BEGIN:VCALENDAR VERSION:2.0 PRODID:icalendar-ruby CALSCALE:GREGORIAN BEGIN:VEVENT DTSTAMP:20170922T063734Z UID:61707 DTSTART:20030411T000000 DTEND:20351231T000000 DESCRIPTION:

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

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

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

LOCATION:The Jewish Museum\,1109 Fifth Avenue (at 92nd Street) \nNew York\, NY 10128 SUMMARY:Culture and Continuity (Permanent Exhibition) END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063734Z UID:66390 DTSTART:20090817T000000 DTEND:20200817T000000 DESCRIPTION:

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

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

LOCATION:ARTBREAK\,3956 YONKERS \nNEW YORK\, NY 08574 SUMMARY:RO-SEY\, WM ROSE END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:66391 DTSTART:20090817T180000 DTEND:20090817T200000 LOCATION:ARTBREAK\,3956 YONKERS \nNEW YORK\, NY 08574 SUMMARY:RO-SEY\, WM ROSE END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:155306 DTSTART:20130919T000000 DTEND:20340106T000000 DESCRIPTION:

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

LOCATION:PETER BORGESE MODERN ART GALLERY\,24 Cedar Road \nRingwood\, N.J. 07456 SUMMARY:PETER BORGESE MODERN ART GALLERY\, Peter Borgese END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:155307 DTSTART:20130919T100000 DTEND:20130919T200000 LOCATION:PETER BORGESE MODERN ART GALLERY\,24 Cedar Road \nRingwood\, N.J. 07456 SUMMARY:PETER BORGESE MODERN ART GALLERY\, Peter Borgese END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:174283 DTSTART:20110815T000000 DTEND:20201020T000000 DESCRIPTION:

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

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

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

LOCATION:Housatonic Museum of Art\,900 Lafayette Blvd. \nBridgeport \, Conn ecticut 06604 SUMMARY:Polaridad Complementaria: Recent Works from Cuba END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:184068 DTSTART:20111010T180000 DTEND:20111010T200000 LOCATION:Housatonic Museum of Art\,900 Lafayette Blvd. \nBridgeport \, Conn ecticut 06604 SUMMARY:Polaridad Complementaria: Recent Works from Cuba END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:276213 DTSTART:20130501T000000 DTEND:20230101T000000 DESCRIPTION:

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

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

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

LOCATION:The James Hotel\,27 Grand Street \nNew York\, NY 10013 SUMMARY:Ghost Acre - painting for the pillar in the garden\, Molly Dilworth END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:276214 DTSTART:20130501T180000 DTEND:20130501T200000 LOCATION:The James Hotel\,27 Grand Street \nNew York\, NY 10013 SUMMARY:Ghost Acre - painting for the pillar in the garden\, Molly Dilworth END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:310997 DTSTART:20131109T000000 DTEND:20231109T000000 DESCRIPTION:

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

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

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

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

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

LOCATION:Queens Museum of Art\,Flushing Meadows Corona Park Meridian Rd.\nF lushing\, NY 11368 SUMMARY:World’s Fair Visible Storage END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:316886 DTSTART:20130929T000000 DTEND:20281201T000000 DESCRIPTION:

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

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

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

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

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

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

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

LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:Solo Exhibition\, Anselm Kiefer END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:316887 DTSTART:20130928T000000 DTEND:20281201T000000 DESCRIPTION:

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

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

\n

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

\n

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

\n

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

\n

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

\n

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

LOCATION:MASS MoCA\, North Adams\, MA\,1040 MASS MoCA Way \nNorth Adams\, M A 01247 SUMMARY:Anselm Kiefer END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:317081 DTSTART:20101023T000000 DTEND:20201031T000000 DESCRIPTION:

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

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

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

LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:all utopias fell\, Michael Oatman END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:415399 DTSTART:20160314T000000 DTEND:20190411T000000 DESCRIPTION:

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

LOCATION:Dream Hotel - Midtown\,210 w 55th Street \nNew York\, NY 10019 SUMMARY:Wilderness 11\, Britannie Bond END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:415400 DTSTART:20160314T180000 DTEND:20160314T200000 LOCATION:Dream Hotel - Midtown\,210 w 55th Street \nNew York\, NY 10019 SUMMARY:Wilderness 11\, Britannie Bond END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:421933 DTSTART:20160922T000000 DTEND:20170925T000000 DESCRIPTION:

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

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

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

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

\n LOCATION:Neue Galerie Museum for German and Austrian Art\,1048 Fifth Avenue \nNew York\, NY 10028 SUMMARY:Austrian Masterworks from the Neue Galerie New York END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:421934 DTSTART:20160922T110000 DTEND:20160922T180000 LOCATION:Neue Galerie Museum for German and Austrian Art\,1048 Fifth Avenue \nNew York\, NY 10028 SUMMARY:Masterworks of the Neue Galerie END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:427402 DTSTART:20160410T000000 DTEND:20180430T000000 DESCRIPTION:

Austrian immigrants Dr. Egon N eustadt and his wife Hildegard were among the earliest collectors of works by famed American artist Louis C. Tiffany (1848-1933) and they played a cri tical role in reviving interest in Tiffany&rsquo\;s lamps in the mid-twenti eth century. In 1935\, newly married and living in Flushing\, Queens\, the Neustadts purchased their first Tiffany lamp &ndash\; a small Daffodil\, fo r the incredible price of $12.50 &ndash\; from a secondhand shop in Greenwi ch Village. Tiffany&rsquo\;s work was decidedly unfashionable at this time\ ; indeed\, Louis C. Tiffany died in 1933 and his Tiffany Studios would decl are bankruptcy in 1937. But the Neustadts\, undeterred by the current disin terest in Tiffany lamps\, were struck by the beauty of the colorful glass a nd enchanted that the shade had been made by an artist from the beloved cou ntry they now called home. Over the course of the next fifty years\, their collection grew to include more than 200 lamps of all shapes\, sizes\, and designs. It remains today the largest and most comprehensive lamp collectio n ever assembled.

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A Passion for T iffany Lamps \;highlights the extraordinary scope of the Neustadts &rsquo\; collection. Examples of Tiffany&rsquo\;s most iconic lamps &ndash\ ; the \;Wisteria \;and \;Dragonfly \;&nda sh\; will be on view\, along with unusual lamps produced in limited number\ , such as the \;Pond Lily \;globe and \;Peacock \;hanging shade.

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In 1995\, The Neustadt partnered with the Queens Museum to share its collection with the New York metropolitan area through a permanent Tiffany gallery and educati onal programming. This partnership has special significance because Tiffany &rsquo\;s glass furnace\, bronze foundry\, and workshops were located in Co rona\, Queens\, less than two miles from the Museum.

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A Passion for Tiffany Lamps \;is organized by The \;Neustadt \;Collection of Tiffany Glass

LOCATION:Queens Museum of Art\,Flushing Meadows Corona Park Meridian Rd.\nF lushing\, NY 11368 SUMMARY:A Passion for Tiffany Lamps END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:429552 DTSTART:20161220T000000 DTEND:20180708T000000 DESCRIPTION:

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

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

\n LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SUMMARY:Masterpieces from the Asia Society Museum Collection END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:429553 DTSTART:20161220T110000 DTEND:20161220T180000 LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SUMMARY:Masterpieces from the Asia Society Museum Collection END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:433237 DTSTART:20170804T000000 DTEND:20170930T000000 DESCRIPTION:

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

\n LOCATION:Ink Shop Printmaking Center & Olive Branch Press\,330 E. MLK Jr. S t. 2nd Floor\nIthaca\, NY 14850 SUMMARY:Hideout\, Andrew Kosten END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:433238 DTSTART:20161111T170000 DTEND:20161111T200000 LOCATION:Ink Shop Printmaking Center & Olive Branch Press\,330 E. MLK Jr. S t. 2nd Floor\nIthaca\, NY 14850 SUMMARY:Hideout END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:433239 DTSTART:20170804T000000 DTEND:20170930T000000 DESCRIPTION:

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

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

\n LOCATION:Ink Shop Printmaking Center & Olive Branch Press\,330 E. MLK Jr. S t. 2nd Floor\nIthaca\, NY 14850 SUMMARY:Muse\, Anna Pausch END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:433240 DTSTART:20161111T170000 DTEND:20161111T200000 LOCATION:Ink Shop Printmaking Center & Olive Branch Press\,330 E. MLK Jr. S t. 2nd Floor\nIthaca\, NY 14850 SUMMARY:Muse END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:437214 DTSTART:20160827T000000 DTEND:20180107T000000 DESCRIPTION:

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

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

\n LOCATION:Grounds For Sculpture\,18 Fairgrounds Road (mailing address) 126 S culptors Way (GPS location)\nHamilton\, New Jersey 08619 SUMMARY:Wind\, Water\, Stone\, Elyn Zimmerman END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:438424 DTSTART:20161001T000000 DTEND:20171001T000000 DESCRIPTION: LOCATION:Kalib & Kalib\,20 West 72nd Street \nNew York\, NY US SUMMARY:Works by Benna Holden END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:438727 DTSTART:20170202T000000 DTEND:20171202T000000 DESCRIPTION:

RECEPTION 2/3 Fri Group Exhibition: Beginning

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T ittle: Beginning

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Part icipating Artists &\; Biography

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Ai Hibino

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

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Akane Nakamura

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Aka ne Nakamura was born in Aichi Japan on 1993.

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

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Risa Mikami< /p>\n\n

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

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

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

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

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Yuri Sakai

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

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

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Exhibition:

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

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12:00PM - 6:00 PM

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Closed on Wednesday

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\n LOCATION:Ouchi Gallery\,170 Tillary St. suite 105\nBrooklyn\, NY 11201 SUMMARY:★RECEPTION 2/3 Fri★ Group Exhibition: Beginning\, Ai Hibino + Akane Nakamura + Risa Mikami + Yuri Sakai END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:438728 DTSTART:20170302T190000 DTEND:20170302T220000 LOCATION:Ouchi Gallery\,170 Tillary St. suite 105\nBrooklyn\, NY 11201 SUMMARY:★RECEPTION 2/3 Fri★ Group Exhibition: Beginning END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:439516 DTSTART:20170502T000000 DTEND:20171102T000000 DESCRIPTION:

EXHIBITION 2/5~2/11

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Art ist: Mari Nishimura

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Biography:

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

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

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

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

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

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

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

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

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Born in Kumamoto Prefecture\, resident in Tokyo

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

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Working as Creative Dir ector/Copywriter at an advertising company

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2014 Solo exhibition at Omotesando Gallery Pamina\, Tokyo

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2015 Solo e xhibition at Hyde Gallery\, Los Angeles

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2015 Solo exhibition at l iveravo  \;Gallery Fukuoka

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2016 Group exhibition at Jadite Ga lleries N.Y.

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

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

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

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2017 E xhibition at Japan Fair\, Berlin

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

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

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Exhibition:< /strong>

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

12:00PM - 6:00 PM

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&nb sp\;

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\n LOCATION:Ouchi Gallery\,170 Tillary St. suite 105\nBrooklyn\, NY 11201 SUMMARY:Art Exhibition\, Mari Nishimura END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:440426 DTSTART:20170301T000000 DTEND:20170924T000000 DESCRIPTION:

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

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

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\n LOCATION:Public Art Fund\,Doris C. Freedman Plaza Central Park\, 60th Stree t & 5th Avenue\nNew York\, NY 10019US SUMMARY:Liz Glynn: Open House\, Liz Glynn END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:440670 DTSTART:20170308T000000 DTEND:20180225T000000 DESCRIPTION:

Featuring more than 25 w orks from the Museum&rsquo\;s collection\, this installation celebrates mus ic through the arts of East and South Asia.  \;Introducing string\, per cussion and wind instruments not found in Western traditions&mdash\;both th e actual musical instruments and images of their sounding will be featured. Prints\, paintings\, ivories and lacquer works from China\, India\, Japan\ , Korea\, Nepal and Tibet reveal disparate dynamic melodic traditions. Thes e visuals will be enhanced by audio and video multimedia&mdash\;a feast for the eyes and ears.

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This ins tallation is part of the Museum&rsquo\;s ongoing conservation efforts which require the rotation of fragile objects within its galleries. Works within Musical Arts of Asia \;can be found throughout the Asian gall eries&mdash\;China\, Japan\, Korea\, Nepal and Tibet&mda sh\;and can be identified by a unique text label.

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Katherine Anne Paul\, Ph.D.\, Curator\, Arts of Asia< /p>\n LOCATION:Newark Museum\,49 Washington Street \nNewark\, New Jersey 07102 SUMMARY:Musical Arts of Asia END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:440671 DTSTART:20170308T120000 DTEND:20170308T170000 LOCATION:Newark Museum\,49 Washington Street \nNewark\, New Jersey 07102 SUMMARY:Musical Arts of Asia END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:441567 DTSTART:20170803T000000 DTEND:20171203T000000 DESCRIPTION:

Yukapon

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Biography :

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

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

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

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

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

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

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

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

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

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

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

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

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mume

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Biography:

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

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

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

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

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

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\n LOCATION:Ouchi Gallery\,170 Tillary St. suite 105\nBrooklyn\, NY 11201 SUMMARY:OPENING RECEPTION 3/7 AT 7pm Yukapon/Can you feel it?~Spits with wi ngs+mume/B3-304\, Yukapon+mume END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:441568 DTSTART:20170703T190000 DTEND:20170703T220000 LOCATION:Ouchi Gallery\,170 Tillary St. suite 105\nBrooklyn\, NY 11201 SUMMARY:OPENING RECEPTION 3/7 AT 7pm Yukapon/Can you feel it?~Spits with wi ngs+mume/B3-304 END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:442067 DTSTART:20170409T000000 DTEND:20170924T000000 DESCRIPTION:
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MoMA PS1 presents Ian Cheng&rsquo\;s (b. 1984) first US museum solo presentation\, featuring the artist&rsquo\;s complete Emissary trilogy (2015&ndash\;17)\, a series of three live simulations dedi cated to the history of cognitive evolution. Using an engine for developing video games\, Emissary is made up of open-ended animations with no fixed o utcome or narrative&mdash\;a format Cheng calls "\;live simulation.&quo t\; These works ask us to imagine technology not as a subordinate reflectio n of our own minds\, but as a tool to model a non-anthropomorphic vision of history and consciousness. The trilogy was recently acquired by The Museum of Modern Art.

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

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

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\n LOCATION:MoMA PS1\,22-25 Jackson Ave \nLong Island City\, NY 11101 SUMMARY:Emissaries\, Ian Cheng END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:442068 DTSTART:20170409T120000 DTEND:20170409T180000 LOCATION:MoMA PS1\,22-25 Jackson Ave \nLong Island City\, NY 11101 SUMMARY:Emissaries END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:442183 DTSTART:20161128T000000 DTEND:20171015T000000 DESCRIPTION:
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Stanley Rosen (b. 1926) came of age as an artist working in clay in the 1950s and 1960s\, a period of time in which craft experienced an exp losion of creative growth in the US. Within this context\, ceramics was tra nsformed from a practice devoted to the production of utilitarian objects t o one that embraced clay as a medium of sculpture. The works on view\, crea ted by Rosen between 1959 and 1967\, are excellent examples of this expansi on of the field of ceramics into the realm of fine art. This new addition t o MAD&rsquo\;s permanent collection complements and deepens the Museum&rsqu o\;s distinctive holdings in mid-century craft.

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

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

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\n LOCATION:Museum of Arts and Design\,2 Columbus Circle \nNew York\, NY 10019 SUMMARY:New Acquisitions: Stanley Rosen\, Stanley Rosen END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:442975 DTSTART:20170317T000000 DTEND:20180103T000000 DESCRIPTION:
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In gallery space devoted to the permanent collection\ , the Guggenheim is showcasing its rich holdings of the work of Constantin Bra ncusi (1876&ndash\;1957). In the early decades of the twentieth century \, Brancusi produced an innovative body of work that altered the trajectory of modern sculpture. During this period\, Brancusi lived and worked in Par is\, then a thriving artistic center where many modernist tenets were being developed and debated. He became an integral part of these conversations b oth through his relationships with other artists\, such as Marcel Duchamp\, Fernand Lé\;ger\, Amedeo Modigliani\, and Henri Rousseau\, and throu gh his own pioneering work. His aspiration to express the essence of his su bjects through simplified forms and his engagement with non&ndash\;Western European artistic traditions led to new stylistic approaches. In addition\, his mode of presentation\, which equally emphasized sculpture and base and in which works were shown in direct relation to one another\, instead of a s independent entities\, introduced new ways of thinking about the nature o f the art object.

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The Solomon R. Gu ggenheim Museum began collecting Brancusi&rsquo\;s work in-depth in the mid -1950s under the leadership of its second director\, James Johnson Sweeney. When Sweeney began his tenure at the museum\, the collection was focused o n nonobjective painting. Sweeney significantly expanded the scope of the in stitution&rsquo\;s holdings\, bringing in other styles and mediums\, partic ularly sculpture. The Guggenheim&rsquo\;s commitment to Brancusi during the se years extended beyond its collecting priorities\, and in 1955 the museum held the first major exhibition of the artist&rsquo\;s work.

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Supported in part by the Romania n Cultural Institute in New York.

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\n LOCATION:Solomon R. Guggenheim Museum\,1071Fifth Ave. \nNew York\, NY 10128 -0173 SUMMARY:Guggenheim Collection: Brancusi\, Constantin Brancusi END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:443418 DTSTART:20170325T000000 DTEND:20170924T000000 DESCRIPTION:

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

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

\n LOCATION:Cooper-Hewitt National Design Museum\,2 East 91st Street \nNew Yor k \, NY 10128 SUMMARY:Process Lab: Citizen Design END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:443419 DTSTART:20170213T000000 DTEND:20170924T000000 DESCRIPTION:

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

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

\n LOCATION:Cooper-Hewitt National Design Museum\,2 East 91st Street \nNew Yor k \, NY 10128 SUMMARY:The World of Radio END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:443488 DTSTART:20160629T000000 DTEND:20171211T000000 DESCRIPTION:

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

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

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

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

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Curated by Elena Pakhoutova

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

\n LOCATION:Rubin Museum of Art\,150 West 17th Street \nNew York\, NY 10011 SUMMARY:Gateway to Himalayan Art END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:443490 DTSTART:20170308T000000 DTEND:20180326T000000 DESCRIPTION:

Masterworks\, a regular ly changing exhibition at the Rubin\, explores major strands in the develop ment of Himalayan art\, covering a period of over one thousand years\, and presents regional artistic traditions in their broad cultural\, geographic\ , historical\, and stylistic contexts. The 2017 iteration of this exhibitio n draws primarily from the Rubin collection and is augmented by a few selec t long-term loans.

