapes and landscapes dwell within the artist&rsquo\;s mind. Each artwork in Self Portraits and Herbivorous Carnivor ous addresses and challenges an overwhelming yet calming feeling of em ptiness\, where even the most fleshly actions are coated by a tangible mist .

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Self Portraits marks Die go Perrone&rsquo\;s fourth exhibition with Casey Kaplan in New York. Perron e has participated in exhibitions at venues and institutions internationall y\, such as Fondazione Sandretto Re Rebaudengo\, Torino (2016)\; Triennale di Milano\, curated by Vincenzo de Bellis (2015)\; Museo Ettore Fico\, Tori no (2015)\; Castello di Rivoli Museo d&rsquo\;Arte Contemporanea\, Turin (2 014)\; 55th International Exhibition of Art\, Venice Biennale (2013)\; Muse ion\, Project Room\, Bolzano (2013) (solo)\; Museo Marino Marini\, Florence (2013)\; Museum of Contemporary Art\, Zagreb\, Croatia (2012)\; National C enter for Contemporary Art\, Grenoble (2010)\; Museum of Contemporary Art C hicago\, IL (2010)\; Contemporary Art Museum\, St. Louis\, MI (2008) (solo) \; Malmo Art Museum\, Sweden (2008)\; and Musé\;e d&rsquo\;Art Contem porain\, Bordeaux (2008) (solo)\, among others. Perrone&rsquo\;s work is he ld in the permanent collections of the Solomon R. Guggenheim Museum\, New Y ork\; Centre Pompidou\, Paris\; and Castello di Rivoli\, Torino. The artist lives and works in Asti and Milan.

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\n LOCATION:Casey Kaplan Gallery\,121 W. 27th St. \nNew York\, NY 10001 SUMMARY:Self Portraits\, Diego Perrone END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435494 DTSTART:20170112T180000 DTEND:20170112T200000 LOCATION:Casey Kaplan Gallery\,121 W. 27th St. \nNew York\, NY 10001 SUMMARY:Self Portraits END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435499 DTSTART:20170106T000000 DTEND:20170205T000000 DESCRIPTION:

Derek Eller Gallery is pleased to present an exhibition of works by Jane Freilicher\, Mira Dancy\, and Da niel Heidkamp. Freilicher'\;s historic paintings will be hung in convers ation with new work by contemporary artists Dancy and Heidkamp in a show th at highlights common interests: improvisation\, painting as a window\, stud io as subject\, and the desire to interact with\, and\, at times\, reinvent the New York cityscape.

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From the 1 950s until her death in 2014\, Jane Freilicher painted images of the countr yside and the city as seen from her studios in Watermill and Manhattan\, Ne w York. In company with the work of her peers Fairfield Porter and Larry Ri vers\, Freilicher&rsquo\;s paintings utilized expressionist technique but w ere in direct opposition to the heroic abstraction that was in vogue when s he began her career. The gallery will exhibit paintings from the 1980s\, 19 90s and 2000s depicting \; the view from her lower Fifth Avenue studio window. This body of work documents the changing skyline of lower Manhattan \, albeit imprecisely\; Freilicher admittedly would reinvent things when th e paintings needed it. In a 2009 interview\, poet and fellow New York Schoo l member John Ashbery described her work as &ldquo\;inviting the spectator to share her discovering of how impossible it is really to get anything dow n.&rdquo\; As a result of this process\, the subject of these paintings see ms less the city and more a celebration of intuitive image making or the sa nctuary of the studio.

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In Mira Danc y&rsquo\;s work\, images are layered and reflected to a dizzying effect. Fr agments of advertisements\, storefront windows of retail spaces\, signs\, a nd repeated figures from the artist&rsquo\;s own dramatic lexicon merge int o new images. In this exhibition\, a canvas depicting a table top (a nod to Freilicher&rsquo\;s penchant for still lives set against the backdrop of t he city) includes a rose and a study for the other canvas in the show\, inv iting the viewer into an intimate space within the artist&rsquo\;s studio. In addition a neon sign by Dancy will serve as a more literal reconfiguring of the cityscape\, by manipulating the view into the gallery window\, that beckons the viewer in.

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In Daniel H eidkamp&rsquo\;s observational paintings\, his immediate surroundings offer a framework for stylistic\, technical\, and\, at times\, narrative improvi sation. The paintings in this exhibition depict views through windows in Ne w York City hotel rooms as well as in his Brooklyn studio. The paintings do not purport to be indexes of these spaces.  \;Rather\, embellishments are added and the skyline is adjusted for compositional effect \,and &ldquo \;Easter Egg&rdquo\; surprises as varied as a Mike Kelley sculpture or a ba llet class in a distant window are invented\, and slipped in.

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Jane Freilicher&rsquo\;s paintings are included in museum collections including MoMA\, New York\, the Whitney Museum of Ame rican Art\, the Metropolitan Museum of Art\, and the Cleveland Museum of Ar t. Her work has been the subject of numerous gallery and museum exhibitions \, and was included in the 1955\, 1972\, and 1995 Whitney Biennials. In 200 5 she won the American Academy of Arts and Letter&rsquo\;s Gold Medal in Pa inting.

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Mira Dancy has had solo exh ibitions at Night Gallery\, Los Angeles\, Chapter NY\, New York\, and Galer ie Hussenot\, Paris. She was included in the 2015 Greater New York at MoMA PS1\, and in 2016 mounted her first museum solo exhibition\, &ldquo\;Future Woman&rdquo\; at The Yuz Foundation\, Shanghai\, China.

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Daniel Heidkamp has had solo exhibitions at White Col umns\, New York\, Loyal Gallery\, Stockholm\, Sweden\, Half Gallery\, New Y ork\, The Journal Gallery\, Brooklyn\, and Pace Prints\, New York. He has r ecently been included in group exhibitions at Wilkinson Gallery\, London\, Marlborough Chelsea\, New York\, and Zach Feuer Gallery\, New York\, His wo rk will be included in a group exhibition at the Metropolitan Museum of Art \, New York in June of 2017.

\n LOCATION:Derek Eller Gallery\,300 Broome Street \nNew York\, NY 10002 SUMMARY:Group Exhibition\, Mira Dancy\, Jane Freilicher\, Daniel Heidkamp END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435500 DTSTART:20170106T180000 DTEND:20170106T200000 LOCATION:Derek Eller Gallery\,300 Broome Street \nNew York\, NY 10002 SUMMARY:Group Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435505 DTSTART:20170115T000000 DTEND:20170219T000000 DESCRIPTION: LOCATION:Foxy Production\,2 East Broadway\, 201 \nNew York\, NY 10038 SUMMARY:The History Show\, Juan Davila\, Jess\, Helen Johnson\, E’wao Kagos hima\, JP Munro\, David Rappeneau\, Vanessa Gully Santiago\, Christine Wang END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435506 DTSTART:20170115T180000 DTEND:20170115T200000 LOCATION:Foxy Production\,2 East Broadway\, 201 \nNew York\, NY 10038 SUMMARY:The History Show END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435515 DTSTART:20170107T000000 DTEND:20170304T000000 DESCRIPTION:
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A bridge is an aspiration: to move forward\, to co nnect\, to go above and beyond.

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Julie Saul Gallery is pleased to announce our third solo exhibition with Jeff Whetstone. He is known for photographing and writing about the relatio nship between people\, politics\, and their environment in the south. Whets tone recently moved to Princeton and has located his new project in Trenton \, New Jersey.

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One hundred years ag o\, the slogan &ldquo\;TRENTON MAKES / THE WORLD TAKES&rdquo\; was welded o nto the Lower Trenton Bridge across the Delaware River. The letters are nin e feet high and lit up in red neon at night. These words have become a trad emark of the city\, and a curiosity for the millions of Americans traveling to and from New York by car and train. Whetstone photographed the Lower Tr enton Bridge in several formats\, focusing on structural elements\, letters of the slogan\, portraits of drivers\, birds\, and the landscape to mine b oth cultural and physical infrastructure. He has dismantled the slogan into individual letters to make new words\, phrases\, and sounds to reflect con temporary aspirations\, realities\, and mantras. Through a process he calls &ldquo\;aggregate contact printing\,&rdquo\; Whetstone has created large s ilver gelatin prints comprised of multiple negatives that present new words and images. For example\, &ldquo\;Heel\, Hand\, Knee&rdquo\; (83 x 49&rdqu o\; contact print) incorporates 186 individual negatives.

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At the time of the sign&rsquo\;s installation\, the manufacture and design of suspension bridges was Trenton&rsquo\;s most impo rtant industry. Trenton&rsquo\;s Roebling Factory was responsible for desig ning and producing the century&rsquo\;s powerful symbols of American archit ecture\, ingenuity\, and infrastructure &ndash\; including the Brooklyn Bri dge and the Golden Gate Bridge. The decline of American manufacturing over the last fifty years has transformed Trenton&rsquo\;s slogan into an omen. Today what is left behind is the city itself\, reckoning with the world&rsq uo\;s claim on it\, in a time when many Americans are questioning connectio ns and metaphorical bridges.

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A nati ve of Chattanooga\, Tennessee\, Whetstone holds a BS from Duke and a MFA fr om Yale. He served for five years as an artist-in-residence at Appalshop\, Inc.\, in Kentucky and received a Guggenheim Fellowship in 2007 for a body of work entitled New Wilderness. His work has been reviewed in the New York Times\, the Los Angeles Times\, The New Yorker\ , New York Magazine\, and Art News\, among other publicat ions. Prior to his appointment at Princeton\, he was a professor at the Uni versity of North Carolina at Chapel Hill for fourteen years.

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His work has been exhibited widely in group and s olo exhibitions\, and is currently in the Southern Accent show at the Nasher\, which will travel to the Speed Museum Louisville\, Kentucky an d the Blanton Museum in Austin\, Texas. Whetstone&rsquo\;s work is in the c ollections of the Nasher Museum at Duke\, the Weatherpoon\, Greensboro\, th e Cleveland Museum of Art\, Yale University Art Gallery\, New Haven\, and t he Elton John Collection\, Atlanta.

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\n LOCATION:Julie Saul Gallery\,535 West 22 St. \nNew York\, NY 10011 SUMMARY:Crossing the Delaware\, Jeff Whetstone END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435516 DTSTART:20170107T180000 DTEND:20170107T200000 LOCATION:Julie Saul Gallery\,535 West 22 St. \nNew York\, NY 10011 SUMMARY:Crossing the Delaware END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435517 DTSTART:20170107T000000 DTEND:20170311T000000 DESCRIPTION:

Reception and book signing Sat urday\, January 21\, 2017\, 3-6 pm

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We are pleased to present in our project gallery a selection of watercolor portraits by Forsyth Harmon from her latest publication\, The Art of th e Affair: An Illustrated History of Love\, Sex and Artistic Influence.

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Harmon&rsquo\;s series of watercol or portraits embodies the likenesses of some of the most influential creato rs of the twentieth century\, radiating the love and heartbreak they enjoye d\, endured\, and ultimately poured into the great works that survived them . The selection of drawings weaves its way through the long chain of love\, affections\, and artistic influences among writers\, musicians\, and artis ts &mdash\; from Frida Kahlo to Colette to Hemingway to Dali\; from Coco Ch anel to Stravinsky to Miles Davis to Orson Welles.

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Forsyth Harmon is a New York-based artist and writer. Toget her with Catherine Lacey\, she is the co-author of The Art of the Affai r: An Illustrated History of Love\, Sex and Artistic Influence (Blooms bury 2017)\, and is completing her first illustrated novel\, Justine. Her w ork has most recently appeared in The Believer\, The Awl\ , and Convolution. She received both her BA and MFA from Columbia University.

\n LOCATION:Julie Saul Gallery\,535 West 22 St. \nNew York\, NY 10011 SUMMARY:The Art of the Affair: An Illustrated History of Love\, Sex and Art istic Influence\, Forsyth Harmon END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435518 DTSTART:20170121T150000 DTEND:20170121T180000 LOCATION:Julie Saul Gallery\,535 West 22 St. \nNew York\, NY 10011 SUMMARY:The Art of the Affair: An Illustrated History of Love\, Sex and Art istic Influence END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435519 DTSTART:20170107T000000 DTEND:20170226T000000 DESCRIPTION:

Jeff Bailey Gallery is pleased to present \;ABANDONED LUNCHEONETTE\, a group exhibit ion featuring paintings\, works on paper\, photography and sculpture. \ ;
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\nLuncheonettes came into being in the early 20th century\, in small towns and big cities\, serving quick meals in informal settings. T he meals would be considered comfort food today: satisfying\, familiar and easy to prepare\, like pancakes\, hot dogs or cupcakes. The environment wou ld be shiny\, clean and welcoming\, for dining alone\, a couple on a date\, or small parties. \;
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\nPerhaps their simplicity and famil iarity is just as comforting as the food. Over and over again\, one knows w hat to expect. But when your local or favorite luncheonette is shuttered\, what memories might remain? \;
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\nThe title of the exhibiti on is taken from the 1973 Hall and Oates song of the same title. A couple\, &ldquo\;he was the dishwasher\,&rdquo\; meet many years later inside the d erelict luncheonette where they first were attracted to each other\, now &l dquo\;drawing faces in the tabletop dust.&rdquo\; \;

\n LOCATION:Jeff Bailey Gallery\,127 Warren Street Hudson \nNew York\, NY 1253 4 SUMMARY:Abandoned Luncheonette\, Conor Backman\, Lisa Beck\, Francis Cape\, Jennifer Coates\, Adriana Farmiga\, Frederick Hayes\, Richard Klein\, Trac ey Miller\, Walter Robinson\, Nancy Shaver\, Amy Talluto\, Tony Thompson END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435520 DTSTART:20170107T180000 DTEND:20170107T200000 LOCATION:Jeff Bailey Gallery\,127 Warren Street Hudson \nNew York\, NY 1253 4 SUMMARY:Abandoned Luncheonette END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435545 DTSTART:20170107T000000 DTEND:20170211T000000 DESCRIPTION:

Kim Foster Gallery is pleased to present &ldquo\;Winterfell& rdquo\; a group exhibition inspired by the cold blustery season\, politics and the medieval fantasy Game of Thrones.

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\nDan Hernandez c reates a world in which mythological and religious iconography coexist with video game imagery. He blurs boundaries\, rearranges hierarchies and calls into question our notions of iconography\, collectibles and devotion. Chri stian Faur&rsquo\;s work deconstructs and transforms. He creates computer s ystems that convert code into an infinite set of possibilities of color\, p attern\, and tonality. This information becomes imagery that comprises thou sands of colored crayon tips. His unique process suggests element from both high and low culture.

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\nD Dominick Lombardi&rsquo\;s serie s &ldquo\;Tatooed Tokyo&rdquo\; combine the destructive/creative approach o f graffiti with the aesthetics of the tattoo. The works consist of a linear design painted over a completed\, sometimes abandoned painting. They mark an end of one way of thinking and begin a new path of esthetic release. Wil l Kurtz uses standard &ldquo\;classic&rdquo\; techniques to mold\, form and breathe life into his subjects. Newspaper and magazine advertising are mag ically transformed like alchemy into street people and rambunctious animals .

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\nJim Toia manipulates nature. He takes advantage of the way in which mushrooms drop their spores\, corralling them to make incredib ly complex visual networks of swirling\, twisting\, and indefinable imagery . Blanche Nettles Powers&rsquo\; inspiration is similar\, but her outcome i s more ethereal. The surface appears to be an even translucent layer\, but in reality is comprised of hundreds of different sized strokes and markings .

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\nMoon Beom&rsquo\;s paintings conjure a mystical world o f mountains\, cliffs\, rivers\, and forests that materialize from complex a bstractions. This world could be anywhere between welcoming and treacherous . Similarly\, Margaret Evangeline&rsquo\;s paintings are a result of devoti on to the vulnerabilities of the discovery process\, of finding one&rsquo\; s way to significant content through maintaining a stance of openness to fa ilure.