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Masterworks is o rganized geographically\, showcasing the diverse regional traditions of wes tern Tibet\, central Tibet\, eastern Tibet\, and Bhutan in relation to the neighboring areas of India\, Kashmir\, Nepal\, China\, and Mongolia. Highli ghts from the exhibition include:

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● A delightfully intimate 13th century Nepalese sculpture of the divine Hind u couple Shiva and Parvati which coveys a decidedly human character

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● A Fearsome 15th century Tibetan painting of Black Hayagriva swirling with hypnotic flames

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● A charming 17th century painting of the Great Indian Spiri tual Adept Virupa\, who stops the sun in its tracks so he can continue drin king\, seated in a rich blue-green landscape

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● A 19th century terracotta sculpture of a local god of the land\ , Kula Kari\, riding his great shaggy yak while cute animals cavort across his mountain

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A special area of the gallery is devoted to an extensive display of all 59 folio of The White Beryl\, a prominent recent acquisition and an exqui sitely illuminated manuscript illustrating the Tibetan system of elemental divination.

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Curated by Karl Debr eczeny

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Support of this exhib ition has been provided by contributors to the 2016 Exhibitions Fund.\n LOCATION:Rubin Museum of Art\,150 West 17th Street \nNew York\, NY 10011 SUMMARY:Masterworks of Himalayan Art END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:443492 DTSTART:20170421T000000 DTEND:20180108T000000 DESCRIPTION:

Displacement\, political trans formation\, new nationalisms\, the tension between urban and rural&mdash\;I ndia of the mid-twentieth century does not sound so distant from the world today. It was a time and place of change\, captured expertly and in great d epth by the pioneering photojournalist Henri Cartier-Bresson (1908&ndash\;2 004).

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In 1947 Cartier-Bresson co-fo unded the internationally renowned cooperative photographic agency Magnum P hotos. Later that same year he undertook his first trip to India as part of a three-year stay in Asia. At the time\, India was undergoing a massive po litical transition\, having gained independence from British colonial rule and been partitioned from Pakistan. In January 1948 Cartier-Bresson travele d to Delhi to meet with one of the key players in that transition\, India&r squo\;s great leader Mahatma Gandhi. It would be one of Gandhi&rsquo\;s fin al meetings before the leader&rsquo\;s assassination at the hands of a Hind u nationalist on January 30.

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The re sulting photos of Gandhi&rsquo\;s last day of life and the events surroundi ng his funeral\, which helped catapult Cartier-Bresson to international fam e\, are part of a selection of 69 photographs from the photographer&rsquo\; s travels to India shared in the exhibition. They reflect his abiding inter est in the people and sites of India\, including some examples of his &ldqu o\;street photography&rdquo\; style that has influenced generations of phot ographers. Together they illustrate a master photographer&rsquo\;s perspect ive on transformative moments in Indian history.

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Curated by Beth Citron

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&ldquo\;Henri Cartier-Bresson: India in Full-Frame&rdquo\; is o rganized by the Rubin Museum of Art in collaboration with Magnum Photos and the Henri Cartier-Bresson Foundation. Generous support is provided by The Robert Mapplethorpe Foundation\, David Solo\, an anonymous donor\, and cont ributors to the 2017 Exhibitions Fund.

\n LOCATION:Rubin Museum of Art\,150 West 17th Street \nNew York\, NY 10011 SUMMARY:India in Full Frame\, Henri Cartier-Bresson END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:443493 DTSTART:20170421T110000 DTEND:20170421T220000 LOCATION:Rubin Museum of Art\,150 West 17th Street \nNew York\, NY 10011 SUMMARY:India in Full Frame END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:443494 DTSTART:20170616T000000 DTEND:20180108T000000 DESCRIPTION:

Learn to listen with your whol e body. Visitors will explore how sound and our sense of hearing shape our daily lives\, our traditions\, our history\, and all of existence. The W orld Is Sound employs sound in new ways to animate and intensify the ex perience of art in the Rubin&rsquo\;s collection. Organized cyclically&mdas h\;from creation to death to rebirth&mdash\;the exhibition explores differe nt dimensions of sound and listening and its many functions in Tibetan Budd hism.

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Featuring work by more than 2 0 artists\, The World Is Sound juxtaposes new site-specific commissi ons and works by prominent contemporary sound artists with historical objec ts from the museum&rsquo\;s collection of Tibetan Buddhist art to encourage reflection on how we listen and to challenge entrenched ways of thinking.< /p>\n\n

The Museum space itself will become an instrument of transformation. The centerpiece of the exhibition is L e Corps Sonore (Sound Body)\, an immersive\, site-specific installation composed for the Rubin Museum&rsquo\;s iconic spiral staircase by the pion eering electronic sound artists É\;liane Radigue\, Laetitia Sonami\, and Bob Bielecki. Ambient drone sounds inspired by Buddhist philosophy are &ldquo\;tuned&rdquo\; to the building\, and will ascend and descend as visi tors wind their way up the staircase. The subtlety and ephemerality of the sounds prepare the listener for understanding a core tenet of Buddhist phil osophy\, where music is a metaphor for change and impermanence. As with the entire exhibition\, Le Corps Sonore invites visitors to slow down a nd consider their bodily engagement with sound\, space\, and their individu al perceptions.

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The exhibition feat ures works by contemporary artists including C. Spencer Yeh\, Christine Sun Kim\, Ernst Karel\, Hildegard Westerkamp\, John Giorno\, Jules Gimbrone\, MSHR\, Nate Wooley\, Pauline Oliveros\, Robert Aiki Aubrey Lowe\, and Samit a Sinha.

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The exhibition also includ es Tibetan Buddhist ritual music from several monasteries in Nepal and Indi a\, the voices of Rubin visitors recorded in the OM Lab (software an d 3D sound design by Terence Caulkins of Arup). Daniel Neumann is Lead Acou stic Designer for the exhibition.

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A n audio tour\, print and online magazine\, and series of public programs wi ll complement the exhibition.

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Curated by Risha Lee

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This exhibition is made possible throug h the generosity of HARMAN. Major support is provided by a grant from the N ational Endowment for the Arts and Rasika and Girish Reddy. The Rubin also thanks Preethi Krishna and Ram Sundaram and contributors to the 2017 Exhibi tions Fund.

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\n LOCATION:Rubin Museum of Art\,150 West 17th Street \nNew York\, NY 10011 SUMMARY:The World Is Sound END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:443495 DTSTART:20170616T110000 DTEND:20170616T220000 LOCATION:Rubin Museum of Art\,150 West 17th Street \nNew York\, NY 10011 SUMMARY:The World Is Sound END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:444243 DTSTART:20170218T000000 DTEND:20180117T000000 DESCRIPTION:

In 2011\, Maine-based photogr apher Tanja Alexia Hollander set out to differentiate the actual from the v irtual by photographing all 626 of her Facebook friends. Since then\, she h as traveled across the globe\, setting up in-person meetings in her friends &rsquo\; homes to discover the ways in which friendship is defined\, and ho w permission is granted into one&rsquo\;s private &mdash\; yet also very pu blic &mdash\; online life. Through this project\, the artist has been able to take the virtual out of friendship.

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What began as a personal documentary on friendship and environmental p ortraiture has turned into an exploration of contemporary culture\, relatio nships\, generosity and compassion\, family structure\, community-building\ , storytelling\, meal-sharing\, the economy and class\, the relationship be tween technology and travel in the 21st century\, social networking\, memor y\, and the history of the portrait. To accomplish this\, Hollander follows in the footsteps of the Farm Security Administration photographers\, such as Walker Evans and Dorothea Lange\, who documented the Great Depression an d the Dust Bowl. She is also informed by Robert Frank&rsquo\;s The Ameri cans\, an iconic book of photography from 1958\, which documents postwa r America. Like these historic photographers\, Hollander has set out to see America and the world. She is recording how society uses photography\, the portrait\, and social media to create and define a 21st-century existence.

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While Hollander has presented segm ents of this working project at galleries and museums throughout the world\ , Are you really my friend? premieres in its entirety at MASS MoCA. Visitors to the museum can expect to find a mix of photographs\, video\, da ta visualization/mining\, travelogue\, and landscape images\, along with an interactive element that asks viewers to define what a real friend means t o them. In the end\, the project\, while rooted in Facebook\, goes beyond t he superficial to explore ideas of interpersonal connections\, travel\, and community in today&rsquo\;s world.

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Find out more about this project.

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Tanja Alexia Hollander was born in St. Louis\, Missouri\, in 1972. She received a B.A. in photography\, film\, and feminist studies from Hampshire College in 1994.  \;Sections of Ar e you really my friend? were recently exhibited at the Portland Museum of Art (Maine)\, Virei Viral (Rio de Janeiro\, Brazil)\, and the Carl-Schu rz-Haus (Freiberg\, Germany). Receiving international media attention for t he project\, Hollander was invited to give a TEDxDirigo talk in 2012 and ha s lectured extensively at Demanio Marittimo.Km-278 (Marzocca\, Italy)\, the University of Maryland\, Clemson University\, SXSW\, and Facebook headquar ters. Hollander is represented by Carroll and Sons in Boston\, Massachusett s. She is currently a resident of Auburn\, Maine.

\n LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:Are you really my friend?\, Tanja Hollander END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:445441 DTSTART:20170608T000000 DTEND:20170923T000000 DESCRIPTION:

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

\n LOCATION:Morris-Jumel Mansion\,65 Jumel Terrace \nNew York\, NY 10032 SUMMARY:Infinite Archive\, Patrick Perry\, Sarah Rowe\, Rachel Sydlowski END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:445442 DTSTART:20170608T180000 DTEND:20170608T200000 LOCATION:Morris-Jumel Mansion\,65 Jumel Terrace \nNew York\, NY 10032 SUMMARY:Infinite Archive END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:446281 DTSTART:20170506T000000 DTEND:20170930T000000 DESCRIPTION:

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

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

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

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

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

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

\n LOCATION:Talwar Gallery - NY\,108 East 16th Street \nNew York\, NY 10003 SUMMARY:Tying down time\, Arpita Singh END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:446507 DTSTART:20170719T000000 DTEND:20171030T000000 DESCRIPTION:

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SUMMERTIME SALON 2017

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The Robin Rice Gallery is pleased to present the annual Summertime S alon\, a photographic exhibition. This year&rsquo\;s opening reception will be held on Wednesday\, July 19th\, from 6 to 8 pm. The show will run throu gh October 30\, 2017.

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For many\, Summertime is a fondness brought on whilst relishing in the lingering mist of the crispy ocean breeze. Each summer\, Rice curates her favorite show\, The Summertime Salon\, and trans ports us to a world where we can delve into this very summer sentiment. Wit h it&rsquo\;s smells\, sounds\, and architecture New York City might redefi ne what we know as a summer&rsquo\;s day\, but Rice\, with her intricate cu ration\, brings our classic understanding of summer to the city.

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The two\, long walls of the gallery are mosaicked\, top to bottom\, and fro m side to side\, and photographs\, are stacked to cover the gallery walls. Each year\, the Summertime Salon matures and Rice&rsquo\;s annual masterpie ce is revealed to showcase an exhibition stronger than the year before. The show is a haven of what the Robin Rice Gallery stands for\, a community of art and experience. This annual exhibition allows for Rice to feature the works of the gallery artists as well as welcome a few newcomers.

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The largest annual exhibition\, the Summertime Salon is carefully pieced to gether\, and the results are always breathtaking. The works of 51 gallery a rtists\, all of whom have an individually distinctive style\, come together to form a cohesive end product. Rice has a close relationship with the wor ks of her photographers\, and strategically curates and layouts out the sho w in a way that enhances each individual work. Details from one image will compliment the one that follows\, until the works become one unit

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This year&rsquo\;s invitational image\, Gralfex by Luciana Pampalone\, fea tures a woman dressed in all white\, shielding herself from the blinding su n with a sunhat\, secured to her head with a polka-dot harness\, while prep aring a vintage Graflex camera to take a picture. The image is generational ly amorphous\, it could be capturing a moment from just yesterday or we cou ld be peeking at an era from the past. The relationship between the viewer and the subject is incredibly intimate\, as if she is preparing to capture a moment beyond our boundaries of vision\, but one that we are immersed in.

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Ted Adams\, Thomas Alleman\, Nenad Amodaj\, Dorothee Brand\, Tod d Burris\, Roger Camp\, Lynda Churilla\, Lance W. Clayton\, Paul Dagys\, Ri chie Fahey\, Stewart Ferebee\, Mindaugas Gabrenas\, Barbara Gentile\, Isabe lla Ginanneschi\, Gladys\, Victoria Goldman\, Sarah Hadley\, Ron Hamad\, Kr isten Hatgi\, Patricia\, Heal\, Benjamin Heller\, Melissa Incampo\, H. Naza n Isik\, Pete Kelly\, Haik Kocharian\, Tanya Arianne Malott\, Everett McCou rt\, Patricia McDonough\, Micheal McLaughlin\, RJ Muna\, Rosanne Olson\, Lu ciana Pampalone\, Brian Pearson\, Bill Phelps\, Jose Picayo\, Lauren Pisano \, Dalton Portella\, Amy Postle\, Leonardo Pucci\, Kim Reierson\, Robin Ric e\, Kevin Ryan\, David Saxe\, Gesi Schilling\, Keith Sharp\, Mark Sink\, Go rdon Stettinius\, Robert Stivers\, Kathryn Szoka\, Ron Tarver\, Silvia Lare o-Vazquez\, Tina West.

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

\n LOCATION:Robin Rice Gallery\,325 West 11th Street \nNew York\, NY 10014-622 3 SUMMARY:Summertime Salon 2017\, Ted Adams\, Thomas Alleman\, Nenad Amodaj\, Dorothee Brand\, Todd Burris\, Roger Camp\, Lynda Churilla\, Lance W. Clay ton\, Paul Dagys\, Richie Fahey\, Stewart Ferebee\, Mindaugas Gabrenas\, Ba rbara Gentile\, ISABELLA GINANNESCHI\, Gladys\, Victoria Goldman\, Sarah Ha dley\, Ron Hamad\, Kristen Hatgi\, Heal\, Benjamin Heller\, Melissa Incampo \, H. Nazan Isik\, Pete Kelly\, Haik Kocharian\, Silvia Lareo-Vazquez\, Tan ya Arianne Malott\, Everett McCourt\, Patricia McDonough\, Micheal McLaughl in\, RJ Muna\, Rosanne Olson\, Luciana Pampalone\, Patricia\, Brian Pearson \, Bill Phelps\, Jose Picayo\, Lauren Pisano\, Dalton Portella\, Amy Postle \, Leonardo Pucci\, Kim Reierson\, Robin Rice\, Kevin Ryan\, David Saxe\, G esi Schilling\, Keith Sharp\, Mark Sink\, Gordon Stettinius\, Robert Stiver s\, Kathryn Szoka\, RON TARVER\, Tina West. END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:446508 DTSTART:20170719T180000 DTEND:20170719T200000 LOCATION:Robin Rice Gallery\,325 West 11th Street \nNew York\, NY 10014-622 3 SUMMARY:Summertime Salon 2017 END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:446842 DTSTART:20170528T000000 DTEND:20180509T000000 DESCRIPTION:

At once poetic and darkly com edic\, Janice Kerbel&rsquo\;s Slip uses graphic musical notation t o imagine the trajectory of a body in mortal peril as it slips on a banana peel. Moving from very small to very large print along an upward curve befo re suddenly crashing downward\, Slip unfolds across more than 100 running feet of wallspace in MASS MoCA&rsquo\;s newly renovated Building 6. The work calls on the history of graphic notation\, physical comedy\, and concrete poetry to create a visual representation of a brief moment across both space and time. Situated just outside of the new galleries devoted to the musical instruments of Gunnar Schonbeck and works by experimental music ian and artist Laurie Anderson\, Slip conflates visual art and mus ical performance &mdash\; cornerstones of MASS MoCA&rsquo\;s program &mdash \; at a grand architectural scale.

\n\n\n LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:Slip\, Janice Kerbel END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:446843 DTSTART:20170528T110000 DTEND:20170528T170000 LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:Slip END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:446844 DTSTART:20170528T000000 DTEND:20180501T000000 DESCRIPTION:

In October 2016\, artists Lau ren Bon\, Richard Nielsen\, and Tristan Duke of the Optics Division of the Metabolic Studio spent a week at MASS MoCA using their Liminal Camera \;&mdash\; a moveable\, monumental camera built from a repurposed s hipping container &mdash\; to create a series of portraits of Building 6. T he team examined the adjacency of this repurposed industrial building to th e industrialized Hoosic River. To make the prints on display\, the Optics D ivision collected Hoosic water and poured it over the paper during printing \, imbuing the image with ripples of river water.

\n LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:The Metabolic Studio/Optics Division - Hoosic: The Beyond Place END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:446845 DTSTART:20170528T110000 DTEND:20170528T170000 LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:The Metabolic Studio/Optics Division - Hoosic: The Beyond Place END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:446846 DTSTART:20170121T000000 DTEND:20180101T000000 DESCRIPTION:

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

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

\n LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:5 O D A Y S\, Chris Domenick END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:446847 DTSTART:20170617T000000 DTEND:20180603T000000 DESCRIPTION:

In Cavernous: The Inner L ife of Courage\, Colorado-based artist Wes Sam-Bruce uses the Hoosac T unnel as a metaphor for brave endeavors. Kidspace explores what it takes to be courageous and persevere in the face of mountain-sized obstacles. Galle ry visitors are invited to play in a tunnel-like structure built specifical ly for the museum. A free opening celebration takes place with the artist o n Saturday\, June 17\, from 11am to 1pm.

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Sam-Bruce\, renowned for producing interactive artworks\, found the North Adams icon to be a fascinating historical site to explore. According to the artist\, &ldquo\;the Hoosac Tunnel construction can be viewed as a r epresentation of an act of courageousness: a journey through the unknown &m dash\; dark\, cavernous\, difficult\, loss\, successful\, light-giving\, co nnecting\, a triumph\, tenacity\, and grit.&rdquo\; Being central to the No rth Adams community\, he views the tunnel as a symbol of the legacy of a gr oup of people who then and now have acted courageously through the many cha pters of the city&rsquo\;s history. Sam-Bruce will spend a month in residen cy at the museum conducting local history research and building an artwork that will feature a cavernous mountain\, tunnels\, and thresholds. Visitors can make their way through the installation\, an uncharted exhalation comp osed of repurposed wood\, text\, and drawings\, finding themselves surround ed by content that delves into the human experience\; they have not only en tered the mountain\, but also\, as Sam-Bruce puts it\, &ldquo\;the space of one&rsquo\;s innermost self &mdash\; the root of courage.&rdquo\;

\n\n< p style="text-align: justify\;">Cavernous is the third component o f Kidspace&rsquo\;s \;Art 4 Change\, a four-year project that explores problem-solving through empathy\, optimism\, and courage. The guid ing principle for these exhibition projects is Albert Einstein&rsquo\;s sta tement that &ldquo\;[We] cannot solve our problems with the same thinking w e used when we created them.&rdquo\; In other words\, without empathy\, hop e\, and courage\, societal problems can seem overwhelming. In an era of nar cissism and cynicism\, therefore\, an experience with Sam-Bruce&rsquo\;s wo rk provides the opportunity to strengthen our collective sense of bravery\, tolerance\, and kindness.

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The free opening celebration takes place on Saturday\, June 17\, from 11am to 1pm. Meet the artist\, make some art\, and enjoy some refreshments. Admission to Kidspace is always free\; the ArtBar is open on weekends and during school breaks.