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\nOur House of Winterfell is a struggle with the ele ments\, dark forces\, survival and enlightenment.

\n LOCATION:Kim Foster Gallery\,529 W. 20th St. \nNew York\, NY 10011 SUMMARY:Winterfell\, Moon Beom\, Margaret Evangeline\, Christian Faur\, Dan Hernandez\, Will Kurtz\, Jim Toia END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435546 DTSTART:20170107T180000 DTEND:20170107T200000 LOCATION:Kim Foster Gallery\,529 W. 20th St. \nNew York\, NY 10011 SUMMARY:this—seasons END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435551 DTSTART:20170105T000000 DTEND:20170204T000000 DESCRIPTION:

Marianne Boesky Gallery is ple ased to present a selection of new works by Dutch artist Hannah van Bart. T he intimately scaled portrait paintings featured in the exhibition engage v iewers in an investigation of mood and atmosphere\, highlighting van Bart&r squo\;s innate ability to capture the psychologies and personas of her inve nted figures. On view from January 5 &ndash\; February 4\, 2017 at 509 W. 2 4th Street\, the exhibition\, titled The Smudge Waves Back\, marks van Bart&rsquo\;s fifth solo show with the gallery.

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van Bart draws inspiration from found images a nd fragments of personal experiences\, gravitating to a single element&mdas h\;a bent elbow\, a piece of clothing\, or a gesture\, for example&mdash\;w hich she then reinterprets through an array of characters that she develops organically on the canvas. The women and men that spring from her imaginat ion exist in a timeless space&mdash\;their clothing offering the only subtl e hints to a specific era or background. In stripping her figures of cultur al and historic orientation\, van Bart amplifies the significance of gaze\, posture\, and pose to convey attitude\, personality\, and psychology. This poignant inward focus elicits at once a deep intimacy and a hollowing dist ance between the viewer and the subject.

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van Bart approaches her paintings as a singular whole\, blurring the formal boundaries between foreground and background and inward and outward components. The resultant image appears to fluctuate between a concrete and dream-like state. Details of the face\, body\, and landscape are painted a nd then washed away\, the canvases accruing layers of visages much like mem ories&mdash\;some seemingly faded and distant and others sharp and immediat e.

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"\;I build my paintings with bricks made of damp\, moist air. Or at least that is how it sometimes feel s for me\,&rdquo\; said van Bart. &ldquo\;As a young person I lived near an old castle and spent many hours drawing that castle. This group of works b rought that experience back to me. I work until I feel there is something h appening that makes me look and then makes me look again."\; This goal is intensified through van Bart&rsquo\;s repeated patterning and distinctiv e outlining&mdash\;for example\, a brick-like motif in some instances is ve ry heavy and bold or in other instances is obscured and worked over. Colors likewise indicate her explicit use of a palette reminiscent of a &ldquo\;d amp&rdquo\; landscape\; muted red\, green\, blue\, and brown tones bleed ou t from the figures&rsquo\; frames and clothing onto the minimalistic backgr ound features of bricks or tree branches\, deepening the ambiguity between the figure and its environment.

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For van Bart this process expresses that painting can be a simultaneous manife station of reality in paint and creation of a new reality that springs from the paint. She says the sensation is best encapsulated in a passage that s he read in David Mitchell&rsquo\;s The Thousand Autumns of Jacob de Zoe t. In the text\, the protagonist is waving goodbye to his son\, and it reads: &ldquo\;The figure on the watchtower is an indistinct smudge. Jacob waves. The smudge waves back\, with two smudged arms\, in wide arcs.&rdquo \; Of this van Bart says\, &ldquo\;When I read these lines\, I was complete ly blown away. Here the smudge has become extraordinarily meaningful&mdash\ ;a keystone\, a monument in itself. I was thrilled and shocked.&rdquo\; Ind eed\, van Bart often finds inspirations or affirmations in literature\, and as such the title of this exhibition is taken from the aforementioned nove l.

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Within the exhibition\, van Bart will show new works created over the last year. She shifts to a smaller sc ale for these works\, preferring the way the confines of the canvas increas e the strength and impact of the details. Many of the new works depict wome n\; their faces feel familiar\, as though they could each be the same woman \, and yet their personas are vividly unique. Depicted in full-body and cro pped to the face and shoulders\, van Bart&rsquo\;s women and men are infini tely compelling\, calling out the viewer to connect to the emotions of the moment and to question the status of existence in paint.

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Marianne Boesky Gallery will be producing a catalogue on the occasion of the exhibition\, which will feature full color images o f the new works featured in the exhibition and an introductory essay by art s writer Allie Biswas.

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&mdash\;

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Hannah van Bart was born in 1963 in the Netherlands\, and lives and works in Amsterdam. She has exhibited at the Gemeente Museum in the Hague and the Cobra Museum in Amsterdam with accompanying catalogue s. Van Bart has also shown in numerous group exhibitions including at the S tedelijk Museum\, the XIe Biennale de Lyon\, and at the Singer Laren\, as p art of the exhibition Van Cobra tot Dumas. She has previously been featured in a television interview on 4 Art on Kunstuur with Dutc h art critic and writer\, Hans den Hartog Jager\, and her work has been cov ered in many art magazines and journals. In 1994\, she was the recipient of the Royal Award for Fine Art Painting and in 1998 of the Philip Morris Kun stprijs.

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For more information about Hannah van Bart\, please c ontact Gallery Director Mary Mitsch at mary@boeskygallery.com or 212.680.9889. For press inquiries\, pleas e contact Alina Sumajin\, PAVE Communications and Consulting\, at alina@paveconsult.com or 646-369-2050.

\n LOCATION:Marianne Boesky Gallery 24th St.\,509 W.24th St. \nNew York\, NY 1 0011 SUMMARY:The Smudge Waves Back\, Hannah van Bart END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435552 DTSTART:20170105T180000 DTEND:20170105T200000 LOCATION:Marianne Boesky Gallery 24th St.\,509 W.24th St. \nNew York\, NY 1 0011 SUMMARY:The Smudge Waves Back END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435951 DTSTART:20170107T000000 DTEND:20170215T000000 DESCRIPTION:

Drawing on a business history term for management&mdash\;the visible hand&mdash\;as a corrective to the invisible forces of the market\ , this show posits art as a form of managerial practice. After all\, artist s already live\, breathe and work as single-person institutions.

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The artists presented in The Visible Hand set aside the too-convenient narrative of art as an oppositional crit ique of corporate management\, and propose art as existing within and along side institutions rather than outside of them. The works here refl ect on the entire process of artistic production\, from early socialization to the arts education system to market pressures to systems of distributio n\, consumption and storage.

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Jen Liu&rsquo\;s The Pink Detachment paintings depict a series of large feminine fingers pushing and prodding\, across a semi-abstract manufactured landsca pe. Liu&rsquo\;s exploration of power in the soft\, affective form it often takes today draws on the colors and images of meatpacking\, ballet\, and F oxconn. These figures stand in for forces that are all around us but still too slippery to point to.

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Chloë \;Bass is a conceptual artist co-creating performances\, publications\, situati ons\, and installations. The Book of Everyday Instruction is an ei ght-chapter project about one-on-one social interaction\, investigating dif ferent iterations of &ldquo\;the pair.&rdquo\; Chapter Six: What is sha red\, what is offered\, focuses on the metaphor of blending flavors. T he first &ldquo\;course&rdquo\; of this chapter\, to imagine intimacy not j ust between people\, but between people and institutions.

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Maureen Connor&rsquo\;s Personnel\, initi ated in 1999\, turns exhibitions into opportunities to solve challenges rel ating to human resources in the cultural institution. Connor&rsquo\;s insta llations provide privacy\, storage\, water\, or any other needs that surfac e during her research into the working conditions of art organizations. Doc umentation of several of her early projects will be on view\, as will evide nce of an ongoing new work.

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BFAMFAPhD is a collective that works at the intersection of art\, technology\, and political economy. Ten Leaps: A Lexicon for Art Education is a free resource for educato rs that can be used to analyze and reimagine power relationships in the art s. The text\, workbook\, and card game are tools that prompt investigations into the whole life of projects&mdash\;from sourcing\, to production\, to presentation and archiving. Susan Jahoda\, Emilio Martinez Poppe\, Caroline Woolard are the core contributors to Ten Leaps.

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Interdisciplinary artist\, writer and musician Devin Kenny < /strong>will present a prototype of a platform for streamlined commissionin g systems for artwork\; his project proposes to disintermediate the gallery from the art collection process\, so that collectors can easily commission new works directly from the artist through an easy graphic interface. Kenn y&rsquo\;s project for The Visible Hand is produced in collaborati on with Kevin Chen\, a graphic designer and illustrator living and working in New York City.

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The Visible Hand is organized by David Borgonjon\, who believes that artists have the power to m ake organizations work better. He is curator at Eyebeam\, a studio for tech nology by artists\, and a founder of www.onscreentoday.com\, a Chinese-language website for media art criti cism.

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This exhibition is accompanied by a 32-page color catalogue \, which includes essays by David Borgonjon and Rachel Valinsky. Rachel Val insky is an independent curator\, writer\, and translator\, as well as co-f ounder of the alternative library Wendy&rsquo\;s Subway. She is currently W riter-in-Residence for CUE Art Foundation and Art21 Magazine&rsquo\;s partn er program. The catalogue is available free of charge to gallery visitors. For more information please contact Programs Manager Shona Masarin-Hurst at shona@cueartfoundation.org.

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PUBLIC PROGRAMS

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Art As Service
\nSymposium: Sat. January 28\, \ ;2-6PM

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Artists ________ Institutions
\nWorkshop: Sat. February 4 \, 1-7PM

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Artis t/Admin
\nDiscussion: Sat. February 11\, 7-9PM

\n LOCATION:CUE Art Foundation\,137 West 25th Street Ground Floor\nNew York\, NY 10001 SUMMARY:The Visible Hand\, Chloë Bass\, BFAMFAPhD\, Maureen Connor\, Devin Kenny\, Jen Liu END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435952 DTSTART:20170107T180000 DTEND:20170107T200000 LOCATION:CUE Art Foundation\,137 West 25th Street Ground Floor\nNew York\, NY 10001 SUMMARY:The Visible Hand END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435962 DTSTART:20170117T000000 DTEND:20170225T000000 DESCRIPTION:

Everyone on the edge of th e Grand Canyon was afraid his neighbor\, his friend\, would jump. I liked t o imagine jumping. I ran for the edge\, vaulted the guard rail\, flung myse lf into space\, feet first\, sleeves flapping.
\n&mdash\;David Re ed

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Gagosian New York is pleased to present an exhibition of early brushmark paintings by David Reed. Curated b y Katy Siegel and Christopher Wool\, this presentation follows the exhibiti on'\;s premiere at the Rose Art Museum\, Brandeis University. This is Re ed&rsquo\;s first exhibition with the gallery.

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&ldquo\;Painting Paintings (David Reed) 1975&rdquo\; reunites m any canvases first shown in 1975 at Susan Caldwell Gallery\, New York\, whi ch had a strong impact on Christopher Wool\, then a young artist. More than forty years later\, Reed&rsquo\;s paintings are complemented by a group ex hibition of artists who were similarly exploring the relationship between p rocess and image-making in painting\, drawing\, sculpture\, and film.

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When Reed came to New York from Southern California in the 1960s\, he entered an art world that was skeptical about the ability of painting to be forward-looking. The young artist sympathize d with the humanist\, even metaphysical current in painters like his teache rs Philip Guston and Milton Resnick\, even as he admired the deadpan materi ality of contemporaneous experiments in sculpture and film. Seeking to make paintings that were as direct as a poured steel sculpture\, between 1974 a nd 1975 he prepared tall\, vertical canvases\, either as single panels or a s many as five panels bolted together\; the height of the canvases was dete rmined by the door to his studio\, the widths by the limit of his own reach . Working wet into wet\, Reed then painted primarily black or red strokes f rom left to right\, top to bottom\, and sometimes diagonally\, quickly fill ing the canvas.

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These works\, prese nted on the sixth floor of Gagosian'\;s Madison Avenue location\, descri be particular moments\, suggesting both the stillness of the resulting imag e and the suspended motion of their making. In #49 (1974) red stro kes melt into one another on the left side\, but become drier and more auto nomous as they move to the right. In the center\, splatters express a tremo r frozen in time\, as Reed removed the canvas from the wall while it was st ill wet\, and dropped it. Inevitably\, the pure immediacy of the moment van ishes\, becoming an image of itself.

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These fundamental questions of process and image in art inform the group exhibition presented on the fifth floor. Charcoal drawings by Joyce Pensato and a blackboard painting by Cy Twombly reveal layers of gesture and erasu re\; Andy Warhol&rsquo\;s Rorschach (1984) alludes to the hidden m eaning behind abstraction\; Pendulum (1976)\, a Super 8 film by Ja mes Nares\, documents a sphere swinging perilously through a desolate Lower Manhattan street\; Barry Le Va has installed his On Center Shatter-or- Shatterscatter (within the Series of Layers Pattern Acts) (1968&ndash\ ;71)\, stacking panes of glass and smashing all but the top pane with a sle dgehammer. Jack Whitten&rsquo\;s The Speedchaser (1975) was made w ith a specialized tool designed to spread paint across the entire surface o f the canvas with a single gesture. The evidenced actions that run through these works all find parallels in Reed&rsquo\;s paintings\, which evoke dir ect human activity\, but also inevitably become images as well. The paintin g by Reed included in the group exhibition\, #78-2 (1975)\, a slen der canvas with a thick black vertical stroke on an off-white ground\, is e choed\, surprisingly\, in Sigmar Polke&rsquo\;s Streifenbild IV (S tripe painting IV\, 1968)\, with its four pastel strokes on a mauve ground.

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The most recent works in the exhib ition\, Wool&rsquo\;s Untitled (1995)\, and Josh Smith&rsquo\;s Untitled (2004) and Untitled (2006)\, resonate with Reed&rs quo\;s 1975 paintings in specific ways. Wool&rsquo\;s painting is a picture created through physical and material action\; the small Smith canvases we re originally used as palettes for larger works\, then repurposed as painti ngs themselves. For Wool\, Reed&rsquo\;s approach to painting represents a cyclical continuation between generations. In bringing these works together \, Siegel and Wool follow Reed&rsquo\;s example\, challenging linear concep tions of artistic influence and encouraging viewers to trace alternative ti melines in swinging arcs\, dripping strokes\, and reconfigured blots.

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Artists exhibited include: David Reed\, Barry Le Va\, James Nares\, Joyce Pensato\, Sigmar Polke\, Dieter Roth\, Jo el Shapiro\, Josh Smith\, Cy Twombly\, Andy Warhol\, Jack Whitten\, and Chr istopher Wool.

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&ldquo\;Painting Pai ntings (David Reed) 1975&rdquo\; is accompanied by an in-depth\, fully illu strated book\, which expands on the themes of the exhibition\, describing t he paintings\, and also reflecting on the complex relations between past an d present. It includes texts by Richard Hell and Reed\, as well as an exten sive conversation between Siegel and Wool.