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Education at MASS MoCA is made possible in part by the Institute of Museum and Library Services. Addi tional support is provided by the National Endowment for the Arts\, Milton and Dorothy Sarnoff Raymond Foundation\, Holly Swett\, Feigenbaum Foundatio n\, John DeRosa \, Ruth E. Proud Charitable Trust\, Massachusetts Cultural Council\, Berkshire Bank\, Bessie Pappas Charitable Foundation\, Adelard A. Roy and Valeda Lea Roy Foundation\, Price Chopper&rsquo\;s Golub Foundatio n\, the Gateway Fund and the William and Margery Barrett Fund of the Berksh ire Taconic Community Foundation\, John F. and Judith B. Remondi\, and an a nonymous donor.

\n\n\n LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:Cavernous: The Inner Life of Courage\, Wes Sam-Bruce END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:446848 DTSTART:20170617T110000 DTEND:20170617T130000 LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:Cavernous: The Inner Life of Courage END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:447066 DTSTART:20170524T000000 DTEND:20171103T000000 DESCRIPTION:

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

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

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

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

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

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

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KOHLER Experien ce Center (KECNYC)

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

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

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

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The John Michael K ohler Arts Center

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

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

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

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

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John Michael Kohler Arts Center

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608 New York Ave.\, Sheboygan\, WI

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920.458.6144 \; www.jmkac.org

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Hours

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

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

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

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\n LOCATION:Kohler Experience Center\,6 West 22nd Street\, \nNew York\,\, New York 10010US SUMMARY:New Kohler Experience Center Includes New Gallery Space Featuring Works by John Michael Kohler Arts Center’s Arts/Industry Artists\, Jim Neel END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:447067 DTSTART:20170522T043000 DTEND:20170522T060000 LOCATION:Kohler Experience Center\,6 West 22nd Street\, \nNew York\,\, New York 10010US SUMMARY:New Kohler Experience Center Includes New Gallery Space Featuring Works by John Michael Kohler Arts Center’s Arts/Industry Artists END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:447475 DTSTART:20170622T000000 DTEND:20170928T000000 DESCRIPTION:

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

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

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

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

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

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 \;About the Artists:

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Amy Cheng

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

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

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Sara V. Cole

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

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

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

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Michelle Gagliano

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

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

\n LOCATION:Elisa Contemporary Art Gallery\,5622 Mosholu Avenue (near 256th St reet/Riverdale Library)\nRiverdale\, NY 10471 SUMMARY:Rooted Down\, Rising Up: Three Female Artists Reimage Nature\, Amy Cheng\, Sara V. Cole\, Michelle Gagliano END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:447530 DTSTART:20170629T000000 DTEND:20170925T000000 DESCRIPTION:

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

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

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

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

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This exhibiti on is made possible in part by the Neue Galerie President&rsquo\;s Circle.< /p>\n LOCATION:Neue Galerie Museum for German and Austrian Art\,1048 Fifth Avenue \nNew York\, NY 10028 SUMMARY:Solo Exhibition\, Richard Gerstl END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:447531 DTSTART:20170629T110000 DTEND:20170629T180000 LOCATION:Neue Galerie Museum for German and Austrian Art\,1048 Fifth Avenue \nNew York\, NY 10028 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:447569 DTSTART:20170627T000000 DTEND:20171217T000000 DESCRIPTION:

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Over the past decade\, mobile phone cameras have changed how photographs are mad e\, used\, and looked at. Photography has become a fluid\, instantaneous\, ephemeral means of communication\, an act closer to speaking than to writin g. Whereas the camera once functioned chiefly as a tool for preserving the past\, today people are using mobile phones to share their visual experienc e in real time and with unprecedented intimacy.

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

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\n LOCATION:The Metropolitan Museum of Art\,1000 Fifth Ave. \nNew York\, NY 10 028-0918 SUMMARY:Talking Pictures: Camera-Phone Conversations Between Artists END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:447570 DTSTART:20170627T100000 DTEND:20170627T173000 LOCATION:The Metropolitan Museum of Art\,1000 Fifth Ave. \nNew York\, NY 10 028-0918 SUMMARY:Talking Pictures: Camera-Phone Conversations Between Artists END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:447662 DTSTART:20170623T000000 DTEND:20180107T000000 DESCRIPTION:

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

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

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

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

\n LOCATION:New York Historical Society\,170 Central Park West \nNew York City \, NY 10024 SUMMARY:American Visionary: John F. Kennedy's Life and Times END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:447663 DTSTART:20170623T100000 DTEND:20170623T200000 LOCATION:New York Historical Society\,170 Central Park West \nNew York City \, NY 10024 SUMMARY:American Visionary: John F. Kennedy's Life and Times END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:447664 DTSTART:20170630T000000 DTEND:20171009T000000 DESCRIPTION:

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

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

\n LOCATION:New York Historical Society\,170 Central Park West \nNew York City \, NY 10024 SUMMARY:Eloise at the Museum\, Hilary Knight END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:447665 DTSTART:20170630T100000 DTEND:20170630T200000 LOCATION:New York Historical Society\,170 Central Park West \nNew York City \, NY 10024 SUMMARY:Eloise at the Museum END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:447666 DTSTART:20170818T000000 DTEND:20171015T000000 DESCRIPTION:

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

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

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

\n LOCATION:New York Historical Society\,170 Central Park West \nNew York City \, NY 10024 SUMMARY:The Duchess of Carnegie Hall: Photographs by Editta Sherman\, Editt a Sherman END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:447667 DTSTART:20170818T100000 DTEND:20170818T200000 LOCATION:New York Historical Society\,170 Central Park West \nNew York City \, NY 10024 SUMMARY:The Duchess of Carnegie Hall: Photographs by Editta Sherman END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:447676 DTSTART:20170630T000000 DTEND:20171004T000000 DESCRIPTION:
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In 1892 José\;phin Pé\;ladan (1858&ndash\ ;1918)\, a Rosicrucian\, author\, and critic\, organized the first Salon de la Rose+Croix. This annual exhibition in Paris showcased mystical Symbolis t art\, particularly a hermetic\, numinous vein of Symbolism that was favor ed by Pé\;ladan and dominant during the 1890s\, a time when religious and occult practices often intertwined. Mysterious\, visionary\, and mythi cal subjects\, often drawn from literary sources\, prevailed in the art at the salons. Images of femmes fragiles and fatales\, andro gynous creatures\, chimeras\, and incubi were the norm\, as were sinuous li nes\, attenuated figures\, and antinaturalistic forms. Cosmopolitan in reac h\, the salons featured artists from Belgium\, Finland\, France\, Italy\, t he Netherlands\, Spain\, and Switzerland\, such as Antoine Bourdelle\, Jean Delville\, Rogelio de Egusquiza\, Charles Filiger\, Ferdinand Hodler\, Fer nand Khnopff\, Alphonse Osbert\, Armand Point\, Gaetano Previati\, Georges Rouault\, Carlos Schwabe\, Alexandre Sé\;on\, Jan Toorop\, Ville Vall gren\, and Fé\;lix Vallotton. Mystical Symbolism: The Salon de la Rose+Croix in Paris\, 1892&ndash\;1897 will capture a fascinating\, t ransnational cross section of artists&mdash\;some well known\, others less so&mdash\;and invite a fresh look at and new scholarship on late 19th-centu ry Symbolist art.

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

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

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\n LOCATION:Solomon R. Guggenheim Museum\,1071Fifth Ave. \nNew York\, NY 10128 -0173 SUMMARY:Mystical Symbolism: The Salon de la Rose+Croix in Paris\, 1892–1897 END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:447677 DTSTART:20170630T100000 DTEND:20170630T194500 LOCATION:Solomon R. Guggenheim Museum\,1071Fifth Ave. \nNew York\, NY 10128 -0173 SUMMARY:Mystical Symbolism: The Salon de la Rose+Croix in Paris\, 1892–1897 END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:447689 DTSTART:20170609T000000 DTEND:20171023T000000 DESCRIPTION:

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

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

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

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

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

\n LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SUMMARY:Calder: Hypermobility\, Alexander Calder END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:447690 DTSTART:20170609T110000 DTEND:20170609T210000 LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SUMMARY:Calder: Hypermobility END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:447691 DTSTART:20170707T000000 DTEND:20171009T000000 DESCRIPTION:
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In her work\, Bunny Rogers draws from a personal cosmology to e xplore universal experiences of loss\, alienation\, and a search for belong ing. Her layered installations\, videos\, and sculptures begin with wide-ra nging yet highly specific references\, from young-adult fiction and early 2 000s cartoons\, like Clone High\, to autobiographical events and violent me dia spectacles\, such as the 1999 Columbine High School shooting. Rogers&rs quo\;s techniques are equally idiosyncratic. She borrows from theater costu ming\, design\, and industrial furniture manufacturing\, and often crafts h er work by hand. This hybrid approach gives Rogers&rsquo\;s objects and spa ces a distinct texture\; they read simultaneously as slick and intimate\, h ighly constructed but also sincere. \;

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

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

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

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\n LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SUMMARY:Solo Exhibition\, Bunny Rogers END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:447692 DTSTART:20170707T110000 DTEND:20170707T210000 LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:447695 DTSTART:20170714T000000 DTEND:20171001T000000 DESCRIPTION:

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

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

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

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

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

\n\n

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

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

\n LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SUMMARY:To Organize Delirium\, Hélio Oiticica END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:447696 DTSTART:20170714T110000 DTEND:20170714T210000 LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SUMMARY:To Organize Delirium END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:447697 DTSTART:20170714T000000 DTEND:20171001T000000 DESCRIPTION:
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The emerging artist Willa Nasatir (b. 1990) creates photographs routinely informed by a cinematic vocabulary\, inspired by the shifting la ndscape and individuals who inhabit New York\, where she works and lives. & nbsp\;Nasatir&rsquo\;s compositions routinely function as part-still life\, part-portrait (notably without bodies)\, evoking a surreal otherworldly en vironment&mdash\;a realm that&rsquo\;s familiar yet simultaneously difficul t to pin down.
\n \;
\nNasatir&rsquo\;s photographs begin as makeshift sculptures\, quickly assembled in her studio from an array of une xpected\, disparate objects ranging from decorative fans to a car headlight . She alters and combines these found objects\, which she photographs and r e-photographs\, subjecting the surfaces to dramatic material and light effe cts. The resulting works are hand-manipulated images that become psychologi cally charged and difficult to discern\; the viewer is left to parse out un resolved narratives that the image only implies.
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\nFor this ex hibition\, Nasatir presents a significant new body of work in addition to a selection of earlier works\, produced over the past few years.

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

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\n LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SUMMARY:Solo Exhibition\, Willa Nasatir END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:447698 DTSTART:20170714T110000 DTEND:20170714T210000 LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:448352 DTSTART:20170912T000000 DTEND:20171028T000000 DESCRIPTION:

Peter Freeman\, Inc. is please d to present an ambitious group exhibition dedicated to gallerist Richard B ellamy (1927-1998) and the circle of artists whose careers he launched and fostered.
\n
\nCurated by Judith Stein\, author of the recently-p ublished Bellamy biography\, Eye of the Sixties\, this will be the first exhibition to explore the essential but little-known efforts of this visionary whose personal choices profoundly shaped the history of contempor ary art. On view will be work from the 1950s through the 1990s by more than forty artists\, among them Jo Baer\, Mary Corse\, Mark di Suvero\, Dan Fla vin\, Jean Follett\, Michael Heizer\, Donald Judd\, Yayoi Kusama\, Robert M orris\, Claes Oldenburg\, James Rosenquist\, Richard Serra\, and Tom Wessel mann. We expect this focus on Bellamy and his artists will bring important new insights into a history of taste that is still quite relevant.
\n< br />\nDick&rsquo\;s pioneering role in the developments of Pop\, Minimalis m\, Conceptual art\, and Op art started with Green Gallery\, which he direc ted from 1960-65\, and where he gave Oldenburg\, Rosenquist and Wesselmann their uptown solo debuts\, along with di Suvero\, Lucas Samaras\, and Georg e Segal. At Green\, Dick was the first to show the minimalist sculpture of Flavin\, Judd\, and Morris\, as well as Larry Poons&rsquo\;s Op art paintin gs. In his later galleries\, especially Oil &\; Steel\, and in his behin d-the-scenes advocacy\, Bellamy championed Neil Jenney\, Alfred Leslie\, Wa lter De Maria\, and Bruce Nauman (also all included in this exhibition).
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\nMany rarely-seen and never-before-exhibited works will be on v iew in Deadeye Dick\, including Alex Katz&rsquo\;s portrait of Bella my\, on loan from the Whitney Museum of American Art\; Heizer&rsquo\;s port raits of Bellamy&rsquo\;s backers\, famed collectors Robert and Ethel Scull \, and a remarkable group of drawings by Lee Lozano\, as well as several of her letters to Dick\, one of which constituted her conceptual and official withdrawal from the art world.
\n
\nA reception will be held Tue sday\, 12 September from 6 to 8 pm.
\n
\nFor reproduction request s and general inquiries\, please contact the gallery at
\n212-966-5154 or info@peterfreemaninc.com.
\n
\nDeadeye Dick: Richard Bella my and His Circle
\n
\nMilet Andrejevic\, Jo Baer\, Robert Beauch amp\, Jacques Beckwith\, Ronald Bladen\, James Lee Byars\, Dan Christensen\ , John Cohen\, Mary Corse\, Emilio Cruz\, Walter De Maria\, Mark di Suvero\ , Dan Flavin\, Jean Follett\, Miles Forst\, Robert Frank\, Al Hansen\, Mich ael Heizer\, Tehching Hsieh &\; Linda Montano\, Neil Jenney\, Donald Jud d\, Alex Katz\, Gary Kuehn\, Yayoi Kusama\, Tadaaki Kuwayama\, Alfred Lesli e\, Lee Lozano\, Robert Morris\, Jan Mü\;ller\, Bruce Nauman\, Richard Nonas\, Claes Oldenburg\, Yoko Ono\, Larry Poons\, David Rabinowitch\, Jame s Rosenquist\, Lucas Samaras\, George Segal\, Richard Serra\, Myron Stout\, Kunié\; Sugiura\, Sidney Tillim\, John Tweddle\, Tom Wesselmann\, Ne il Williams\, Peter Young\, Daisy Youngblood\, John Zinsser

\n LOCATION:Peter Freeman\, Inc.\,140 Grand St. \nNew York\, NY SUMMARY:Deadeye Dick: Richard Bellamy and His Circle END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:454071 DTSTART:20170912T180000 DTEND:20170912T200000 LOCATION:Peter Freeman\, Inc.\,140 Grand St. \nNew York\, NY SUMMARY:Deadeye Dick: Richard Bellamy and His Circle END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:448559 DTSTART:20170627T000000 DTEND:20171006T000000 DESCRIPTION:

The International Stud io &\; Curatorial Program announces '\;A City Called Mirage\,'\; \;the first solo exhibition by current ISCP resident Kiluanji Kia Henda in the United States. The artist \;looks at real cities and their 3D models in an immersive fo ur-channel video installation\, as well as three interconnected series of p hotographs.

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In \;A City Called Mirage\, Henda considers the birth\, life and death of moder n cities. The exhibition begins with a photograph of a rusty time-worn sign of the word &ldquo\;Miragem&rdquo\; (Mirage)\, found by the artist in the& nbsp\;Namib Desert. Acting as a catalyst for new work that contemplates hum anity&rsquo\;s drive towards urbanization\, the sign spurred Henda to look at Dubai as the faulty archetype of the contemporary city\, as the byproduc t of neoliberal desires. New cities such as Dubai are often built with litt le consideration of their historic or environmental characteristics\, drawi ng parallels to the urban reconstruction of the \;artist&rsquo\;s home city Luanda\, Angola.

\n\n

In&nb sp\;Paradise Metalic \;(2014)\, four synchronized videos togethe r recount the construction of an ideal city\, dreamt by the &ldquo\;Man wit h the Shovel&rdquo\; and built on the barren Maliha Desert in Sharjah. At o nce land art and performance\, a new fictional country is established and s ubsequently demolished in the sand\, hauntingly demarcated by stakes in the ground\, concrete walls and iron skeletons of buildings. Based on traditio nal central African sona sand drawings\, \;A City Called Mirage \;(2013&ndash\;17)&mdash\;a serie s of 50 photographs\, also the title of the ISCP exhibition&mdash\;document s large-scale sculptures assembled in the desert\, based on the silhouettes of an imaginary city\, using the geometric forms of sona drawings as a blu eprint. Native to Tchokwe culture of Eastern Angola\, these ephemeral forms are drawn in the sand to tell stories and transmit oral histories. Dubai a s a spectacular city and the ultimate tabula rasa is conjured in \;How to Create You Own Personal Dubai at H ome \;(2013)\, with playful instructions for how to build your o wn iconic skylines at home using everyday domestic materials such as old ci rcuit \;boards\, tinfoil\, beer cans and match sticks.

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Kiluan ji Kia Henda (born 1979\, Luanda\, Angola) is a Luanda-based artist\, worki ng across photography\, video and performance. He has had exhibitions at in stitutions including SCAD Museum\, Savannah\, 2016\; Centre Georges Pompido u\, Paris\, 2016\; National Museum of African Art &ndash\; Smithsonian Inst itution\, Washington\, D.C.\, 2015\; Tamayo Museum\, Mexico\, 2012\; and Ar nolfini\, Bristol\, 2012. He participated in the 2015 Triennial: \;Surround Audience\, New Museum\, N ew York\; Dakar Biennale\, 2014\; Bienal de Sã\;o Paulo\, 2007\; and the Venice Biennale\, 2007. He is winner of 2017 Frieze Artist Award and th e 2012 National Prize of Art and Culture\, awarded by the Ministry of Cultu re\, Luanda.

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This exhibition is curated by Kari Conte\, Director of Programs and Exhibitions.

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This program is supported\, in part\ , by Greenwich Collection Ltd.\, New York City Council District 34\, New Yo rk City Department of Cultural Affairs\, in partnership with the City Counc il\, New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature\, and The Andy Warhol Foundati on for the Visual Arts.