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David Reed was born in 1946 in San Diego\, Califor nia and currently lives and works in New York. His work is featured in inst itutional collections worldwide\, including the Albright-Knox Art Gallery\, Buffalo\; The Art Institute of Chicago\; Centre Georges Pompidou\, Paris\; FRAC &ndash\; Auverge\, Clermont Ferrand\; Museum fü\;r Moderne Kunst\ , Frankfurt am Main\; Kunstmuseum St. Gallen\; The Metropolitan Museum of A rt\, New York\; Museum of Contemporary Art\, San Diego\; National Gallery o f Art\, Washington\, DC\; Orange County Museum of Art\, Newport Beach\; Vir ginia Museum of Fine Art\, Richmond\; Roswell Museum and Art Center\, NM\; Sammlung Goetz\, Munich\; Solomon R. Guggenheim Museum\, New York\; and Ulr ich Museum of Art\, Wichita\, KS\, among others. Recent solo institutional exhibitions include &ldquo\;David Reed - You look good in blue\,&rdquo\; Ku nstmuseum St. Gallen\, Switzerland (2001\, traveled to Kunstverein Hannover \, Germany)\; &ldquo\;Leave Yourself Behind. Paintings and Special Projects 1967&ndash\;2005\,&rdquo\; Ulrich Museum of Art\, Wichita State University \, KS (2005\, traveled to Roswell Museum and Art Center\, NM\; Luckman Gall ery\, California State University\, Los Angeles)\; &ldquo\;David Reed: Live s of Paintings\,&rdquo\; Douglas F. Cooley Memorial Art Gallery\, Reed Coll ege\, Portland\, OR (2008)\; &ldquo\;David Reed &ndash\; Heart of Glass\, P aintings and Drawings 1967&ndash\;2012\,&rdquo\; Kunstmuseum Bonn\, Germany (2012)\; &ldquo\;The Mirror and The Pool\,&rdquo\; Kunstmuseum Krefeld\, M useum Haus Lange\, Germany (2015)\; &ldquo\;Two by Two: Mary Heilmann &\ ; David Reed\,&rdquo\; Museum fü\;r Gegenwart\, Hamburger Bahnhof\, Ber lin\, Germany (2015)\, and &ldquo\;David Reed: Vice and Reflection &ndash\; An Old Painting\, New Paintings and Animations\,&rdquo\; Pé\;rez Art Museum\, Miami\, FL (2016).

\n LOCATION:Gagosian Gallery - 980 Madison Ave.\,980 Madison Ave. \nNew York\, NY 10075 SUMMARY:Painting Paintings (David Reed) 1975\, David Reed END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435963 DTSTART:20170117T180000 DTEND:20170117T200000 LOCATION:Gagosian Gallery - 980 Madison Ave.\,980 Madison Ave. \nNew York\, NY 10075 SUMMARY:Painting Paintings (David Reed) 1975 END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435969 DTSTART:20170112T000000 DTEND:20170304T000000 DESCRIPTION:

Alexander and Bonin is pleased to announce the opening of four solo exhibitions of the work of Jo rge Macchi\, Rita McBride\, Pau l Thek\, and Jonathas de Andrade on Thursda y\, January 12\, 2017.

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Premium New Markers \, a series of sculptures by Rita McBride will be shown in the entrance gallery . The works are inspired by Joseph B euys'\; 7\,000 Oaks project\, inaugurat ed in 1982 at Documenta 7. Beuys &rsquo\; plan called for the planting of 7\,000 trees\, each paired with a basalt marker. Sixteen of these tree/ marker pairs can be found on West 22n d Street\, close to DIA Chelsea. Deriving their shape from those basalt tot ems\, McBride'\;s Premium New Markers are clad in Abet laminate \, a material emblematic of post -modern architecture and design of the 198 0s. With an eye trained on modern objects and architecture\, McBride&rsquo\ ;s sculptures toy with the formalism and functionalism of public structures and their oft-overlooked role as mainstays in public space.

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For press inquiries contact Laura Braverman at 21 2 367 7474 or lb@alexanderandbonin.com

\n LOCATION:Alexander and Bonin\,132 10th Ave. between 18th and 19th streets i n Chelsea\nNew York \, NY 10011 SUMMARY:Premium New Markers\, Rita McBride END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435970 DTSTART:20170112T180000 DTEND:20170112T200000 LOCATION:Alexander and Bonin\,132 10th Ave. between 18th and 19th streets i n Chelsea\nNew York \, NY 10011 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435971 DTSTART:20170112T000000 DTEND:20170304T000000 DESCRIPTION:

Alexander and Bonin is pleased to announce the opening of four solo exhibitions of the work of Jo rge Macchi\, Rita McBride\, Pau l Thek\, and Jonathas de Andrade on Thursda y\, January 12\, 2017.

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Eye of t he Beholder\, an exhibition of works on paper and small paintings by < strong>Paul Thek includes a pencil triptych executed in 1970 while he was living and working in Amsterdam. The three pages are filled with ro ws of vertical marks with a tender drawing of a lamb in the center \, which points to Thek&rsquo\;s continued engagement with Christian iconography an d Dutch Baroque painting . The exhibition title is taken from a turquoise w atercolor which was included in Thek&rsquo\;s final lifetime installation\n\n

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For press inquiries contact Laura Braverman at 212 367 7474 or lb@alexanderandbonin.com

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\n LOCATION:Alexander and Bonin\,132 10th Ave. between 18th and 19th streets i n Chelsea\nNew York \, NY 10011 SUMMARY:Eye of the Beholder\, Paul Thek END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435972 DTSTART:20170112T180000 DTEND:20170112T200000 LOCATION:Alexander and Bonin\,132 10th Ave. between 18th and 19th streets i n Chelsea\nNew York \, NY 10011 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435973 DTSTART:20170112T000000 DTEND:20170304T000000 DESCRIPTION:

Alexander and Bonin is pleased to announce the opening of four solo exhibitions of the work of Jo rge Macchi\, Rita McBride\, Pau l Thek\, and Jonathas de Andrade on Thursda y\, January 12\, 2017.

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Jorg e Macchi is considered one of Argentina&rsquo\;s leading artists. Although Macchi has worked in a wide range of mediums from installation\, s culpture\, and works on paper to video and performance art\, he has recentl y directed his efforts to painting\, the discipline in which he was initial ly trained. The exhibition at Alexander and Bonin includes ten oil painting s made over the past three years. Departing from the ordinary and coinciden tal\, his paintings alter scale and context\, employing a system of layered visual complications and interruptions that offers a sensorial\, disconcer ting\, and contemplative experience. Macchi&rsquo\;s paintings have been te rmed &ldquo\;anti-iconic&rdquo\;1 by curator and art historian C uauhté\;moc Medina\, in that they seek to escape an overcoded\, predi ctable interpretation of the medium and move toward an understanding of pai nting tied to individual experience and ambiguity.

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Premium New Markers \, a series of sculptures by Rita McBride will be shown in the entrance gallery . The wo rks are inspired by Joseph Beuys'\; 7\,000 Oaks project\, inaugurat ed i n 1982 at Documenta 7. Beuys&rsquo\; plan called for the planting of 7\,000 trees\, each paired with a basalt marker. Sixteen of these tree/ marker pa irs can be found on West 22nd Street\, close to DIA Chelsea. Deriving their shape from those basalt totems\, McBride'\;s Premium New Markers are clad in Abet laminate\, a material emblematic of post -modern archit ecture and design of the 1980s. With an eye trained on modern objects and a rchitecture\, McBride&rsquo\;s sculptures toy with the formalism and functi onalism of public structures and their oft-overlooked role as mainstays in public space.

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Eye of the Behold er\, an exhibition of works on paper and small paintings by Pa ul Thek includes a pencil triptych executed in 1970 while he was l iving and working in Amsterdam. The three pages are filled with rows of ver tical marks with a tender drawing of a lamb in the center \, which points t o Thek&rsquo\;s continued engagement with Christian iconography and Dutch B aroque painting . The exhibition title is taken from a turquoise watercolor which was included in Thek&rsquo\;s final lifetime installation

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Selected Works 1987-1988 at Brooke A lexander\, New York. In the video gallery is Jonathas de Andrade&rsquo\;s O Caseiro/ The Housekeeper (2016)\, a work constru cted symmetrically in two narratives with synchronized shots. On the left\, Joaquim Pedro de Andrade&rsquo\;s 1959 film\, O Mestre de Apipucos shows t he daily life of Gilberto Freyre in his home in Recife. Freyre is the histo ricist who wrote the remarkable 1933 book Casa Grande e Senzala (The Ma sters and the Slaves). On the right\, Jonathas de Andrade constructs a mirroring of Pedro de Andrade&rsquo\;s film\, substituting Freyre with a f ictional caretaker of the aristocratic residence. The parallel between the two characters establishes a tension that underlines aspects of class and r ace\, two of the main subjects that Freyre dealt with \; in his work.\n\n

For press inquiries contact Laura Br averman at 212 367 7474 or lb@alexanderandbonin.com

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1 Cuauhté\;moc Medina\, &ldquo\;A Renewab le Opacity\,&rdquo\; in Jorge Macchi &ndash\; Prestidigitador (Mexico City: MUAC\, Museo Universitario Arte Contemporá\;neo\, 2014): 18.

\n LOCATION:Alexander and Bonin\,132 10th Ave. between 18th and 19th streets i n Chelsea\nNew York \, NY 10011 SUMMARY:Threshold\, Jorge Macchi END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435974 DTSTART:20170112T180000 DTEND:20170112T200000 LOCATION:Alexander and Bonin\,132 10th Ave. between 18th and 19th streets i n Chelsea\nNew York \, NY 10011 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435983 DTSTART:20170118T000000 DTEND:20170219T000000 DESCRIPTION:

bitforms gallery continues its fifteen-year anniversary season with Vision Instruments\, Bjö \;rn Schü\;lke&rsquo\;s second solo show with the gallery. The exhibiti on presents new works by the artist\, which continue to build upon his uniq ue blend of utopian and dystopian machine aesthetics.

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The works in Vision Instruments recollect the technologi cal inventions in Raumpatrouille Orion\, or Space Patrol Orion \, the first German science fiction television series aired in 1966. I n this imagined future\, the world is without nations. While Earth is unite d\, humans and aliens are at war in space\; the fictional spaceship &ldquo\ ;Orion&rdquo\; flies through the universe at the fastest speed ever achieve d by humans. This idealistic utopianism riddled with Cold War ideology of c onquest and space travel is present throughout Schü\;lke&rsquo\;s oeuvr e\, no less the works comprising Vision Instruments.

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Beam emitting engines\, fantastical drones\, mir ror machines&ndash\;&ndash\;these are some of Schü\;lke&rsquo\;s &ldquo \;vision instruments\,&rdquo\; as described by the artist. Employing materi als and methods more typical to industrial design than sculpture\, the work s are pseudo-scientific tools made with outright precision\, yet entirely f utile in function. At the same time\, the works build upon a tradition of o pen form sculpture\, augmented with mechanical and electronic components su ch as solar panels\, infrared surveillance devices\, and air propulsion mec hanisms.

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The sculptures are highly synthetic devices that take on anthropomorphic qualities. As the works coll ect energy from their surrounding environment\, propellers unexpectedly spi n or arm-like protrusions extend and recoil for no apparent reason. Def ender\, a kinetic sound sculpture\, orbits around itself. Intentionall y elusive\, we may ask what this technological contraption is defending: us or itself?

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Bjö\;rn Schü\;l ke (b. 1967\, Cologne\, Germany) is a sculptor\, whose works are a unique b lend of utopian and dystopian machinic visions. His works are scientificall y investigative\, operable yet non-functioning flying machines\, solar cont raptions\, and vision instruments. Referencing Leonardo da Vinci&rsquo\;s e ngineering inventions\, the Russian avant-garde\, and popular science ficti on\, his kinetic\, open form sculptures are imaginative apparatuses\, gestu ring toward an unknown future. Recent exhibitions of his work include Minne sota Street Project\, San Francisco\, CA\; Boghossian Foundation &ndash\; V illa Empain\, Brussels\, Belgium\; National Art Musem\, Beijing\, China\; B orusan Contemporary\, Istanbul\, Turkey\; Telfair Museum of Arts\, Savannah \, GA\; Museum Villa Rot\, Burgrieden\, Germany\; KulturBahnhof\, Kassel\, Germany\; Circulo de Bellas Artes\, Madrid\, Spain\; Verbeke Foundation\, S tekene\, Belgium\; Neue Gesellschaft fü\;r Bildende Kunst\, Berlin\, Ge rmany\; and the Biennale of Electronic Arts\, Perth\, Australia. Schü\; lke holds a postgraduate diploma from the Academy of Media Art (KHM) in Col ogne\, Germany.

\n LOCATION:bitforms gallery\,131 Allen Street \nNew York\, NY 10002 SUMMARY:Vision Instruments\, Bjorn Schulke END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435984 DTSTART:20170118T180000 DTEND:20170118T200000 LOCATION:bitforms gallery\,131 Allen Street \nNew York\, NY 10002 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435984 DTSTART:20170118T180000 DTEND:20170118T200000 LOCATION:bitforms gallery\,131 Allen Street \nNew York\, NY 10002 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435985 DTSTART:20170112T000000 DTEND:20170218T000000 DESCRIPTION:

Bortolami is pleased to announ ce Ivan Morley&rsquo\;s second exhibition at the gallery. The exhibition wi ll present his new works as well as a selection of earlier paintings\, prov iding an overview of the Los Angeles-based artist&rsquo\;s distinct bodies of works.

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Morley&rsquo\;s embroider ies\, paintings\, and works on glass are uniquely American. They come from a tradition of West Coast American painting that developed a distinct visua l language of its own\, generated as a countercurrent to European tradition s. Like Jim Shaw\, Mike Kelley\, and Paul McCarthy\, Morley&rsquo\;s oeuvre is fueled by Americana. These artists draw from a wide range of sources: c omic book culture\, punk and altrock music\, and 1970s psychedelia. These r eferences\, piled atop each other\, take part in so-called &ldquo\;clusterf uck aesthetics\,&rdquo\; juxtaposing pop imagery with emblems of varied Ame rican subcultures. Rat Fink\, Kustom Kulture\, African masks as tourist tch otchkes\, Indonesian-inspired batiked tapestries that adorn college dorm ro oms\, and pot smoke&rsquo\;s purple haze. These visual touchpoints emphasiz e this country&rsquo\;s counter-cultural heritage as folkloric fodder.

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The specific narratives that Morley ref erences\; A True Tale and Tehachepi\, (sic)\, refer to an ecdotes that Morley has painted many times over\, culled from memoirs of th e old west. The stories recount southern California in its nascency\; the f ormer involving an entrepreneur who made a fortune shipping cats to a ratin fested city\, and the latter about native family life in a town where the w ind was so strong it could alter the trajectory of a bullet. But the precis e subject\, origin\, or narrative of each tale is hardly the point. Rather\ , he renders visual elements along each story&rsquo\;s periphery\, allowing a single detail to shift and mutate via paint and thread.

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Certain motifs in Morley&rsquo\;s paintings\; like paint drips\, wooden planks\, and bullet holes\, &ldquo\;morph and migrate from piece to piece and from narrative to narrative\, problematizing the is sue of meaning and drawing attention to the power of context.&rdquo\;1 As a result\, those original stories fall apart\, just as repeating a word over and over causes it to lose its meaning. By keeping the subject matter cons istent\, by continuing to layer upon layer\, one might consider that his pa intings achieve a phenomenon of the present tense rather than retrospection .

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Morley&rsquo\;s elaborate embroid eries accompany his equally elaborate paintings\, which he assembles on lub ricated glass and then peels off in skins\, applying them to panel. These i diosyncratic processes began as his reaction against the restrictions of tr aditional Euro-centric painting methods\, and are now simply an alternative way of rendering equally alternative narratives. Morley&rsquo\;s materials are as much the content of the work as the original stories from which the paintings were born.

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For more info rmation and images\, please contact claire@bortolamigallery.com.