\n\n

For more information\, please visit ISCP& #39\;s webiste: \;http://iscp-nyc.org/event/kiluanji-kia-henda

\n LOCATION:International Studio & Curatorial Program (ISCP)\,1040 Metropolita n Avenue \nBrooklyn\, NY 11211US SUMMARY:Kiluanji Kia Henda: A City Called Mirage\, Kiluanji Kia Henda END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:448560 DTSTART:20170627T180000 DTEND:20170627T200000 LOCATION:International Studio & Curatorial Program (ISCP)\,1040 Metropolita n Avenue \nBrooklyn\, NY 11211US SUMMARY:Kiluanji Kia Henda: A City Called Mirage END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:448567 DTSTART:20170627T000000 DTEND:20180118T000000 DESCRIPTION:

NEW YORK\, NY\, June 6 - The Sugar Hill Children&rsquo\;s Mu seum of Art &\; Storytelling is proud to announce its summer exhibition PARADE: Derek Fordjour\, an immersive multi-media installation on view July 27\, 2017. PARADE takes visitors on a journey through the sense-memory of childhood and the process of forging an identity\, and harkens back to Ford jour&rsquo\;s own curiosities\, observations\, and obsessions as a child ar tist growing up in Memphis\, Tennessee. At once playful and poignant\, diso rienting and propulsive\, PARADE encapsulates Fordjour&rsquo\;s life in pur suit of art while engaging and inspiring adults and children alike. The exh ibition is the culmination of Fordjour&rsquo\;s yearlong artist residency a t the Museum and was guest curated by No Longer Empty&rsquo\;s Manon Slome\ , who coled the Sugar Hill Children&rsquo\;s Museum&rsquo\;s 2016-17 AIR se lection process with the Northern Manhattan Arts Alliance. The installation begins with a tunnel\, supported by lighted archways and reminiscent of th e marquees at an amusement park\, which guides visitors into the exhibition space. The compositions on display represent a broad swath of Fordjour&rsq uo\;s artistic practice. There are new &ldquo\;works on paper\,&rdquo\; For djour&rsquo\;s term for his signature and highly textured collages of newsp rint\, and a procession of vignettes\, small sculptures\, found objects\, i nterventions\, and music\, which leads to in a non-place entered by stoopin g through an opening in the back of a closet. The works on view engage Ford jour&rsquo\;s own past&mdash\;the wheelchairs and copy machines he played w ith as a child while visiting his father at his medical practice\, minor ex periments with flotation and buoyancy\, wheels and ball bearings&mdash\;all the curiosity\, repurposing\, and exploration of childhood. PARADE was dev eloped during Fordjour&rsquo\;s residency at the Sugar Hill Children&rsquo\ ;s Museum\, a program that provides visitors with an opportunity to engage with a working artist\, thereby enhancing the perception of art and art-mak ing as both approachable and personal\, core values of the Museum&rsquo\;s mission to support the cognitive and creative development of young children . Several elements of PARADE were created through interactions with\, inter -generational museum visitors and children enrolled in the on-site preschoo l as well as other school partners.

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ABOUT DEREK FORDJOUR Derek Fo rdjour was born in Memphis\, Tennessee to parents of Ghanaian heritage. His work has appeared in exhibitions at Roberts &\; Tilton Gallery in Los A ngeles\, Sotheby'\;s S2 Gallery in New York and Luce Gallery in Turin\, Italy. He is the recipient of the C12 Emerging Artist Award 2017 Sugar Hill Children'\;s Museum of Art &\; Storytelling 898 St Nicholas Avenue @ 155th Street\, New York\, NY 10032 212.335.0004 info@sugarhillmuseum.org a nd has been awarded residencies at Sugar Hill Children&rsquo\;s Museum 2016 -2017 in Harlem and the 2017-2018 Sharpe Walentas Studio Program in New Yor k City. He is a graduate of Morehouse College in Atlanta Georgia\, earned a Master&rsquo\;s Degree in Art Education from Harvard University and an MFA in painting at Hunter College. His work has been reviewed in the New York Times\, Los Angeles Times\, Huffington Post and Brooklyn Rail. His work app ears in several collections throughout the US and Europe including JP Morga n Chase collection and Dallas Museum of Art.

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ABOUT NO LONGER EMPT Y No Longer Empty (NLE) believes in the power of art to unlock creative pot ential and cultivate imaginative responses to the aspirations and prioritie s of local communities. NLE activates engagement with art and social issues through site-responsive and community-centered exhibitions integrated with educational and cultural programing. NLE generates interactions between ar tists\, sites\, neighborhoods\, and local histories by combining research\, cooperation\, and civic participation as fundamental components of a respo nsive curatorial process. Sited in distinctly urban settings\, our holistic approach creates participatory platforms for art and exchange that explore the layered histories and critical issues of each unique place. NLE collab orates with artists\, curators\, residents\, and business owners as well as civic and cultural organizations to build and strengthen networks of creat ive resources for artists and communities.

\n\n

ABOUT THE SUGAR HILL C HILDREN&rsquo\;S MUSEUM OF ART &\; STORYTELLING The Sugar Hill Children& rsquo\;s Museum of Art &\; Storytelling is the cultural capstone of the Sugar Hill Project in Harlem\, a mixed-use community revitalization initiat ive developed by Broadway Housing Communities\, a nonprofit organization ba sed in West Harlem and Washington Heights. The Museum offers year-round art exhibitions\, storytelling series\, art-making workshops and an early chil dhood arts education curriculum. Museum programs are designed to nurture th e curiosity\, creative spirit and cognitive development of three- to eight- year-old children\, building the language\, literacy and critical thinking skills that lead to lifelong learning. The Sugar Hill Children&rsquo\;s Mus eum of Art &\; Storytelling is located at 898 St. Nicholas Avenue at 155 th Street in New York City. Hours are Thursday through Sunday\, 10am to 5pm . Admission prices vary. For more information on the Museum\, please visit www.sugarhillmuseum.org. To connect with the Sugar Hill Children&rsquo\;s M useum via Social Media\, follow us on Facebook at Facebook.com/sugarhillmus eum and using @sugarhillmuseum on Instagram and Twitter.

\n LOCATION:Sugar Hill Children's Museum of Art & Storytelling\,898 St. Nichol as Ave \nNew York\, New York 10032US SUMMARY:PARADE: Derek Fordjour\, Derek Fordjour END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:448848 DTSTART:20170607T000000 DTEND:20171022T000000 DESCRIPTION:

fifty five years
\nmy lif e in blood and panels
\nand brown gay ink

\n\n

 \;

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Bronx-born Puer to Rican cartoonist and educator Ivan Velez exhibits a series of drawings r elated to comics\, as well as his activist work spanning his thirty-year ca reer. From his groundbreaking work on LGBTQ youth issues during the AIDS cr isis\, to his subversive writing in mainstream comic book companies such as Milestone Media\, DC Comics\, and Marvel\, in addition to his independent work for queer and multicultural publishing\, Ivan Velez: Bronx Haiku offers an engaging survey of one artist&rsquo\;s desire to bring change and diversity into an art form that plays an indelible role in American po pular culture.

\n\n

Ivan Velez: Bron x Haiku is made possible\, in part\, by the Collector&rsquo\;s Circle\ , a leading Bronx Museum support group. Special thanks to Creative Capital\ , Daniel Joy Kim\, Lauren Kelley\, Juanita Lanzo\, Kip Silva\, Kimberly Vaq uedano-Rose\, David Velez-Felix\, and the Bronx Museum staff.

\n LOCATION:Bronx Museum of the Arts\,1040 Grand Concourse at 165th Street\nBr onx\, NY 10456 SUMMARY:Bronx Haiku\, Ivan Velez END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:448849 DTSTART:20170722T000000 DTEND:20171022T000000 DESCRIPTION:

Now in its fourth cycle\, Bronx Calling: The Fourth AIM Biennial features the work of seventy-tw o emerging artists from the 2016 and 2017 classes of the Bronx Museum&rsquo \;s Artist in the Marketplace (AIM) program. AIM provides professional deve lopment resources to emerging artists living and working in the New York me tropolitan area. The exhibition is organized by Aylet Ojeda Jequin\, Associ ate Curator of Contemporary Art\, National Museum of Fine Arts\, Havana\; a nd the Bronx Museum&rsquo\;s Christine Licata\, Director of Community and P ublic Programs\; and\, Heather Reyes\, Exhibitions and Collections Manager. The exhibition will be accompanied by a fully illustrated catalog.

\n\n

 \;

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Bronx Calling: The Fourth AIM \;Biennial is supported by Edwin B. Hathaway and Oldcastle BuildingEnvelope& reg\;\, Tereza Liszka and Martin Weinstein\, Gerald Weinstein\, General Har dware Mfg.\, Co.\, Jerome Foundation\, Oded Halahmy Foundation for the Arts \, Anonymous\, Joshua Stein PLLC\, and Friends of AIM. \;

\n LOCATION:Bronx Museum of the Arts\,1040 Grand Concourse at 165th Street\nBr onx\, NY 10456 SUMMARY:Bronx Calling: The Fourth AIM Biennial\, Seyi Adebanjo\, Constanza Alarcon-Tennen\, Francheska Alcantara\, Amanda Alfieri\, Setare Arashloo\, Sabrina Barrios\, Milcah Bassel\, Laura Bernstein\, Leo Castañeda\, Kiran C handra\, CHiKA\, Jesse Chun\, Clare Churchouse\, Maya Ciarrocchi\, Lionel C ruet\, Craig Damrauer\, Sophia Dawson\, Rose DeSiano\, Luba Drozd\, Dolores Furtado\, Dhanashree Gadiyar\, Ivan Gaete\, Pablo Garcia\, Dakota Gearhart \, Michelle Gevint\, Naima Green\, Uraline Septembre Hager\, Kathie Halfin\ , Bang Geul Han\, Amber Heaton\, Robert Hernandez\, Sara Jimenez\, Merritt Johnson\, Ana Garcés Kiley\, Dominika Ksel\, Stephanie Lindquist\, Tammy Ki ku Logan\, LuLu Meng\, Estefani Mercedes\, Coralina Meyer\, Kyle Meyer\, Jo iri Minaya\, Pablo Montealegre\, Shayok Mukhopadhyay\, Jasmine Murrell\, Za hra Nazari\, Christie Neptune\, Brandon Neubauer\, Ana Peñalba\, Nestor Per ez-Moliere\, Anna Pinkas\, Gustavo Prado\, Elise Rasmussen\, David Rios-Fer reira\, Sarah Sagarin\, Annesofie Sandal\, Giovana Schluter\, Kristine Serv ía\, Dustina Sherbine\, David Shrobe\, Tiffany Smith\, Vered Snear\, Rachel Sydlowski\, Mikolaj Szoska\, Adrienne Tarver\, Rosemary Taylor\, Heryk Tom assini\, Carrie Elston Tunick\, Ekaterina Vanovskaya\, Alisha Wessler\, Doo hyun Yoon\, Jayoung Yoon END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:448850 DTSTART:20170727T180000 DTEND:20170727T200000 LOCATION:Bronx Museum of the Arts\,1040 Grand Concourse at 165th Street\nBr onx\, NY 10456 SUMMARY:Bronx Calling: The Fourth AIM Biennial END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:448851 DTSTART:20170719T000000 DTEND:20171022T000000 DESCRIPTION:
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Heid i Lau&rsquo\;s practice centers on the recreation of histories that have be en lost to time. Painstakingly built and glazed by hand\, her ceramic work is modeled after ritual objects\, columns\, funereal monuments\, and fossil ized creatures\, while simultaneously infesting\, deconstructing\, and rebu ilding them on a cellular level. Lau uses symbolic artifacts and zoomorphic ruins as symbols of the archaic and the invisible\, taking inspiration fro m colonial architecture and tenement houses in Macau that have mostly been demolished or gentrified beyond recognition. In the process\, she continuou sly reenacts the non-linearity and materiality of the past\, molding a tact ile connection to the disappearing\, impossible identity of home. Colonial history\, folk Taoist mythology and provincial superstitions provide essent ial source material through which her work explores homelessness and nostal gia.

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Lau&rsquo\;s terrace installat ion at Bronx Museum\, The Primordial Molder\, is a continuation of her larg e-scale ceramic sculpture series that ruminates on the Taoist creation myth : in the primordial world\, Nü\;wa the Snake Goddess marked the beginni ng of humanity by patching a giant hole in heaven with five-colored stones\ , using the legs of a great turtle as pillars to support the collapsed sky from the earth. The Primordial Molder is the representation of Nü\;wa&r squo\;s form as a snake that is both anthropomorphic and architectural. Its body curls and tangles around itself to form a ring &ndash\; a symbol of e ternal return and the infinite life cycle.

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Heidi Lau grew up in Macau and currently works in Brooklyn. She has been features in exhibitions nationally and internationally in venues such as the Macao Museum of Art\, Museum of Chinese in America\, Wave Hill\, Kn iznick Gallery at Brandeis University and Real Art Ways. She has received n umerous residencies and awards\, including the Joan Mitchell Foundation Pai nters and Sculptors Grant\, Emerging Artist Fellowship at Socrates Sculptur e Park\, Center for Book Arts Workspace Residency\, Lower Manhattan Cultura l Council Process Space and BRIC Media Arts Fellowship\, among others. She completed the Bronx Museum&rsquo\;s Artist in the Marketplace (AIM) program in 2011.

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\n LOCATION:Bronx Museum of the Arts\,1040 Grand Concourse at 165th Street\nBr onx\, NY 10456 SUMMARY:The Primordial Molder\, Heidi Lau END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:448852 DTSTART:20170727T180000 DTEND:20170727T200000 LOCATION:Bronx Museum of the Arts\,1040 Grand Concourse at 165th Street\nBr onx\, NY 10456 SUMMARY:The Primordial Molder END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063735Z UID:448853 DTSTART:20170705T000000 DTEND:20171001T000000 DESCRIPTION:

Over the last fifty years\, Cu ban artist Manuel Mendive has developed a highly personal examination of th e African spiritual tradition of Yoruba through the experimental lens of co ntemporary art. The artist&rsquo\;s multidisciplinary work\, in particular his performances\, has become a vehicle for exploring the intersections bet ween art\, religion\, philosophy\, ethics\, and anthropology. At the Bronx Museum\, Mendive will present a new body of works focused on his continued interest in Yoruba mythology\, pondering on man&rsquo\;s relationship with nature and spirituality. Conceptualized as a cohesive group of paintings an d sculptures\, the overall installation suggests an &ldquo\;ancestral tour& rdquo\; to the heart of nature. Steeped in religious and philosophical idea s\, Mendive&rsquo\;s artworks invite the viewer to immerse in a mythical se arch for identity. The exhibition will also feature a new performance in Se ptember 2017 created by Mendive specifically for the Bronx Museum.

\n\n< p style="text-align: justify\;">Manuel Mendive is a member of the National Union of Writers and Artists of Cuba (UNEAC) and of the International Assoc iation of Fine Arts Artists (AIAP). He has received important awards in Cub a\, such as the Order for National Culture and the National Award of Fine A rts given by the Cuban Ministry of Culture. He has participated in several international biennials in Havana\, Sã\;o Paulo and Venice\, and his works are included in important private and public collections both in Cuba \, the United States\, and Europe.

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Manuel Mendive: Nature\, Spirit\, and Body is support by Rockefell er Brothers Fund: Culpeper Arts &\; Culture Program and the Director&rsq uo\;s Circle\, the Museum&rsquo\;s premier support group. \;

\n LOCATION:Bronx Museum of the Arts\,1040 Grand Concourse at 165th Street\nBr onx\, NY 10456 SUMMARY:Nature\, Spirit\, and Body\, Manuel Mendive END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:448854 DTSTART:20170705T110000 DTEND:20170705T180000 LOCATION:Bronx Museum of the Arts\,1040 Grand Concourse at 165th Street\nBr onx\, NY 10456 SUMMARY:Nature\, Spirit\, and Body END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:448880 DTSTART:20170906T000000 DTEND:20171104T000000 DESCRIPTION:

Petzel Gallery is pleased to a nnounce Mother Mold\, a survey exhibition of sculpture by Keith Edmi er. Ranging from Edmier&rsquo\;s earliest works\, such as I Met a Girl W ho Sang the Blues (1991) through Imagines (2017)\, Mother Mol d presents a selected overview of Edmier&rsquo\;s work from the past tw enty-six years. This will be the artist&rsquo\;s sixth solo exhibition at t he gallery and his first in our Upper East Side location. The exhibition is accompanied by a publication that details his most recent installation\, < i>Imagines\, a set of fifty life-cast portraits hung throughout the gal lery space.
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\nThe title of the exhibition &lsquo\;mother mold& rsquo\; is a term related to the process of mold making. Physically\, it is essentially a hard shell\, traditionally made of plaster. The shell suppor ts a flexible rubber mold that helps the negative impression retain its sha pe during the casting process. The shell is a perimeter&mdash\;an encasemen t for the transformation of material from liquid to solid and in compositio n\, from abstraction to mimesis.
\n
\nThe majority of Edmier&rsqu o\;s work from the past twenty years plus have been made through mold-makin g and casting a variation of industrial materials: plaster\, aluminum\, den tal acrylic\, plastic\, glass\, resin\, polyurethane\, basalt. Edmier has e mployed non-traditional materials that purposely interfere with each sculpt ure&rsquo\;s verisimilitude. Throughout his career\, the artist has continu ed to mold his personal narrative into universal subjects that further tran sform the objects\, solidifying themes of autobiography\, eroticism and mor tality.
\n
\nTwo of the earliest works in the exhibition mines Ed mier&rsquo\;s childhood. Piano Legs I&ndash\;III (1992/3) is a set o f dissembled golden-yellow piano legs cast directly from a baby grand. The fabricated legs are gnawed away like a tooth-worn No. 2 pencil. The objects had been conjured through a &ldquo\;screen memory&rdquo\; that partially r ecalls at age three in 1970\, tearing apart a gift of a toy baby grand give n to him by his father. I Met a Girl Who Sang the Blues (1991)\, is an oil painting that composites a portrait of the young artist as a child w ith Janis Joplin. Both portraits are from 1970&mdash\;Edmier in his striped Halloween tiger costume and the smiling singer the year of her drug overdo se and death. Thirty-one years later\, the artist would be working in colla boration with the actress Farrah Fawcett. The artistic collaboration upends the role of model and muse\, memorialized in an intimate portrait of their hands intertwined entitled Untitled (Hands) (2000)\, finished in ca rved alabaster.
\n
\nOne can read both muse and matriarch into th e phrase &lsquo\;mother mold&rsquo\; as well as conception\, pregnancy and birth. In the case of the Annunciation Lilies (2013)\, Edmier has sc ulpturally appropriated the lilies and vases from specific Renaissance Annu nciation paintings. The ubiquitous flowers cast in pale dental acrylic and polyurethane traditionally act as a gate between the Mary and angel\, symbo lically standing for the mother&rsquo\;s virginity. Central to the exhibiti on is Edmier&rsquo\;s sculpture Beverly Edmier\, 1967 (1998). Cast i n candy-like pink translucent resin\, Beverly Edmier is a life-sized sculpt ure of the artist&rsquo\;s mother as she was at twenty-two years old and ni ne months pregnant with the artist. Caressing her womb with her right hand\ , she gazes down at her belly in an intimate early exchange between mother and son. The botanical sculpture Fireweed (2002/3) is an act of biol ogical renewal. The plant\, Chamaenerion Angustifolium\, is known to be the first to grow after a forest fire\, or in this case a volcanic eruption. T he delicately cast acrylic leaves and flowers are lightly dusted with volca nic ash from the Mount St. Helen&rsquo\;s eruption in 1980\, the same year of the artist&rsquo\;s burgeoning adolescence.
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\nThe installat ion Edmier imagines (2017) is fifty life-cast portraits displayed li ke the ancient Roman masks known by the same title. One portrait is hung fo r every year in the artist&rsquo\;s life\, with four self-portraits of the artist at different ages. The Roman Imagines were masks life cast of the family passed down through generations. Edmier&rsquo\;s cast portraits connect in familial ways: they portray the artist&rsquo\;s family\, friend s\, heroes and influences. Yet\, rather than masks of the dead worn by the living\, Edmier&rsquo\;s plaster cast portraits stem from the artist&rsquo\ ;s years in the Hollywood special effects industry. The connection to Holly wood turns the permanence and memorial of the mask into a starting point fo r transformation to come. Michael Jackson becomes a teenage werewolf\, Jeff Goldblum&mdash\;The Fly\, David Bowie&mdash\;a New Wave vampire\, a nd Matthew Barney&mdash\;a well-groomed Satyr. As in all of Edmier&rsquo\;s work\, one can find familiar identities and structures reshaped and transf ormed.
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\nKeith Edmier was born in Chicago\, Illinois. His work has been shown throughout the United States and internationally. He has be en the recipient of survey exhibitions at the Frans Hals Museum in Haarlem\ , the Netherlands (2012) and CCS Bard Hessel Museum\, Annandale-on-Hudson ( 2007). He has held solo exhibitions at The Andy Warhol Museum in Pittsburgh (2003) and the Los Angeles County Museum of Art (2002). His work was featu red in the 2002 Whitney Biennial and in group exhibitions at the Sculpture Center in New York (2013)\, the Walker Art Center in Minneapolis (2012)\, K unstwerke in Berlin (2007)\, Tate Modern in London (2007)\, Tate Liverpool (2005)\, Museum of Contemporary Art in Rome (2007)\, Kunsthalle Vienna (200 4)\, and Migros Museum in Zurich (2004). His work are in the permanent coll ections of major museums such as the Tate Gallery\, London\; San Francisco Museum of Modern Art\; The Walker Art Center\, Minneapolis\; and the Israel Museum\, among others. He is the recipient of the Louis Comfort Tiffany Fo undation 2001 Biennial Award.
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\nPetzel Gallery is located on t he third floor of 35 East 67th Street between Madison and Park Avenues\, Ne w York City. Gallery hours are Tuesday through Saturday from 10:00 AM&ndash \;6:00 PM.
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\nFor press inquires\, please contact Janine Latham at janine@petzel.com\, or call (212) 680-9467.