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Ivan Morley (b. 1966 in Burbank\, California) is an artist living and working in Los Angeles. His work has been shown at LAMoCA\, the Museum Abteiberg in Mö\;nchengladbach\, Germany\, and the Kunstsammlung Nordheim-Westfalen in Dü\;sseldorf. Morley attended the School of the Art Institute of Chicago and the Art Center College of Design in Pasadena.

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1 Michael Darling\, < em>Painting in Tongues (The Museum of Contemporary Art\, Los Angeles\, 2006)\, 81.

\n LOCATION:Bortolami Gallery\,520 W 20th Street \nNew York\, NY 10001 SUMMARY:Solo Exhibition\, Ivan Morley END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435987 DTSTART:20170112T180000 DTEND:20170112T200000 LOCATION:Bortolami Gallery\,520 W 20th Street \nNew York\, NY 10001 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435990 DTSTART:20170103T000000 DTEND:20170128T000000 DESCRIPTION:

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\n LOCATION:Bowery Gallery\,530 W. 25 St. 4th Floor \nNew York\, NY 10001 SUMMARY:Recent Paintings\, John Goodrich END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435993 DTSTART:20170105T000000 DTEND:20170211T000000 DESCRIPTION:
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Cheim & \; Read is pleased to present Louise Bourgeois: Holograms\, the fi rst exhibition devoted exclusively to this little-known aspect of the artis t&rsquo\;s long\, groundbreaking career.

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In 1998 Bourgeois was approached by C-Project\, a New York-based fine arts holographic studio (the C stands for the speed of light) dedicated to exploring the creative potential of three-dimensional photographs through the talents of top-flight painters and sculptors. The plates from Bourgeois &rsquo\; resulting suite of eight holograms will be on display at the galle ry from January 5 to February 11\, 2017.

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The dream imagery conjured by Bourgeois for this new art form is in k eeping with the probing psychodynamics of her widely admired sculptures\, d rawings\, and prints\, but the intimate confines of the hologram seem to ha ve tapped into a particular strain of theatrical freedom. Within these self -contained universes\, each measuring approximately 11 x 14 inches\, she pi eced together a cast of motley\, emotionally resonate entities&mdash\;minia ture chairs\, a bell jar\, a pair of lovers (indicated by disembodied feet on a doll-house-size bed)&mdash\;that combine the incipient dread and satir ical playfulness that marks much of her work.

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The holographic image is created by laser beams that record the light field reflected from an object\, burning it onto a plate of glass. Th e image is scaled at a one-to-one correspondence with the original material \, so that peering at these works conveys the sensation of looking at an ac tual assemblage by Bourgeois\, but at an eerie remove.

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One of the most striking aspects of these works is thei r color\, a saturated red that recalls the illumination of an old-fashioned darkroom. While it fits the content perfectly\, Bourgeois&rsquo\; use of t his shade of red is actually the result of a materials-based decision. Holo grams are glass plates that appear black until they come to life when struc k by light at a particular angle. Depending on the way the glass plate is o riginally encoded\, the hologram will have a base color of red or blue. The master plates for Bourgeois&rsquo\; editions are red\, and it was her inte ntion not to tamper with the purity of the diffracted light carrying the im age to the viewer&rsquo\;s eye. The dazzling clarity inherent to the proces s\, which allows for close scrutiny of such details as the threads dangling from the bottoms of chairs and the light reflected off the surface of the bell jar\, elicits both childlike wonderment and a Beckettian sense of slap stick horror.

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Louise Bourgeois was born in Paris in 1911 and lived in New York from 1938 until her death in 20 10. She was named Officer of the Order of Arts and Letters by the French mi nister of culture in 1983. Other honors included the Grand Prix National de Sculpture from the French government in 1991\; the National Medal of Arts\ , presented to her by President Bill Clinton in 1997\; the first lifetime a chievement award from the International Sculpture Center in Washington D.C. \; and election as a fellow of the American Academy of Arts and Sciences. I n 1993 she was chosen to represent the United States at the Venice Biennale . Her work appears in the most important museum collections worldwide and h as been the subject of several major traveling retrospectives organized by the Tate Modern\, London\; Centre Georges Pompidou\, Paris\; The Brooklyn M useum\; and The Kunstverein\, Frankfurt.

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\n LOCATION:Cheim & Read\,547 West 25th St \nNew York\, NY 10001 SUMMARY:Holograms\, Louise Bourgeois END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435994 DTSTART:20170105T180000 DTEND:20170105T200000 LOCATION:Cheim & Read\,547 West 25th St \nNew York\, NY 10001 SUMMARY:Holograms END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435995 DTSTART:20170105T000000 DTEND:20170211T000000 DESCRIPTION:
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Cheim & \; Read is pleased to present Tal R: Keyhole\, an exhibition of re cent paintings and drawings by the Copenhagen-based artist. The show will o pen on January 5\, 2017\, and continue through February 11. This is the thi rd solo exhibition of Tal R&rsquo\;s work at the gallery.

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Several years ago\, Tal R put out a request to his f riends and acquaintances to send him photographs of storefront faç\;a des in the red light districts of their cities\, or that they saw in their travels. He also took many photos himself. From these images he developed t he group of artworks that comprise Keyhole\, a title he chose for its implications of voyeurism and concealment.

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The drawings\, dating between 2014 and 2016\, are done in crayo n and gouache on paper that is frequently painted or patinated. They are no t studies for the paintings despite their similarity in image and tone&mdas h\;whimsically rendered frontal views of sex shops\, massage parlors\, stri p clubs\, gay bars\, erotic theaters\, and brothels&mdash\;but constitute a separate body of work. (There are drawings that correspond to the subjects of the paintings selected for the show\, but they are purposefully not inc luded here.)

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The paintings\, all co mpleted in 2016\, are executed in pigment suspended in rabbit skin glue\, a medium that Tal R has been exploring over a number of years for its freshn ess\, immediacy\, and delicacy of touch. If the series&rsquo\; subject matt er is clearly spelled out in the titles of drawings such as &ldquo\;Love Sh op&rdquo\; and &ldquo\;Book XXX\,&rdquo\; or a painting like &ldquo\;Sex Pa lace\,&rdquo\; in many others&mdash\;&ldquo\;House 44\,&rdquo\; &ldquo\;L&r squo\;Evasion\,&rdquo\; &ldquo\;Naples\,&rdquo\; and &ldquo\;Snow&rdquo\; ( the incongruous name for a sex shop on the beach in Tel Aviv)&mdash\; there is no outward indication of the storefront&rsquo\;s purpose.
\nThe ar tist&rsquo\;s methods of indirection are even more explicit in &ldquo\;Caba ret&rdquo\; and &ldquo\;Cabaret Closed\,&rdquo\; in which the theater&rsquo \;s faç\;ade in the latter version is hidden behind a rollup security door painted in bands of dusky pink and yellow\, turning the imagery virtu ally abstract&mdash\;a graphic exercise of what the curator Marie Nipper ca lls his &ldquo\;constant probing of the borderline between the motif and it s dissolution.&rdquo\;

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Tal R approa ches his subject matter non-judgmentally\, seeing the faç\;ades not a s conduits for sexual gratification but as metaphors of painting\, in which what is presented to the eye succeeds only if it activates the imagination \, tantalizing viewers with what is in the &ldquo\;back room\,&rdquo\; as t he artist calls it\, the realm that will forever remain unseen and unknown.

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&ldquo\;I should be unsure of what is in the back room\,&rdquo\; he says\, &ldquo\;I should not be controllin g the symbols.&rdquo\; Put another way\, he wants to entice viewers into a place of heightened anticipation\, where their &ldquo\;ice cream melts fast er than they can eat it.&rdquo\;

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Ta l R was born in Tel Aviv in 1967 and currently lives and works in Copenhage n. Between 2005 and 2014\, he held a Professorship at Kunstakademie Düssel dorf. His most recent solo exhibitions include: Institut für Modern Künst \, Nürnberg (2016)\; Cheim &\; Read\, New York (2012\, 2015)\; Contempo rary Fine Arts\, Berlin (2015\, 2016)\; Sommer Contemporary Art\, Tel Aviv (2011\, 2015)\; Stä\;dtische Galerie Wolfsburg\, Germany (2013)\; Pinak othek der Moderne\, Munich (2013)\; ARoS Aarhus Kunstmuseum\, Å\;rhus\ , Denmark (2013)\; Kunsthalle Düsseldorf (2012) Museu Brasileiro da Escult ura\, Sã\;o Paolo (2012)\, Galerie im Taxispalais\, Innsbruck (2012)\ ; Bonnefanten Museum\, Maastricht (2008)\; Camden Arts Centre\, London (200 8)\; Louisiana Museum for Moderne Kunst\, Denmark (2007)\; and Kunsthalle M annheim (2007).