\n LOCATION:Petzel Gallery - 67th Street\,35 East 67th Street \nNew York\, NY 10065 SUMMARY:Mother Mold\, Keith Edmier END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:453942 DTSTART:20170906T180000 DTEND:20170906T200000 LOCATION:Petzel Gallery - 67th Street\,35 East 67th Street \nNew York\, NY 10065 SUMMARY:Mother Mold END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:449293 DTSTART:20170914T000000 DTEND:20171021T000000 DESCRIPTION:
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David Zwirner is pleased to present recent paintings and works on paper by Suzan Frecon in c oncurrent exhibitions in New York and London\, marking the artist&rsquo\;s first show in London and her fourth overall solo presentation with the gall ery.

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For almost five decades\, Frec on has created abstract paintings that address issues of horizontality and verticality\, asymmetrical balances\, and interacting arrangements of color . Each composition is the result of a deliberative process guided by carefu l attention to spatial relationships. Working slowly\, she accrues paint gr adually\, allowing the process of arriving at a given configuration to take ultimate precedence.

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On view at 52 5 West 19th Street in New York will be large-scale oil paintings composed w ith asymmetrical curves that result in minor and major measured areas of co lor. One area cannot exist without the other(s) and each can be read\, ofte n interchangeably\, as full and/or empty space. In tandem with the resultin g colors and variations of the paint itself\, these works convey their enga gement with natural light. Depending on the viewer&rsquo\;s position and th e time of the day\, the contrasts of matte and sheen\, positive and negativ e\, and immediacy and radiance\, combine to create an ongoing visual experi ence of always varying subtleties.

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In some works\, Frecon has arranged two panels side by side (rather than st acked)\, realizing compositions that depart from the central\, vertical &ld quo\;line&rdquo\; in a play of dissonance\, asymmetry\, and imbalance betwe en areas of color that nonetheless hold in proportional relationships to ea ch other. These areas also stem from an underlying\, rational horizontal li ne&mdash\;invisible\, but still generating the forms of curved openings or enclosures to become one irregular whole. All areas are ultimately generate d by the predetermined outside mean of vertical to horizontal. The composit ion in each particular painting is the foundation of the paint&rsquo\;s cul mination.

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On view at 24 Grafton Str eet in London will be works on paper utilizing form found in the artist&rsq uo\;s oil paintings. However\, in contrast to the paintings\, whose deliber ate measurements underlie the compositions\, her watercolors also engage th e relationship between paint and paper support. Each predetermined sheet&md ash\;often an agate-burnished old Indian ledger page&mdash\;has its own inn ate character\, properties\, and irregular shape\; its creases\, holes\, bl emishes\, and even faint writings become an integral component of the final watercolor. Yet\, within Frecon&rsquo\;s practice\, all works are consider ed part of the same unity\, and one painting leads to another.

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 \;&ldquo\;I think that you can only unders tand paintings by actually seeing them. Their truth is the paint\,&rdquo\; Frecon says. \;

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The exhibitions will be accompanied by a catalogue published by David Zwirner Books\, feat uring an essay by the art historian Richard Shiff and reproductions of indi vidual works as well as installation views to best convey the experience of seeing the paintings.

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Suza n Frecon \;was born in 1941 in Mexico\, Pennsylvania. Followin g a degree in fine arts from the Pennsylvania State University in 1963\, sh e spent three years at the É\;cole nationale supé\;rieure des B eaux-Arts in Paris\, and studying paintings in museums throughout Europe.\n\n

Since 2008\, her work has been repre sented by David Zwirner. Previous shows at the gallery in New York include Suzan Frecon: recent painting (2010) and Suzan Frecon: paper (2013)\, a lar ge-scale presentation of her works on paper from the past decade\, which wa s presented concurrently with an exhibition of watercolors at Lawrence Mark ey in San Antonio\, Texas. In 2015\, Suzan Frecon: oil paintings and sun in cluded the artist&rsquo\;s recent large-scale oil paintings at David Zwirne r\, New York.

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Frecon has exhibited widely in the United States and internationally. In 2008\, her work was the subject of a major solo exhibition\, form\, color\, illumination: Suzan Fr econ painting\, at The Menil Collection in Houston\, Texas\, which traveled to Kunstmuseum Bern in Switzerland. She has participated in a number of gr oup exhibitions such as the 2000 and 2010 Whitney Biennial.

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In 2016\, Frecon received the Artists Award from t he Artists'\; Legacy Foundation in Oakland\, California.

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Permanent collections which hold works by the arti st include the Art Institute of Chicago\; Fogg Art Museum\, Harvard Univers ity\, Cambridge\, Massachusetts\; Kunstmuseum Bern\, Switzerland\; The Meni l Collection\, Houston\, Texas\; The Morgan Library &\; Museum\, New Yor k\; The Museum of Fine Arts\, Boston\; The Museum of Modern Art\, New York\ ; National Gallery of Art\, Washington\, D.C.\; and the Whitney Museum of A merican Art\, New York. She lives and works in New York.

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For all press inquiries\, contact
\nAshley Tickle +1 212 727 2070 atickle@davidzwirner.com
\nRosanna Hawkins \;+44 (0) 203 137 8776 \;rosanna@reesandco.com

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\n LOCATION:David Zwirner- 525 W. 19th\,525 W. 19th Street (between 10th Ave. and West St.)\nNew York\, NY 10011-2808 SUMMARY:Solo Exhibition\, Suzan Frecon END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:454536 DTSTART:20170914T180000 DTEND:20170914T200000 LOCATION:David Zwirner- 525 W. 19th\,525 W. 19th Street (between 10th Ave. and West St.)\nNew York\, NY 10011-2808 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:449319 DTSTART:20170907T000000 DTEND:20171111T000000 DESCRIPTION:

JoAnne Artman Gallery\, Presents:
\nDeconstructing Allu sion: Featuring Greg Miller
\nFall 2017
\nArtist&rsquo\;s Recepti on: Thursday\, September 7th\, 2017 from 6pm-8pm
\nPlease RSVP: 949.51 0.5481 by September 1st\, 2017

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\nJoAnne Artman Gallery
\n511A West 22nd St. || New York\, NY 10011
\nContact:  \;JoAnne Artman
\nTelephone:  \;949-510-5481 || E-mail: joanneartman@aol.co m \;
\nWebsite: www.joanneartmangallery.com

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DECONSTRUCTI NG ALLUSION

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\nThe passage of time as well as the impermanen ce and transitory nature of collective memory are both felt in the work of Greg Miller\, who constructs as well as deconstructs our perception of soci al history through the ephemera of the golden age of the print media. JoAnn e Artman Gallery is pleased to present an exhibition of recent work in whic h Miller layers and reconstructs this imagery of mid-century American consc iousness in clever\, incongruous juxtapositions that are a life-like\, cont emporary approach to Pop. \;

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Known for his cheekily playful a nd vividly rendered visual collages\, Miller draws on his urban Californian roots\, engaging with the ambiguity in the American landscape. In the work s presented Miller explores the connection between advertising\, urban envi ronment\, and our social history. Referencing classic typefaces and color p alettes\, the images echo both the look and feel of print advertisements. M iller achieves this impression by fastidiously and painstakingly re-creatin g the look of age\, grit\, and time through the use of paint\, collage pape r and resin on canvas\, painting each visual element by hand.  \;Miller &rsquo\;s work resonates on both visual as well as linguistic levels throug h the dialogue afforded by their association. Working with the imagery of t he visual detritus in all of its faded glory\, Miller preserves for us the ephemeral beauty of the printed material. \;

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GREG MILLER (b. 1951\, Sacramento\, California) spends him time between New York\, NY and L os Angeles\, CA. His work has been exhibited internationally and is feature d in numerous private and museum collections.

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G reg Miller&rsquo\;s work will inspire\, provoke\, engage and mesmerize. Wit h visual perceptions always changing\, peek behind the stories told and you '\;re sure to find the right artistic expression!

\n LOCATION:JoAnne Artman Gallery\,511 A West 22nd Street \nNew York\, NY 1001 1 SUMMARY:Deconstructing Allusion: Featuring Greg Miller\, Greg Miller END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:449320 DTSTART:20170907T180000 DTEND:20170907T200000 LOCATION:JoAnne Artman Gallery\,511 A West 22nd Street \nNew York\, NY 1001 1 SUMMARY:Deconstructing Allusion: Featuring Greg Miller END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:449346 DTSTART:20170503T000000 DTEND:20171020T000000 DESCRIPTION:

Derrick Adams: Patrick Kel ly\, The Journey is an inHarlem project presented by The Stud io Museum in Harlem in partnership with the Schomburg Center for Research in Black Culture and the New York Public Library&rsquo\;s Countee Cullen Library branch. The exhibition is base d on artist Derrick Adams&rsquo\;s extensive research into the archive of t he influential African-American fashion designer Patrick Kelly (1954&ndash\ ;1990)\, housed at the Schomburg Center.

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At the center of Patrick Kelly\, The Journey is Adams&rsquo\ ;s &ldquo\;Mood Board&rdquo\; series\, a new body of work responding to Kel ly&rsquo\;s legacy as a formalist who imbued social context and humor into his creations. These abstract collages incorporate Kelly&rsquo\;s vintage c lothing patterns\, as well as his iconic fabrics\, colors and shapes: bold and colorful geometric forms\, contours of the female body\, and buttons an d other embellishments. The works exalt Kelly&rsquo\;s formal excellence wh ile demonstrating Adams&rsquo\;s ongoing interest in deconstructing\, fragm enting and manipulating structure and surface.

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Derrick Adams: Patrick Kelly\, The Journey is organize d by Hallie Ringle\, Assistant Curator.

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Now its second year\, inHarlem is designed to explore innovat ive ways to engage the community while taking the Museum beyond its own wal ls\, and encompasses a growing range of dynamic exhibitions and programs.\n\n

inHarlem programming is made pos sible thanks to support from the Stavros Niarchos Foundat ion\; William R. Kenan Jr. Charitable Trust\; Rockefeller Brothers Fund\; N ational Endowment for the Arts\, and the Marcus Garvey Park Alliance with f unding provided by the Harlem Community Development Corporation. Additional support is provided by The New York City Department of Cultural Affairs\; The Andrew W. Mellon Foundation\; the New York State Council on the Arts wi th the support of Governor Andrew Cuomo and the New York State Legislature and the New York City Council.

\n LOCATION:Studio Museum in Harlem\,144 W. 125th St. \nNew York\, NY 10027 SUMMARY:Patrick Kelly\, The Journey\, Derrick Adams END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450053 DTSTART:20170907T000000 DTEND:20171008T000000 DESCRIPTION:

Josée Bienvenu is pleased to inaugurate its new location with the first New York exhibition of Portugues e artist Fernanda Fragateiro. The exhibition will open on September 7 and w ill be on view through October 8\, 2017. Fragateiro&rsquo\;s sculptural and architectural interventions are often found in unexpected spaces (a monast ery\, an orphanage\, dilapidated houses\, or even shaping the overall desig n of a public park) with subtle alterations of existing landscapes that rev eal buried stories. Through her research-based method and revision of 20th century avant-garde practices in art\, design\, and architecture Fragateiro attempts to understand spatiality from a new perspective. &ldquo\;Ideas ar e materials. Ideas are like bricks. That&rsquo\;s what I think when I&rsquo \;m using other people&rsquo\;s ideas. I build a new thing with them. You l ook at a building and see how it is built &mdash\; what is the volume\, the texture\, the colors\, what materials were used in the construction. But t here are also a lot of things not visible. I work with these &ldquo\;other things&rdquo\;\, things that are not immediately visible in someone else&rs quo\;s ideas.&rdquo\;1
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In forget me (not)\, a multi-panel wall sculpture\, Fragateiro&rsquo\;s establishes an artistic dialogue with the work of Otti Berger &mdash\; an o verlooked textile artist and key participant and professor in the Bauhaus w ho\, as a Jew in Nazi Germany\, was ultimately sent to her death in the Aus chwitz concentration camp. Fragateiro&rsquo\;s new works were inspired by B erger&rsquo\;s experimental example\, particularly in their tactile and opt ical qualities. In her keen interest in re-thinking and probing modernist p ractices\, Fragateiro frequently repurposes already-existing and symbolical ly layered material\, such as silk threads found in a German factory or sec ond-hand books and magazines. Her complex yet delicate work is criss- cross ed by an intricate web of inner references to architectural history and art theory.
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&ldquo\;Fer nanda Fragateiro&rsquo\;s sculptural work is evidently related to architect ure and other spatial practices. However\, this relationship is not only im portant because she establishes formal connections with\, and draws inspira tion from architectural sources. Rather\, the correlations she devises are crucial because they dig into architecture culture to trigger a critical re vision of whom has the power to define space as a cultural and social const ruct. Establishing a political\, subtly feminist position\, she uncovers wh at architectural structures have often maintained hidden &ndash\; from gest ures of mostly absent female subjects\, down to meanings subdued by special ist publications or the walls of museum institutions. In this process\, she allows her audience to understand what remains imperceptibly unchanged in our social context\, and points to topics that still require inquiry and ex amination\, namely through artistic investigation. Her work is precise\, ae sthetically powerful\, spatially engaging &ndash\; and\, yet\, it is also r evelatory beyond the mere\, beautiful aggregation of forms\, objects and re ferences&rdquo\;.
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Fe rnanda Fragateiro (Lisbon\, 1962) lives and works in Lisbon\, Portugal. Her solo exhibition at the Museu de Arte\, Arquitectura e Tecnologia MAAT\, Li sboa\, PT is on view through September 18\, 2017. Select exhibitions includ e: Fundação Eugénio de Almeida\, Évora\, PT (2017)\; Porta 14 - Calçad a do Correio Velho\, Lisbon\, PT (2017)\; Arratia Beer Gallery\, Berlin\, D E (2017)\; Galería Elba Benitez\, Madrid\, ES (2017)\; Carpenter Center fo r the Visual Arts\, Harvard University\, Cambridge\, MA (2015)\; the Kranne rt Art Museum\, Champaign\, IL (2015)\; the Palais des Beaux-Arts de Paris\ , FR (2015)\; CIFO Art Space\, Miami\, FL (2014)\; the Bronx Museum\, New Y ork (2014)\; Koldo Mitxelena Kulturunea\, San Sebastián\, ES (2014)\; MUAC Museo Universitario Arte Contemporáneo\, Mexico\, D.F. (2014)\; Calouste Gulbenkian Foundation\, Lisbon\, PT (2012)\; Dublin Contemporary\, Dublin\, IE (2011)\; the Lisbon Architecture Triennale (2010)\; the Fundación Marc elino Botín\, Santander\, ES (2009)\; IVAM Institut Valencià d&rsquo\;Art Modern\, Valencia\, ES (2008)\; CCB Fundação Centro Cultural de Belém\, Lisbon\, PT (2007)\; CGAC Centro Galego de Arte Contemporánea\, Santiago de Compostela\, ES (2006)\; the Serralves Foundation\, Lisbon\, PT (2005)\; CaixaForum Barcelona\, ES (2004)\; Culturgest\, Lisboa\, PT (2003) and Kü nstlerwerkstatt\, Munich\, DE (1997). Public collections include: MNCARS Mu seo Nacional Centro de Arte Reina Sofía\, Madrid\, ES\; PAMM Pérez Art Mu seum Miami\, Miami\, FL\; The Ella Fontanals Cisneros Collection\, Miami\, FL\; Harvard Art Museums\, Cambridge\, MA\; Fundação Calouste Gulbenkian\ , Lisbon\, PT\; Fundació &ldquo\;la Caixa&rdquo\;\, Barcelona\, ES\; Funda ción Helga de Alvear\, Cáceres\, ES\; Fundación Marcelino Botín\, Santa nder\, ES\; CGAC Centro Galego de Arte Contemporánea\, Santiago de Compost ela\, ES\; and ARTIUM Centro-Museo Vasco de Arte Contemporáneo\, Vitoria\, ES.
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1 &ldquo\;&lsqu o\;Ideas Are Like Bricks&rsquo\;: Fernanda Fragateiro Interviewed by George Stolz&rdquo\;\, NC-Arte\, Bogotá\, Colombia\, 2015 (exhibition catalogue) .

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2 &ldquo\;On Spatial Constructs: Fernanda Fragateiro&rsquo\;s Recent Oeuvre&rdquo\;\, MAAT\, Lisbon\, Portug al\, 2017 (exhibition catalogue). \;

\n LOCATION:Josee Bienvenu Gallery\,529 West 20th St. \nNew York\, NY 10011 SUMMARY:a voice (not)\, Fernanda Fragateiro END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:454157 DTSTART:20170907T180000 DTEND:20170907T200000 LOCATION:Josee Bienvenu Gallery\,529 West 20th St. \nNew York\, NY 10011 SUMMARY:a voice (not) END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450379 DTSTART:20170907T000000 DTEND:20171007T000000 DESCRIPTION:

Kim Foster is pleased to announce an exhibition of new work by Christian Faur. \; This will be Faur&rsquo\;s third solo exhibition that will inaugurate our newly renovated gallery space. While Faur is inter nationally acclaimed for his portraits created by hand cast crayons\, this exhibition will include a wide range of material and genres. Among the piec es to be exhibited will be Faur&rsquo\;s largest crayon work to date\;  \; shredded paper image moments before a nuclear test blast composed entire ly of religious text\; \; flag of dyed and sewn dollar bills\; crayon p ortrait based on a Dorothea Lange photo in the FSA collection\; umbrella of human hair\; and print mapping the King James Bible to a color alphabet fo nt. \;  \;

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&ldquo\;Each material has its own message&rdqu o\; \; - Frank Lloyd Wright

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Artist Statement:
\nThe thin gs that inspire me to create\, I find\, are buried deep within the structur es and systems that form the underpinning of our natural world. My studies in the natural sciences have made me aware of these hidden layers of comple xity present in even the simplest objects. These invisible layers are seen most clearly through the lens of logic\, which is used to decipher the unde rlying rules and laws that govern the physical world.

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In my work\ , I try to mimic these elegant structures of nature by developing systems o f my own with which to express my thoughts and ideas\, so that the medium a nd the message appear as one.

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I think of it like a game\, with a set of axioms that are established at the outset through the limitations of the material or forms from which the work is constructed\, which then dict ates what can and cannot be &ldquo\;said&rdquo\; within the boundaries of t he chosen medium. This material limitation can also be a strength\, as ther e is the potential to contain thoughts and ideas in unique ways\, so that t he &ldquo\;medium&rdquo\; can become the &ldquo\;message.&rdquo\; This inte rtwining of form and function can be seen most directly in my most recent w ork\, which is comprised of crayons\, shredded paper\, dollar bills\, and e ven a color based system of writing.

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These systems function as a private language\, that allows me to express many layers of meaning within each work that I create. I think of them as complex visual &ldquo\;poems\,& rdquo\; which can redefine the way we think about the meaning of communicat ion. \;  \;

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&ldquo\;What we cannot speak about we must pa ss over in silence&rdquo\; - \; Ludwig Wittgenstein \; \; \ ; \; \; \; \; \; \; \; \; \; \;&nbs p\; \;  \;

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\n LOCATION:Kim Foster Gallery\,529 W. 20th St. \nNew York\, NY 10011 SUMMARY:Sum of Parts\, Christian Faur END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450380 DTSTART:20170807T180000 DTEND:20170807T200000 LOCATION:Kim Foster Gallery\,529 W. 20th St. \nNew York\, NY 10011 SUMMARY:Sum of Parts END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450389 DTSTART:20170908T000000 DTEND:20171001T000000 DESCRIPTION: LOCATION:Front Room Gallery\,48 Hester Street 48 Hester Street\nNew York\, NY 11211US SUMMARY:(UN)THINKABLE\, Beuhler\, Philip END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450390 DTSTART:20170908T070000 DTEND:20170908T090000 LOCATION:Front Room Gallery\,48 Hester Street 48 Hester Street\nNew York\, NY 11211US SUMMARY:(UN)THINKABLE END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450443 DTSTART:20170907T000000 DTEND:20171021T000000 DESCRIPTION:

Alexander Gray Associates pres ents Polly Apfelbaum: The Potential of Women\, the artist&rsquo\;s first exhibition at the Gallery. The exhibition features all new work\, in cluding gouache drawings\, hand-woven rugs\, and wall-mounted ceramics. The key visual motif comes from the 1963 book\, The Potential of Woman\, publi shed in conjunction with a symposium of the same name.

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Apfelbaum draws inspiration from graphic designer Rudol ph deHarek&rsquo\;s cover design for The Potential of Woman\, whic h features a flattened\, stylized view of a female figure&rsquo\;s head. He r appropriation of this image\, chosen as an icon\, is consistent with her ongoing interest in applied design and popular culture. Apfelbaum was also fascinated by the book&rsquo\;s provocative and ultimately patronizing mess age. The book and its related symposium imagined a future in which women mi ght be useful contributors\; Apfelbaum instead reflects the desire for a br oader appreciation and empowerment of legions of capable women in the prese nt. In the exhibition&rsquo\;s title\, Apfelbaum changes the word &lsquo\;w oman&rsquo\; to &lsquo\;women&rsquo\; to reinforce an inclusive communal na rrative around feminism.

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In the sec ond floor Gallery\, the artist has created an immersive environment\, in wh ich she occupies and transforms the entire space with four rugs\, painted w alls\, and dozens of wall-mounted ceramics. Critic Christopher Knight has d escribed her similarly expansive 2016 installation at Otis College of Art a s a &ldquo\;secular chapel of abstract art\,&rdquo\; an association that Ap felbaum invites. The rugs\, the central element of the installation\, deplo y deHarek&rsquo\;s graphic design in orange\, pink\, tan\, and black\; they were woven in Oaxaca by Zapotec artisans indigenous to the region using th eir traditional weaving and dying methods. The walls are painted in large h orizontal stripes of orange\, pink\, and white\, matching the tones used in the original book cover. Intimately-scaled abstract ceramic portraits are hung around the walls to mimic what the artist describes as a a participato ry audience for the work\, much like &ldquo\;a Greek Chorus that gives voic e to the performance.&rdquo\; Apfelbaum has depicted another crowd of women in polychromatic gouache drawings installed on the ground floor of Gallery . She renders the same face appropriated from the cover of The Potentia l of Woman in a variety of sizes\, and color spectrums\, creating a ka leidoscopic effect. Her use of vibrant dense pigment here is a tribute to J osef Albers&rsquo\; landmark book on color theory\, Interaction of Colo r\, also printed in 1963\, emblematic of her fusion of of pop-cultural and art historic references.

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With the recurrent aesthetic of accumulation and diverse color saturations\, Apf elbaum expands the visuals of the political landscapes surrounding the 2017 election and its resulting activism. Collectively\, her densely populated drawings\, row of ceramics\, pay homage to the recent resurgent prominence of women&rsquo\;s marches and enforce the power of community to engage in c ollective action and activism.

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Poll y Apfelbaum has exhibited widely since the 1980s\, including recent one-per son exhibitions at: Chapelle Saint-Jean\, Le Sourn\, France (2017)\; Cohen Gallery at Brown University\, Providence\, RI (2016)\; Otis College of Art and Design\, Los Angeles\, CA (2016)\; Bepart\, Waregem\, Belgium (2015)\; Worcester Art Museum\, Worcester\, MA (2014)\; lumber room\, Portland\, OR (2014). A major mid-career survey of her work opened in 2003 at the Institu te for Contemporary Art in Philadelphia\, PA and traveled to Kemper Museum of Contemporary Art\, Kansas City\, MO\, and Contemporary Arts Center\, Cin cinnati\, OH\, both in 2004. She has upcoming solo-exhibitions at Ikon Gall ery\, Birmingham\, England\, and 21er Haus\, Vienna. Her work has been feat ured in numerous group exhibitions including: \;Wall to Wall: Carpe ts by Artists\, Katonah Art Museum\, NY (2017)\; An Irruption of t he Rainbow\, Los Angeles County Museum of Art\, Los Angeles\, CA (2016 )\; \;Routes of Influence\, Perez Art Museum\, Miami\, FL (201 6)\; Wall to Wall\, MOCA Cleveland\, Cleveland\, OH (2016)\; \ ;Defining Sculpture\, Albright Knox Art Gallery\, Buffalo\, NY (20 16)\; Pretty Raw: After and Around Helen Frankenthaler\, Rose Art Museum\, Waltham\, MA (2015)\; \;Three Graces\, Everson Museum of Art\, Syracuse\, NY (2015)\; \;Pathmakers: Women in Art\, Craft and Design\, Midcentury and Today\, Museum of Art and Design\, New Yo rk (2015)\; \;Regarding Warhol: Sixty Artists\, Fifty Years\, Metropolitan Museum of Art\, New York\, (2012)\; \;Lines\, Grids\, Stains\, and Words \;(2008)\, \;Comic Abstraction&nbs p\;(2007)\, and \;Sense and Sensibility: Women and Minimalism in th e 90&rsquo\;s \;(1994) all at the Museum of Modern Art\, New York\ ; \;As Painting: Division and Displacement\, Wexner Center for the Arts\, Columbus\, OH\, (2002)\; \;Operativo\, Museo Rufin o Tamayo\, Mexico City\, (2001).

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Ap felbaum&rsquo\;s work is in the collections of The Museum of Modern of Art\ , New York\; The Whitney Museum of Art of American Art\, New York\; Brookly n Museum of Art\, New York\; The Los Angeles County Museum of Art\, Los Ang eles\; Albright-Knox Art Gallery\, Buffalo\, NY\; The Henry Art Gallery\, S eattle\, WA\; The Dallas Museum of Art\, Dallas\, TX\; Philadelphia Museum of Art\, Philadelphia\, PA\; The Carnegie Museum of Art\, Pittsburgh\, PA\; Pennsylvania Academy of Fine Arts\, Philadelphia\, PA\; and The Everson Mu seum of Art\, Syracuse\, NY. She was the recipient of a Pollack-Krasner Fou ndation grant in 1987\, a Guggenheim Fellowship in 1993\, an Artist'\;s Fellowship from the New York Foundation for the Arts in 1995\, an Anonymous Was a Women Award in 1998\, a Richard Diebenkorn Fellowship in 1999\, a Jo an Mitchell Fellowship in 1999\, an Academy Award from the American Academy of Arts and Letters in 2002\, and most recently the Rome Prize in 2012.

\n LOCATION:Alexander Gray Associates\,510 West 26 Street \nNew York\, NY 1000 1 SUMMARY:The Potential of Women\, Polly Apfelbaum END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450444 DTSTART:20170907T180000 DTEND:20170907T200000 LOCATION:Alexander Gray Associates\,510 West 26 Street \nNew York\, NY 1000 1 SUMMARY:The Potential of Women END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450449 DTSTART:20170907T000000 DTEND:20171021T000000 DESCRIPTION:

CUE Art Foundation is pleased to present a solo exhibition by Nancy Floyd. Titled Weathering Time\, the exhibition features selections from Floyd&rsquo\;s archive of photo graphs exploring the genre of self-portraiture. Spanning thirty-five years\ , the ongoing series comprises thousands of varied images that form an inti mate account of Floyd&rsquo\;s daily life. Her project tackles profound que stions of ritual\, purpose\, and the assumed agency of photography. \;< /p>\n\n

Floyd began photographing herself i n 1982\, standing in front of her camera each morning with a cable release. She has maintained this visual diary from her time working as a waitress a fter college to her retirement after a career as a professor of photography . Pets\, friends\, and family members appear alongside Floyd in some photog raphs&mdash\;time marks their bodies as well. She captures her nieces from infancy to motherhood\, when they are shown holding infants of their own. U nedited\, the archive includes underexposed photographs\, out-of-focus imag es\, and blank frames that mark the days on which Floyd failed to take a ph otograph.

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In 1958/1982/2012 (2015)\, Floyd juxtaposes a childhood snapshot with two photographs from her series. The adult Floyd holds the frame directly in the center of the i mages\, leaning slightly to her left with hands folded behind her back. Tak en thirty years apart\, the images are remarkably similar\, despite changes in hair styles and architectural details\, presenting the viewer with a po ignant\, singular comment of the passage of time.

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For this exhibition\, Floyd&rsquo\;s photographs are install ed in grid formations that allude to her project&rsquo\;s intersecting time lines and documentary methodology. One piece is made up of thirty-five indi vidual photographs\, one from each year of Floyd&rsquo\;s series. Another w ork\, Evolution of Pants 1982-2016 (2017)\, tracks the changing st yles of Floyd&rsquo\;s pants in fifteen images that span four decades. In a ddition to photographs\, the exhibition also includes descriptive texts fro m the archive\, as well as a video slideshow of Floyd&rsquo\;s complete arc hive.

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Nancy Floyd has been an exhibiting artist for over thirty years. She has received numer ous grants and awards including a 2015 Society for Photographic Education F uture Focus Project Support Grant and a 2014 John Gutmann Photography Fello wship Award. She was also a runner-up for the 2017 Aperture Portfolio Prize . Temple University Press published her first book\, She&rsquo\;s Got a Gun\, in 2008. \;

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Floyd&r squo\;s work has been exhibited in numerous venues including Solomon Projec ts\, Atlanta\, GA\; Flux Projects\, Atlanta\, GA\; the Atlanta Contemporary Art Center\; White Columns\, New York\, NY\; and the California Museum of Photography\, Riverside\, CA. Since 2009\, her work has been part of the El izabeth A. Sackler Center for Feminist Art Archive\, Brooklyn Museum\, Broo klyn\, NY. Floyd holds an MFA from the California Institute of the Arts and lives in Atlanta\, GA.

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CUE&rsquo\;s exhibition program aims t o present new and exceptionally strong work by under-recognized and emergin g artists based in the United States\, and is committed to exhibiting work of all media\, genres\, and styles. This exhibition is a winning selection from the 2016-17 Open Call for Solo Exhibitions. Floyd&rsquo\;s work was un animously selected by a jury comprised of panelists Herb Tam\, Curator and Director of Exhibitions at the Museum of Chinese in Americ a\; Michelle Grabner\, artist and writer\; and Les lie Hewitt\, artist. In line with CUE&rsquo\;s commitment to provi ding substantive professional development opportunities\, panelists also se rve as mentors to the exhibiting artists\, providing support throughout the process of developing the exhibition.

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We are honored to work with Leslie Hewitt as the artist-on-artist mento r of this exhibition.

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Lesli e Hewitt studied at the Cooper Union for the Advancement of Scienc e and Art\, Yale University&rsquo\;s School of Art\, and at New York Univer sity\, with a focus on Africana and Visual Culture Studies. Hewitt has held residencies at the Studio Museum in Harlem\, the Museum of Fine Arts\, Hou ston\, the Radcliffe Institute for Advanced Study at Harvard University and the American Academy in Berlin\, Germany amongst others. Her work is in pu blic collections at the Museum of Modern Art\, NY\; Guggenheim Museum\, NY\ ; Los Angeles County Museum of Art\, CA\; The Whitney Museum of American Ar t\, NY\, among others. She was a faculty member at Barnard College in the d epartment of Art History from 2012-2017\; and has recently joined the facul ty of the School of Art at The Cooper Union for the Advancement of Science and Art. \;

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The exhibition is a ccompanied by a 32-page color catalogue\, with texts by Nancy Floyd\, Lesli e Hewitt\, and Shantay Robinson. \;The catalogue is available online\, and free of charge to gallery visitors. For more informati on please contact Programs Director Shona Masarin-Hurst at shona@cueartfoun dation.org.

\n LOCATION:CUE Art Foundation\,137 West 25th Street Ground Floor\nNew York\, NY 10001 SUMMARY:Weathering Time\, Nancy Floyd END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:453941 DTSTART:20170907T180000 DTEND:20170907T200000 LOCATION:CUE Art Foundation\,137 West 25th Street Ground Floor\nNew York\, NY 10001 SUMMARY:Weathering Time END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450450 DTSTART:20170912T000000 DTEND:20171021T000000 DESCRIPTION:

Ad Reinhardt: Blue Paintin gs\, organized by the Ad Reinhardt Foundation\, will presen t the largest number of the artist&rsquo\;s &ldquo\;blue&rdquo\; paintings ever shown together. Drawn exclusively from museum and private collections\ , this will be the first exhibition devoted entirely to this body of work s ince the artist&rsquo\;s 1965 solo show at the Stable Gallery\, New York\, over fifty years ago. This presentation will focus on works made between 19 50 and 1953\, in addition to related earlier canvases from the 1940s.

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The perceptual demands of these compelli ng works are intense and reward sustained looking: the blues in Reinhardt&r squo\;s paintings appear to change before one&rsquo\;s eyes\, influenced by subtle shifts in color within each canvas and in neighboring works. Reinha rdt paired tones of blue that are so similar that it may take minutes to se e they are not the same\, creating resonant compositions that challenge the limits of perception. In bringing these works together\, this exhibition w ill afford a rare opportunity to experience one of the greatest twentieth-c entury painters thinking in color.

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The Ad Reinhardt Foundation would like extend its deep gratitude to the man y generous lenders who have made this unprecedented exhibition possible. Ad Reinhardt: Blue Paintings\, which is free and open to the public\ , will introduce a new audience to these iconic works\, and has already con tributed immensely to the study of the artist&rsquo\;s oeuvre. \;

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Barbara Rose writes in the introduction to \;Art as Art: The Selected Writings of Ad Reinhardt\, " \;Reinhardt defended abstract art both as an aesthetic and as a moral cause ."\; In the 1952 text "\;Abstract Art Refuses"\;\, Reinhardt wr ote: "\;One can find some of painting&rsquo\;s meanings by looking not only at what painters do but at what they refuse to do."\; Read the ful l text in the artist'\;s \;Guide.

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"\;Before the viewer can shrug his shoulders and walk away\, something stops him. He becomes mesmerized\, sensing there is more to come. Graduall y\, subtly varying hues in rectangular or square shapes emerge from the mon ochrome and begin to play with\, and against\, each other. What seemed an i nert mass is transformed into light\, and these &lsquo\;quietist paintings\ ,&rsquo\; as Reinhardt calls them\, become alive.&rdquo\;&mdash\;Newswe ek\, March 15\, 1965

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The \ ;Ad Reinhardt Foundation&nb sp\;is gathering information about all known works of art by Ad Reinhardt i n public and private collections for a multivolume catalogue raisonné \;. To submit information\, please download a PDF of the catalogue raisonn& eacute\; questionnaire at \;adreinhardtfoundation.org \;or contact the Foundatio n at \;cataloguer aisonne@adreinhardt.org \;or (212) 691 2205.

\n LOCATION:David Zwirner 537 W 20th\,537 West 20 Street \nNew York\, NY 10011 SUMMARY:Blue Paintings\, Ad Reinhardt END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450451 DTSTART:20170912T180000 DTEND:20170912T200000 LOCATION:David Zwirner 537 W 20th\,537 West 20 Street \nNew York\, NY 10011 SUMMARY:Blue Paintings END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450452 DTSTART:20170913T000000 DTEND:20171021T000000 DESCRIPTION:

David Zwirner is pleased to an nounce the gallery'\;s first exhibition dedicated to the work of Ruth A sawa since having announced the representation of the artist'\;s estate earlier this year\, which will take place at the 537 West 20th Stre et location. The exhibition will bring together a selection of key sculptur es\, paintings\, and works on paper spanning Asawa'\;s influential pract ice\, as well as rare archival materials\, including a group of vintage pho tographs of the artist and her work by Imogen Cunningham. \;

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Born in rural California\, Asawa began to mak e art while detained in internment camps for Japanese Americans at Santa An ita\, California\, and Rohwer\, Arkansas\, where she was sent with her fami ly in 1942-1943. Following her release\, she enrolled in Milwaukee State Te achers College\, eventually making her way to Black Mountain College in Nor th Carolina in 1946\, then known for its progressive pedagogical methods an d avant-garde aesthetic milieu. Asawa'\;s time at Black Mountain proved formative in her development as an artist\, and she was influenced there in particular by her teachers Josef Albers\, Buckminster Fuller\, and the mat hematician Max Dehn.