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\n LOCATION:Cheim & Read\,547 West 25th St \nNew York\, NY 10001 SUMMARY:Keyhole\, Tal R END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:435996 DTSTART:20170105T180000 DTEND:20170105T200000 LOCATION:Cheim & Read\,547 West 25th St \nNew York\, NY 10001 SUMMARY:Keyhole END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:436833 DTSTART:20170110T000000 DTEND:20170218T000000 DESCRIPTION:

Jane Lombard Gallery is pleased to present Material Conn ections\, a winter group show featuring a select group of artists of v aried cultural backgrounds who are redefining the universal medium of texti le or non traditional materials\, to explore socio-political issues such as race\, gender\, historic identity\, consumerism and the environment.

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Ghanaian artist Serge Attukwei Clottey identifies his practice as Afrogallonism\, a term he coined to describe his work with the ubiquitous yellow plastic jerry can. Introduced to Ghana during W orld War II as gasoline containers\, the cans have been repurposed for hold ing water\, in the face of an ongoing Ghanaian water crisis\, becoming a so urce of both life and environmental pollution. Clottey uses these cans to e xamine narratives of consumption\, displacement\, migration\, colonialism\, and Africa&rsquo\;s place in the highly globalized world of the 21st centu ry. By transforming the yellow plastic into tapestries\, masks\, and sculpt ures\, Clottey engages with contemporary politics and pushes &ldquo\;back t o the West what they left behind.&rdquo\;

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For Shezad Dawo od\, textiles form a key element in his multi-disciplinary practic e\, serving as both stand-alone works and as formal research for later film s\, paintings\, performances\, and sculptures. Sourcing from his own divers e heritage of India\, Pakistan and Britain\, Dawood explores the recurrence of pattern\, forms\, and meanings across borders\, both geopolitical and i deological. Dawood uses vintage textiles fabricated by nomadic Pakistani we avers in the 1970s. By working within and around the textiles&rsquo\; pre-e xisting narratives\, Dawood examines the dialogues generated by trade\, col onization\, and globalization\, and questions the established binaries betw een cultures.

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Syrian-American artist Christine Gedeon uses a sewing machine\, fabric and paint on raw canvas to create impr ovisational stitched &lsquo\;plots&rsquo\; that toe the line between abstra ction and landscape. Examining issues of the urban environment\, cartograph y\, and urban planning\, Gedeon investigates how humans interact with each other and our built environment to form relationships\, narratives\, and id entities. The destruction of buildings and monuments - whether by war\, nat ural disaster\, or urban planning - contributes to the destruction of the i dentities of its residents. Any subsequent rebuilding\, whether exact repli cation or modern reconstruction\, can only serve as a utopic tool to suppre ss memory. Gedeon&rsquo\;s stitched works suggest an unfamiliar\, impossibl e space that questions the viewer&rsquo\;s relationship to the external wor ld\, creating an &ldquo\;unreality based on a utopian inspired ideal.&rdquo \;

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Kyungah Ham&rsquo\;s ongoing conceptual &ldqu o\;Embroidery Project\,&rdquo\; has been bridging the conflicted gap betwee n North and South Korea through the idea of secret collaboration with North Korean women artisans. Ham designed a complicated and often dangerous proc ess where intermediaries smuggled her designs to the North Korean textile w orkers who would fabricate the intricate embroideries. However\, these secr et works were eventually confiscated\, while Ham recreated their South Kore an counterparts through machine embroidery. Ham envisions these designs as subtle &ldquo\;propaganda handbills&rdquo\;\, inviting the embroiderers to question their meaning and intent. In her most recent Abstract Weave/Mo rris Louis Series\, Ham combines the sanctioned practice of embroidery with that of forbidden art historical abstraction\, additionally interweav ing text from news articles and poems into the design. Ham&rsquo\;s clandes tine collaborations and her deliberate manipulation of cross-border systems critiques the repressive division of the Korean peninsula in a delicate an d intricate gesture of defiance.

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As a self-described griot &ndash\; a West African keeper and transmitter of the genealogies of a p eople\, Los Angeles-based textile artist Karen Hampton exp lores the historical memory of her ancestral heritage through the medium of cloth. Whether in handwoven and aged linens or digitally printed fabrics\, the material references the displacement and transience generated by diasp ora\, creating a continued narrative of identity and internal struggle.

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Eko Nugroho emerged in the period of upheaval and r eform following the reign of President Haji Muhammad Suharto as part of the socially-minded artists of the &ldquo\;2000 Generation.&rdquo\; Nugroho ex plores the use of manual embroidery within local communities\, who continue to utilize foot pedal machines in the face of digital automation\, and oth er traditional techniques such as wayang kulit (shadow puppets) an d batik\, in order to re-contextualize these traditional methods in the rea lm of contemporary art. Nugroho combines the influence of Indonesian craft with elements of street art\, graffiti\, and comics\, working in mediums ra nging from drawing to installation to performance\, generating a subversive mix of tradition and pop.

\n LOCATION:Jane Lombard Gallery\,518 West 19th Street \nNew York\, NY 10011 SUMMARY:Material Connections\, Serge Attukwei Clottey\, Shezad Dawood\, Chr istine Gedeon\, Kyungah Ham\, Karen Hampton\, Eko Nugroho END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:436834 DTSTART:20170110T180000 DTEND:20170110T200000 LOCATION:Jane Lombard Gallery\,518 West 19th Street \nNew York\, NY 10011 SUMMARY:Material Connections END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:436962 DTSTART:20170112T000000 DTEND:20170304T000000 DESCRIPTION:

Alexander and Bonin is pleased to announce the opening of four solo exhibitions of the work of Jo rge Macchi\, Rita McBride\, Pau l Thek\, and Jonathas de Andrade on Thursday\, January 12\, 2017.

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Selected Works 1987-1988 at Bro oke Alexander\, New York. In the video gallery is Jonathas de Andra de&rsquo\;s O Caseiro/ The Housekeeper (2016)\, a work co nstructed symmetrically in two narratives with synchronized shots. On the l eft\, Joaquim Pedro de Andrade&rsquo\;s 1959 film\, O Mestre de Apipucos sh ows the daily life of Gilberto Freyre in his home in Recife. Freyre is the historicist who wrote the remarkable 1933 book Casa Grande e Senzala (T he Masters and the Slaves). On the right\, Jonathas de Andrade constru cts a mirroring of Pedro de Andrade&rsquo\;s film\, substituting Freyre wit h a fictional caretaker of the aristocratic residence. The parallel between the two characters establishes a tension that underlines aspects of class and race\, two of the main subjects that Freyre dealt with \; in his wo rk.

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For press inquiries contact Lau ra Braverman at 212 367 7474 or lb@alexanderandbonin.com

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\n LOCATION:Alexander and Bonin\,132 10th Ave. between 18th and 19th streets i n Chelsea\nNew York \, NY 10011 SUMMARY:O Caseiro/ The Housekeeper\, Jonathas de Andrade END:VEVENT BEGIN:VEVENT DTSTAMP:20170118T184351Z UID:436963 DTSTART:20170112T180000 DTEND:20170112T200000 LOCATION:Alexander and Bonin\,132 10th Ave. between 18th and 19th streets i n Chelsea\nNew York \, NY 10011 SUMMARY:O Caseiro/ The Housekeeper END:VEVENT END:VCALENDAR