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Explaining her fascination with wire as a material\, Asawa said\, "\;I was interested in it because of the economy of a line\, making something in space\, enclo sing it without blocking it out. It'\;s still transparent. I realized th at if I was going to make these forms\, which interlock and interweave\, it can only be done with a line because a line can go anywhere."\;

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Ruth Asawa: Of Forms and Growth is a 1978 documentary by the Academy A ward-winning filmmaker Robert Snyder. The film presents an intimate portrai t of the artist\, exploring the personal philosophies which influenced her work.

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\n LOCATION:David Zwirner 537 W 20th\,537 West 20 Street \nNew York\, NY 10011 SUMMARY:Solo Exhibition\, Ruth Asawa END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450453 DTSTART:20170913T180000 DTEND:20170913T200000 LOCATION:David Zwirner 537 W 20th\,537 West 20 Street \nNew York\, NY 10011 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450459 DTSTART:20170905T000000 DTEND:20170930T000000 DESCRIPTION:

George Billis Gallery is pleas ed to announce Bruce Brainard and his new paintings at the New York locatio n. This exhibition will run from September 5 - 30\, 2017. The opening recep tion will be held at the George Billis Gallery located at 525 West 26th Str eet between 10th and 11th avenues on Thursday\, September 7th from 6-8 pm. Gallery hours are Tuesday through Saturday\, 10 &ndash\; 6pm.

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Raised in a small farming community nestled unde r the Tetons in the upper Snake Valley of Southeastern Idaho\, Bruce Braina rd draws inspiration from the early American Landscape artist George Inness and artists associated with the Luminist movement\, and the spiritual Roma nticist Caspar David Friedrich. Adding his own distinctive contemporary per spective\, he creates landscapes metaphorically\, using symbols and archety pes.

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The George Billis Gallery mark s its 20th year in the Chelsea Art district and its sister gallery is locat ed in the burgeoning gallery district of Culver City in Los Angeles. For mo re information\, please contact the gallery via e-mail at gallery@g eorgebillis.com or visit our website at www.georgebillis.c om

\n LOCATION:George Billis Gallery- NY\,525 West 26th Street \nNew York\, NY 10 001 SUMMARY:Solo Exhibition\, Bruce Brainard END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450460 DTSTART:20170907T180000 DTEND:20170907T200000 LOCATION:George Billis Gallery- NY\,525 West 26th Street \nNew York\, NY 10 001 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450462 DTSTART:20170907T000000 DTEND:20171014T000000 DESCRIPTION:

Margaret Thatcher Proj ects is pleased to present minimal invasiv\, the fifth so lo-exhibition of hand-carved marble sculptures by artists Venske &a mp\; Spä\;nle. Taking visual and conceptual inspiration from t he realms of sci-fi\, cartoon animation and an innate sense of playful humo r\, this Munich-based duo is deeply interested in the interaction between s culpture\, place\, and viewer.
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\nRegarding these biomorphic sc ulptures as alien-like entities taken from their original place of creation to travel the world through a myriad of different exhibitions\, the sculpt ures have now landed in New York to &ldquo\;invade&rdquo\; the scene like o therworldly creatures\, spreading their species under the radar. The artist s further push this notion by documenting their sculptures interacting in s ite-specific locations. Often times\, their works assert their presence in spaces that may otherwise be overlooked\, such as Helotroph Foum Squitt where the sculpture finds a temporary home in the middle of a rock de sert in Morocco. Chapeau Malienne rests on an African boy&rsquo\;s head\, becoming a regal crown for a local village man.
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\nPerh aps the most &ldquo\;invasive&rdquo\; piece in the exhibition is L&rsqu o\;Osservatore/The Observer. This piece houses a security camera as it s eye\, silently observing and recording all activities around it. Question s of where this entity came from and what its intent is immediately arise. Curiosity lures the viewer to interact with this strange thing\, resulting in a cross examination of what each is seeing\, doing\, and thinking. The u nassuming nature of this cast of characters raises questions: have they qui ckly assimilated on the planet\, or always belonged just where they stand?< br />\n
\nVenske &\; Spä\;nle is the moniker f or the artists Julia Venske (b.1971\, Berlin) and Gregor Spä\;nle (b. 1 969\, Munich). The artists live and work in Munich\, and have exhibited the ir work worldwide in North and South America\, Europe\, Asia\, Australia\, and Africa. Recent solo museum exhibitions include the Museum de Bella Arte s\, Valencia\, ES (2014) and Museum Bad Arolsen\, Kassel\, DE (2012). Perma nent public installations of their work include Myzot Nachtwä\;chte r in Incheon\, South Korea and Autoeater in Querceta\, Italy. Autoeater is currently on display in Atlanta\, GA for a three-yea r term for Atlanta&rsquo\;s Midtown Alliance Public Art Program.

\n LOCATION:Margaret Thatcher Projects\,539 West 23rd Street \nNew York\, NY 1 0011 SUMMARY:minimal invasiv\, Venske & Spänle END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:454101 DTSTART:20170907T180000 DTEND:20170907T200000 LOCATION:Margaret Thatcher Projects\,539 West 23rd Street \nNew York\, NY 1 0011 SUMMARY:minimal invasiv END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450463 DTSTART:20170910T000000 DTEND:20171015T000000 DESCRIPTION:

&ldquo\;I believe in magick\, I believe in you&rdquo\;

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&n dash\;Jen DeNike

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&ldquo\;M agicians have catalogued and explored ten different levels of what is known as reality\, and then produced a map of this terrain. That map now goes by the name of the Tree of Life. Magicians also studied and mapped out the pa th through these levels of reality that divine energy takes as it manifests on the physical plane\, and that path has been configured to have the nume rological value of 777.&rdquo\;

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&ndash\;Damien Echols

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From September 10 - October 15\, 2017\, PARTICIPANT INC i s pleased to present 777\, a twoperson exhibition by New Y ork-based artists Jen DeNike and Damien Echols. Seven disc reet site-specific installations evolved and are mapped according to the Tr ee of Life drawing by Echols\, including individual artworks by each artist as well as collaborative\, interactive\, and time-based work. Seven vinyl vector drawings of red sigils derived from this drawing float on the walls\ , connecting the passage through the Tree of Life realms of Kether\, Binah\ , Chochma\, Geburah\, Chesed\, Hod\, and Netzach. Central to the exhibition is a large-scale handmade tent\, which the artists will inhabit for one-on -one encounters with the tarot. As well\, a collection of collaged books fr om the their library will be available for study inside. A series by DeNike of silent video works form two pillars\, a gateway of initiation outside t he tent\, depicting her and Echols in meditative states. A third single-cha nnel video features Participant Director Lia Gangitano walking in and out o f frame repeatedly in a ritual act of cyclic motion &ndash\; she becomes th e Chariot Card in the tarot\, moving not in a direct line but rather a circ ular motion in time.

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DeNike\, in co llaboration with sound artist Scott Haggart\, incorporated reel-to-reel location recordings of the East River and Hudson River\, whic h were then processed and manipulated into a final two-channel composition sound work. East and West specific markers in the psychogeography of New Yo rk are also important in the perfomative workings of elemental and ritual m agick.

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The space of the exhibition functions like a sanctuary\, an environment scripted for performative refle ction. A foundational triangle of three portraits of DeNike\, Echols\, and Gangitano were made in collaboration with artist Lary 7. U sing a 19th century large format 8x10 film camera\, seven additional portra it sittings were conducted in the gallery with past and present collaborato rs important to the artists. The film was hand printed by DeNike as silver gelatin photographs.

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In the center of the gallery\, another drawing by Echols\, 777\, becomes a shrine and the final site where visitors can leave remnants of inspiration that will evol ve over the course of the exhibition.

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Workshops on magick will take place at the gallery during the run of the exhibition.

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Meeting in 2008 while Echols was serving an 18-year prison sentence for a crime he did not commit \, the two artists first collaborated on the installation of a text piece c alled Living Ferociously\, curated by Jenny Schlenzka for RedLine\, Denver in 2008\; followed by a collaborative \; installation and meditative pe rformance curated by Elizabeth Lovero Tzaphkiel\, 2010 at Wallspace Gallery \, New York that centered on the release of Echols from death row via a sev en day water fast by DeNike.

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Eighte en years old at the time of his conviction in 1994\, Echols was released in 2011\, he and DeNike have since conducted magick workshops as co-mentors\, produced collaborative works\, and worked together toward this exhibition\ , their first major collaborative solo exhibition.

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Jen DeNike is an artist and director drawi ng on a legacy of film\, literature\, and choreography in video\, photograp hic\, and performative installation works. Since receiving her MFA from Bar d College\, she has exhibited internationally including The Bombay Beach Bi ennale\, California\; Julia Stoshek Collection\; Eastman House\; 54th Venic e Biennale\; Garage Projects Moscow\; Palais de Tokyo\; MOMA PS1\; KW Berli n\; Museum of Modern Art\; Zendai Museum of Modern Art\, Shanghai\; MOCA To ronto\; MACRO ROMA\; and Tensta Konsthall. Commissioned projects and perfor mances include Creative Time\, LAND Los Angeles Nomadic Division\, Miami Ar t Basel Art Public\, Performa Biennial\, and PopRally MoMA. She has studied ritual magick and the tarot for over ten years. She lives in New York and is currently working on a new short film about a gang of sorceress in a pos t apocalyptic landscape who conjure a narwhal.

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Damien Echols is an artist and New York Times bestselling author. He has been a practitioner of ceremonial Magick for ove r twenty years and leads classes on Magick and tarot readings. He spent ove r eighteen years on death row in Arkansas for a crime he didn'\;t commit before gaining his freedom in 2011. During his time in prison he was ordai ned into the Rinzai Zen tradition of Japanese Buddhism. His artwork consist s of glyphs\, sigils\, and symbols designed to bypass the conscious mind an d speak directly to the subconscious. He uses a combination of traditional ceremonial Magick techniques combined with his own alphabet/code to break d own concepts and scenarios into abstract designs. His next book\, High Magi ck\, will be released in September 2018.

\n LOCATION:Participant Inc.\,253 East Houston Street \nNew York\, NY 10002 SUMMARY:777\, Jen DeNike\, Damien Echols END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:454320 DTSTART:20170910T190000 DTEND:20170910T210000 LOCATION:Participant Inc.\,253 East Houston Street \nNew York\, NY 10002 SUMMARY:777 END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450464 DTSTART:20170907T000000 DTEND:20170930T000000 DESCRIPTION:

Team (gallery\, inc.) is pleas ed to announce a show by German painter Andreas Schulze. Entitled Vacan ze 365\, the exhibition will run from 07 through 30 September 2017. Te am Gallery is located at 83 Grand Street in New York.

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For this exhibition\, Schulze has created a cohesive bod y of figurative paintings\, each of which depicts\, in the artist&rsquo\;s abstrusely playful visual language\, a person on a beach holiday. The chara cters\, while loosely recognizable as such\, seem eerily mechanical: the fi gures are all cut off at the head\, their bodies rendered as shimmering\, c ylindrical tubes\; their distinctly inorganic appearance is further emphasi zed by dense\, spewing grey exhaust that emits from a hole around the midri ff in each work. As is typical of Schulze&rsquo\;s practice\, his warm\, ca rtoonish rendering provides a thin mask for a series of mysterious\, freque ntly sinister themes and motifs\; the paintings are bizarre\, contradictory depictions of quotidian subjects\, containing equal measures of affection and menace.

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Schulze employs an oddb all sense of humor &ndash\; rife with visual puns and exaggerated stylizati on &ndash\; to allow the viewer to access his work&rsquo\;s quietly forebod ing undertones\, as well as the darkness he perceives in the day-to-day of modern life. Within this show\, the phrase &ldquo\;blowing off steam&rdquo\ ; is made literal by the streams of pollution that emit from the beach-goin g figures. The fantasy of a yearlong vacation\, as suggested by the exhibit ion&rsquo\;s title\, provides a respite from the mechanized drudgery of pet it-bourgeois life. The figures&rsquo\; odd\, machine-like physiques and fac eless anonymity further suggest this kind of dehumanization\, the treatment of people as commodities under capitalism.

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While Schulze&rsquo\;s first exhibition at Team Gallery in 2011 wa s an immersive installation &ndash\; consisting of works on canvas\, situat ed among found objects\, furniture of his own design and painted walls and floors &ndash\; he limited each of his following two shows to an exclusive motif &ndash\; windows in 2013 and automobiles in 2014. In creating within such constraints\, as he has done here once again\, the artist allows his p rodigious visual imagination and his idiosyncratic\, confident and highly s killful treatment of paint to occupy center stage. Aspects of his installat ion practice remain\, however: here\, the gallery walls are painted a stark \, almost aggressive shade of blue. The color\, in this context\, becomes t hat of an oppressively idealized ocean or sky.

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There is a great deal of visual variation in the paintings\, es pecially considering the seeming unanimity of their subject matter. Schulze &rsquo\;s vacationers are adorned with diverse articles of vividly patterne d clothing. In certain works\, the figure takes up the whole of the plane\, while others&rsquo\; characters are aslant\, floating on a striped towel o r bed of sand. The artist also plays with the arrangement and shapes of his canvases\; by placing them at alternating heights\, he suggests a scene\, in which some of the figures have gone deeper into the ocean water than oth ers. The proportions of the works vary as well: a square canvas contains an overweight &ldquo\;mother&rdquo\; figure\, while an elongated one portrays a tall\, slender &ldquo\;father.&rdquo\;

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Schulze was born in Hannover in 1955 and has been exhibiting his wor k since 1981 &ndash\; his longstanding relationship with gallerist Monika S prü\;th beginning in 1983. Schulze&rsquo\;s work has been exhibited at museums internationally including the Museum of Modern Art in New York\, th e Tate Museum in London\, the Kö\;lnischer Kunstverein\, the Solomon R. Guggenheim Museum\, Kunstaele in Berlin and at the Kunstverein and the Sam mlung Falckenberg\, both in Hamburg. A recent retrospective toured three ve nues: Villa Merkel in Neckel\, The Shirn Kunsthalle in Frankfurt\, both in Germany\, and the Kunstmuseum Sankt Gallen in Switzerland.

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This is Schulze&rsquo\;s fourth exhibition with Tea m Gallery. \;

\n LOCATION:Team Gallery - Grand St\,83 Grand St. \nNew York\, NY 10013 SUMMARY:Vacanze 365\, Andreas Schulze END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450465 DTSTART:20170907T180000 DTEND:20170907T200000 LOCATION:Team Gallery - Grand St\,83 Grand St. \nNew York\, NY 10013 SUMMARY:Vacanze 365 END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450468 DTSTART:20170720T000000 DTEND:20170930T000000 DESCRIPTION: LOCATION:C24 Gallery\,560 West 24th Street Ground Floor\nNew York\, NY 1001 1US SUMMARY:Facial Profling\, Samira Abbassy\, Kwesi Abbensetts\, Geoffrey Chad sey\, Sean Fader\, Michael Ferris Jr\, Kymia Nawabi\, Oliver Wasow END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450469 DTSTART:20170720T183000 DTEND:20170720T203000 LOCATION:C24 Gallery\,560 West 24th Street Ground Floor\nNew York\, NY 1001 1US SUMMARY:Facial Profling END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450536 DTSTART:20170803T000000 DTEND:20171105T000000 DESCRIPTION:

Artist Talk: Sunday August 6\, 2017
\n5:00pm

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Knockdown Center is pleased to present \;The Clock is Taking a Nap. \, a mural by Amie Cunat as a part of FiftyTwo Ft\, a series of long-t erm wall-based artworks in the East Corridor.

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The imagery within the mural is sourced from drawings of churches and other buildings in New Y ork City. The work depicts building-like structures tightly packed across t he wall as if they had been extracted from a dense urban neighborhood where houses\, commercial buildings\, and places of worship respond and form to their adjacent architecture. In some areas\, the structures&rsquo\; contour s bend as if their frames have been pulled out\, leaving behind the suggest ion of a jelly-like skin sagging from its own weight. In others\, the forms maintain a sense of buoyancy\, appearing to float or sway against the coll oidal skyline\, all in service of a larger atmospheric force that pushes th is imagined landscape into contorted positions.

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Amie Cunat is a J apanese-American artist raised in McHenry\, IL. Her paintings and installat ions\, characterized by biomorphic forms and comedic hues\, investigate par allels between abstraction and perception. She earned a BA in Visual Art an d Art History from Fordham University\, a Post-Baccalaureate Degree in Pain ting and Drawing from The School of the Art Institute of Chicago\, and an M FA from Cornell University. Her recent exhibitions include Curtains at This Friday or Next Friday (NY)\, C+C: Kat Chamberlin and Amie Cunat at SPRING/ BREAK Art Show (Curated by Nicholas Cueva\, NY)\, Hideout at The Sunroom Pr oject Space\, Wave Hill (NY)\, Moon Nets\, Alphabet Letters at Outside (MA) \, Clue\, Cue at Foley Gallery Window Installation (NY)\, and Blood and San d at Mountain (NY). She has participated in the Studios at MASS MoCA Reside ncy (MA)\, Guttenberg Arts Space and Time Artist Residency (NJ)\, The Artis t-Teacher Residency at Cooper Union (NY)\, and AIRY Yamanashi (Kofu\, Japan ). Cunat is Adjunct Faculty of Painting and Drawing at Fordham University. She lives and works in New York\, NY.

\n LOCATION:Knockdown Center\,52-19 Flushing Ave. Maspeth\nQueens\, NY 11378 SUMMARY:Amie Cunat: The Clock is Taking a Nap.\, Amie Cunat END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450537 DTSTART:20170806T170000 DTEND:20170806T190000 LOCATION:Knockdown Center\,52-19 Flushing Ave. Maspeth\nQueens\, NY 11378 SUMMARY:Amie Cunat: The Clock is Taking a Nap. END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450562 DTSTART:20170907T000000 DTEND:20171007T000000 DESCRIPTION:
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Sikkema Jenkins and Co. is Compelled to present
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< strong>The most Astounding and Important Painting show of the fall Art Show viewing season! \;
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Collectors of Fine Art will Flock t o see the latest Kara Walker offerings\, and what is she offering but the F inest Selection of artworks by an African-American Living Woman Ar tist this side of the Mississippi.  \;Modest collectors will find her p rices reasonable\, those of a heartier disposition will recognize Bargains! Scholars will study and debate the Historical Value and Intel lectual Merits of Miss Walker&rsquo\;s Diversionary Tactics. Art Histo rians will wonder whether the work represents a Departure or a Continuum. Students of Color will eye her work suspiciously and exerc ise their free right to Culturally Annihilate her on social media. Parents will cover the eyes of innocent children. School Teachers will reexamine th eir art history curricula. Prestigious Academic Societies will withdraw the ir support\, former husbands and former lovers will recoil in abject terror . Critics will shake their heads in bemused silence. Gallery Directors will wring their hands at the sight of throngs of the gallery-curious flooding the pavement outside.  \;The Final President of the United States will visibly wince. Empires will fall\, although which ones\, only time will tel l. \;
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\nArtist&rsquo\;s Statement
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\nI don&r squo\;t really feel the need to write a statement about a painting show. I know what you all expect from me and I have complied up to a point. But fra nkly I am tired\, tired of standing up\, being counted\, tired of &ldquo\;h aving a voice&rdquo\; or worse &ldquo\;being a role model.&rdquo\; Tired\, true\, of being a featured member of my racial group and/or my gender niche . It&rsquo\;s too much\, and I write this knowing full well that my right\, my capacity to live in this Godforsaken country as a (proudly) raced and ( urgently) gendered person is under threat by random groups of white (male) supremacist goons who flaunt a kind of patched together notion of race puri ty with flags and torches and impressive displays of perpetrator-as-victim sociopathy. I roll my eyes\, fold my arms and wait. How many ways can a per son say racism is the real bread and butter of our American mythology\, and in how many ways will the racists among our countrymen act out their Turne r Diaries race war fantasy combination Nazi Germany and Antebellum South &n dash\; states which\, incidentally\, lost the wars they started\, and always will\, precisely because there is no way those white racisms can survive the earth without the rest of us types upholding humanity&rsquo\;s best\, keeping the motor running on civilization\, being good\, and preser ving nature and all the stuff worth working and living for?
\n \;< br />\nAnyway\, this is a show of works on paper and on linen\, drawn and c ollaged using ink\, blade\, glue and oil stick. These works were created ov er the course of the Summer of 2017 (not including the title\, which was cr afted in May). It&rsquo\;s not exhaustive\, activist or comprehensive in an y way.
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\nAbout the Artist
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\nNew York-based artist Kara Walker is best known fo r her candid investigation of race\, gender\, sexuality\, and violence thro ugh silhouetted figures that have appeared in numerous exhibitions worldwid e.
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\nBorn in Stockton\, California in 1969\, Walker was raised in Atlanta\, Georgia from the age of 13. She studied at the Atlanta College of Art (BFA\, 1991) and the Rhode Island School of Design (MFA\, 1 994). She is the recipient of many awards\, notably the John D. and Catheri ne T. MacArthur Foundation Achievement Award in 1997 and the United States Artists\, Eileen Harris Norton Fellowship in 2008. In 2012\, Walker became a member of the American Academy of Arts and Letters. Her work can be found in museums and public collections throughout the United States and Europe including The Solomon R. Guggenheim Museum\, New York\; The Museum of Moder n Art\, New York\; The Metropolitan Museum of Art\, New York\; The Tate Gal lery\, London\; and the Museo Nazionale delle Arti del XXI Secolo (MAXXI)\, Rome.
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\nWalker will participate in Prospect New Orlean s art triennial opening in November. Her contribution\, a wagon-mounted ste am calliope that will play a composition by jazz pianist Jason Moran\, will be sited on Algiers Point where slaves entering New Orleans were held befo re transport across the river to be sold.
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\nWalker curr ently lives and works in New York City and is the Tepper Chair in the Visua l Arts at Rutgers University Mason Gross School of the Arts.
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\n LOCATION:Sikkema Jenkins & Co.\,530 West 22nd St. \nNew York\, NY 10011 SUMMARY:Solo Exhibition\, Kara Walker END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:454065 DTSTART:20170907T180000 DTEND:20170907T200000 LOCATION:Sikkema Jenkins & Co.\,530 West 22nd St. \nNew York\, NY 10011 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:451019 DTSTART:20170907T000000 DTEND:20171021T000000 DESCRIPTION:

A musician from Saturn. A Syrian Cosmonaut. A Romanian refugee who experienced the supernatural and spent the rest of his life dia graming the event. These are some of the real-life characters in Fellow Travelers\, an exhibition that initiates an encounter between people displaced by the deterioration of neo-liberal policies around the world. At their most optimistic\, these policies generated a vision of scientific pr ogress symbolized by the race for space. While both NASA and the Soviet Spa ce Program considered space a terrain ripe for ideological expansion\, arti sts such as musician-prophet Sun Ra re-imagined these paradigms to create u topian solutions for oppressed communities.
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\nSun Ra developed his free-wheeling philosophy (later associated with Afrofuturism) while tr aveling from Louisiana to Chicago during the Great Migration in 1947. Now\, in another moment of mass migration\, artists have once again turned to ou ter space in order to mitigate earthly catastrophes. Some projects posit tr avel as a gesture of resistance. Others explore the refusal to leave as a f orm of protest. Even in the act of imagining space as an outsider&rsquo\;s utopia\, most betray bitter cynicism about ever finding a sense of belongin g on earth. Which small gestures can destabilize the system? Can space stan d-in for a home that might be lost forever? From Afronauts to Cosmonauts\, Fellow Travelers affirms that art is a tool for testing limits\, c rossing boundaries\, and providing a platform for voices of dissent.

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Katherine Rochester is an art hi storian and curator with a specialization in modern and contemporary art an d film. She is a Ph.D. candidate in History of Art at Bryn Mawr College and holds an M.A. from Bryn Mawr College and a B.A. from Grinnell College. Kat herine has worked at the Walker Art Center\, The Soap Factory\, and the Ins titute of Contemporary Art\, Philadelphia. She has participated in the CCL/ Mellon Foundation Seminar in Curatorial Practice and her research has been supported by the National Endowment for the Humanities\, the Berlin Program for Advanced German and European Studies at the Freie Universitä\;t Be rlin\, and the German Academic Exchange Service (DAAD).
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\napexart
&rsquo\;s programs are supported in part by The Andy Wa rhol Foundation for the Visual Arts\, The Buhl Foundation\, the Degenstein Foundation\, Bloomberg Philanthropies\, The Greenwich Collection Ltd.\, Aff irmation Arts Fund\, the Milton and Sally Avery Arts Foundation\, the Fifth Floor Foundation\, and with public funds from the New York City Department of Cultural Affairs in partnership with the City Council and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

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An Unsolicited Exhibition Program exhibition

\n LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SUMMARY:Fellow Travelers\, Halil Altindere\, Lou Cantor\, Amen Feizabadi\, Azin Feizabadi\, Soda Jerk\, Sun Ra\, Ionel Talpazan END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:451020 DTSTART:20170906T180000 DTEND:20170906T200000 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SUMMARY:Fellow Travelers END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:451022 DTSTART:20170907T000000 DTEND:20171028T000000 DESCRIPTION:
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Casey Kaplan is pleased to announ ce Jordan Casteel: Nights in Harlem. For her inaugural exhibition with the gallery\, Casteel (b. 1989\, Denver\, CO) presents a new series of larger-t han-life oil on canvas paintings depicting black male subjects who continue to guide her practice. Inspired by the streets of Harlem at night\, the ar tist draws from personal experiences and cultural truths to realize her por traits.

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Upon her move to Harlem\, N ew York for The Studio Museum in Harlem Artist-in-Residence Program in 2015 \, Casteel was reintroduced to the neighborhood&rsquo\;s ever-evolving urba nscape. Synonymous with the complexities of the sociopolitical narratives o f its black residents\, Harlem has seen a myriad of historical events over the last century: from the Great Migration of African Americans following t he abolishment of slavery in the south\, to an arts renaissance in the 1920 s\; from Malcolm X and the riots of 1964\, to financial hardship beginning in the 1970s that continues today amidst a changing landscape brought on by gentrification. With esteem for Harlem&rsquo\;s turbulent\, yet rich histo ry\, the artist reflects on the community&rsquo\;s entrepreneurial spirit. Casteel&rsquo\;s compositions offer a moment of introspection as architectu ral environments conflate with the personal narratives of her sitters.

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Casteel paints from her own photographs of people she encounters\, posing her subjects within their natural enviro nments. For her Yale Thesis exhibition in 2014\, Casteel&rsquo\;s subjects were previously known to her and painted in the nude within domestic settin gs. Extending her subject matter outside of the home in The Studio Museum i n Harlem Artist-in-Residence exhibition in 2015\, Casteel aimed her lens at men she interacted with in Harlem\, such as the visitor services liaison f or the museum. For this exhibition\, the artist&rsquo\;s subjects are captu red at night &ndash\; a time that commonly carries notions of fear and viol ence. Walking the neighborhood and scanning her surroundings\, Casteel inst inctively responds to social cues from an obliging nod to a mutual glance. The anonymous men who occupy the dark streets of Harlem become the subjects of the artist&rsquo\;s female gaze. From a group of friends sitting on the steps outside a bodega to a shop owner watching the passersby\, Casteel re places misperceptions with intimate portrayals of the black male identity.< /p>\n\n

Casteel translates the instantaneou s images from her camera\, or iPhone\, into an underlying sketch layered wi th washes and broad brushstrokes. Line and gesture compound within her canv ases with immediacy indicative of her process. Photographing her subjects f or the first time at night caused a foreseen shift of light source in her i mages\, changing her use of color as orange and yellow rays cast by obscure d origins (such as an overhead streetlamp or a building interior) stream in to view. These warm tones jut up against a cool palette\, the opposing forc es illuminating each figure. In one such instance\, &ldquo\;Harold&rdquo\; (2017) sits outside selling laundry detergent. Backlit and positioned at th e foreground of the composition\, subject and viewer meet at eye level. Har old&rsquo\;s demeanor is calm. Casteel&rsquo\;s attempt to capture this sen sibility through his undeviating gaze and material presence is laden with p urpose.

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&ldquo\;Tito&rdquo\; (2017) casually sits in front of a mural on the side of his family&rsquo\;s busin ess\, a laundromat. The mural depicts his father at different points of his life. With similarly raised eyebrows and downturned grins\, a familial res emblance references the generational connections that bind Harlem&rsquo\;s long-withstanding community together. Interconnectedness begins to emerge a mongst Harlem&rsquo\;s residents. Introducing still-life vignettes into her practice\, &ldquo\;Memorial&rdquo\; (2017) shows a funereal flower arrange ment that has been set out to wither near a trashcan on a street corner. As an icon\, it reminds of the disproportionate number of senseless deaths fu eled by ongoing racial disparities\, from excessive force by law enforcemen t to gun-related events. Without the presence of a human figure\, Casteel p oignantly embodies the memory of those narratives and questions the longevi ty of the remembrance of these events in our collective consciousness.

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A series of smaller paintings emerges a longside the night scenes\, which Casteel dubs her &ldquo\;subway paintings .&rdquo\; Grey toned and tightly cropped\, the figure fills the frame. In & ldquo\;Subway Hands&rdquo\; (2017)\, the focal points become even more inti mate as our gaze is directed to a pair of clasped hands\, sketch-like and i mperfect. Without introductions or the permission of her sitter\, as is her usual approach\, these portraits read as anonymous\, yet equally revealing in their presence. With every portrait\, Casteel attempts to demystify and reverse the nefarious associations that perpetually fuel racial and gender -based stereotypes. What remains is an honest evocation.

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Jordan Casteel (b. 1989\, Denver\, CO) received her B A from Agnes Scott College\, Decatur\, GA for Studio Art (2011) and her MFA in Painting and Printmaking from Yale School of Art\, New Haven\, CT (2014 ). With a recent solo exhibition at the Harvey B. Gantt Center\, Charlotte\ , NC (2017)\, Casteel has participated in exhibitions at institutional venu es such as The Studio Museum in Harlem\, New York\, NY (2017 and 2016)\; MA SS MoCA\, North Adams\, MA (2017)\; Boston University Art Galleries\, Bosto n\, MA (2017)\; HOME\, Manchester\, UK (2016)\; University of Denver School of Art (2016)\; and Kenyon College\, Gund Gallery\, Gambier\, OH (2015). C asteel has been an artist-in-residence at Yaddo\, Saratoga Springs\, NY\, ( 2015) Lower Manhattan Cultural Council Process Space\, Governors Island\, N Y\, (2015)\, The Studio Museum in Harlem\, New York\, NY (2015)\, and The S harpe-Walentas Studio Program\, DUMBO\, NY (2016). In the winter of 2019\, Casteel will present a solo exhibition at the Denver Art Museum\, CO.

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\n LOCATION:Casey Kaplan Gallery\,121 W. 27th St. \nNew York\, NY 10001 SUMMARY:Nights in Harlem\, Jordan Casteel END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:451023 DTSTART:20170907T180000 DTEND:20170907T200000 LOCATION:Casey Kaplan Gallery\,121 W. 27th St. \nNew York\, NY 10001 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:451024 DTSTART:20170914T000000 DTEND:20171021T000000 DESCRIPTION:
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The world was all before them\, where to choose
\nTheir place of rest\, and Provide nce their guide:
\nThey hand in hand\, with wandering steps and slow\,
\nThrough Eden took their solitary way.

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&mdash\;John Milton\, Paradise Lost\, Book XII

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David Zwirner is pleased to present Paradise Lost\, an exhibition of new work by Chris Ofili. This prese ntation touches on themes of lost innocence\, alienation\, and desire. On v iew at 533 West 19th Street in New York\, this will be Ofili&rsquo\;s third solo exhibition at the gallery.

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Paradise Lost both returns to and expands upon ideas Ofili presented earlier this year in his solo exhibition Weaving Magic at the Nat ional Gallery\, London\, where he debuted his tapestry The Caged Bird&r squo\;s Song. Commissioned by the British Clothworkers'\; \;Com pany\, the tapestry was made in collaboration with the internationally reno wned Dovecot Tapestry Studio in Edinburgh. \;In Paradise Lost\ , Ofili poses "\;the question of the sweetness of the song&mdash\;is th e sweeter song the song of the uncaged bird\, or the song of the caged bird ? And what that really is asking about liberation and constraint\, and how that could potentially relate to being human."\;1

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In 2018\, David Zwirner Books will publish an artist&rsquo\;s publication related to the exhibition.

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Chris Ofili (b. Manchester\, England\ , 1968) has become known for his intricate\, kaleidoscopic paintings and wo rks on paper that deftly merge abstraction and figuration. His recent works &mdash\;vibrant\, symbolic\, and frequently mysterious&mdash\;draw upon the lush landscapes and local traditions of the island of Trinidad\, where he has lived since 2005. Employing a diverse range of aesthetic and cultural s ources\, which have included\, among others\, Zimbabwean cave paintings\, b laxploitation films\, Italian soccer player Mario Balotelli\, and modernist painting\, Ofili&rsquo\;s work investigates the intersection of passion\, identity\, and representation.

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Earl ier this year\, Ofili created a site-specific artwork\, incorporating a mur al\, for Marisol\, the newly redesigned restaurant at the Museum of Contemp orary Art\, Chicago. The artist will also present new work commissioned by the Institute of Contemporary Art\, Miami\, for the opening of its new buil ding later this year.

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In 2015\, a g roup of Ofili&rsquo\;s paintings was included in All The World'\;s F utures\, the 56th International Art Exhibition of the Venice Biennale\ , curated by Okwui Enwezor. Ofili&rsquo\;s work has been the subject of sol o exhibitions worldwide\, including Chris Ofili: Night and Day\, t he first major museum solo exhibition of the artist'\;s work in the Unit ed States. The show was organized by the New Museum in New York\, where it was first presented in 2014\, and traveled to the Aspen Art Museum in Color ado in 2015.

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Other monographic exhi bitions have taken place at the British Pavilion\, 50th Venice Biennale\, V enice (2003)\; The Studio Museum in Harlem\, New York (2005)\; Tate Britain \, London (2005 and 2010)\; kestnergesellschaft\, Hanover (2006)\; and the Arts Club of Chicago (2010). In 1998\, he was awarded the prestigious Turne r Prize and\, in 2016\, Ofili was a recipient of Commander of the Most Exce llent Order of the British Empire (CBE)\, awarded by the Queen.

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His works are represented in prominent collect ions internationally\, including the British Museum\, London\; Carnegie Mus eum of Art\, Pittsburgh\, Pennsylvania\; Museum of Contemporary Art\, Los A ngeles\; The Museum of Modern Art\, New York\; National Gallery of Canada\, Ottawa\; Tate Gallery\, London\; Victoria and Albert Museum\, London\; and the Walker Art Center\, Minneapolis\, Minnesota.

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For all press inquiries\, contact

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Ashley Tickle atickle@davidzwirner.com
\nHyatt Manni x hyatt@davidzwirne r.com
\n+1 212 727 2070

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1 \;Chris Ofili in imagine &hellip\;\, "\;Chris O fili - The Caged Bird&rsquo\;s Song\,"\; \;BBC One\, Winter 2017.\n

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\n LOCATION:David Zwirner- 533 W. 19th\,533 W. 19th Street \nNew York\, NY 100 11 SUMMARY:Paradise Lost\, Chris Ofili END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:451025 DTSTART:20170914T180000 DTEND:20170914T200000 LOCATION:David Zwirner- 533 W. 19th\,533 W. 19th Street \nNew York\, NY 100 11 SUMMARY:Paradise Lost END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:451028 DTSTART:20170907T000000 DTEND:20171014T000000 DESCRIPTION:

A Line Can Go Anywhere \;surveys the use of fiber as the primary material in the work of seven Bay Area artists. Practitioners of wh at has historically been called fiber art\, all of the artists use linear p liable elements such as thread\, yarn\, string\, monofilament\, and rope. W hile not a movement in the conventional sense\, Bay Area artists working wi th linear pliable elements were and continue to be radical makers working a mong more celebrated movements such as Bay Area Figurative Painting\, Funk\ , and Pop. Including works made between the 1950s and the present\, A L ine Can Go Anywhere \;begins with two artists whose works serve as a primer for a history of art making in Northern California. Trude Guermon prez and Ed Rossbach were influential artists and teachers whose work\, tho ugh too little known today\, contributed to a categorical transformation of art and craft. A Line Can Go Anywhere connects these two key figu res to works by Josh Faught\, Terri Friedman\, Alexandra Jacopetti Hart\, R uth Laskey\, and Kay Sekimachi.
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\nThe term fiber art encompasses both the use of pliable materials and the techn iques used to construct art works\, primarily knotting and weaving. The inc luded works\, whether conceived at an intimate or large scale\, revel in th e plasticity and potency of fiber. Crisscrossing generations\, nationalitie s\, processes\, and approaches\, the works speak to the cultural forces and art discourses that have contributed to a rich\, and often overlooked\, le gacy of art making\, from the initial efflorescence of the international fi ber revolution of the 1960s to fiber&rsquo\;s recent reclamation by contemp orary artists who\, in an expanded field of art\, create fiber-based work w ith a kind of &ldquo\;post-fiber&rdquo\; awareness.

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A snapshot of ma terial\, place\, and sensibility\,& nbsp\;A Line Can Go Anywhere \;traces networks among artists that range from teacher-student\, to material processes\, to conceptual approaches. The exhibiting artists call home a part of the country that\, since mid century\, has been a locus for radical cultural and political changes. Studio Craft\, the civil rights mo vement\, hippie counterculture\, feminism\, shifting gender roles\, and bol d educational and art institutions took root at the western edge of the Gol den State. Specifically\, both Northern and Southern California hosted in t he early 1970s significant fiber-related exhibitions featuring artists whos e work transformed fiber from a material suitable to industry and craft to one capable of extending the categories of modern and contemporary art.&nbs p\;A Line Can Go Anywhere \;showcases some artists working at what might be considered the cent er of the periphery while also highlighting the work of a new generation of artists committed to the material and conceptual potential of fiber. \ ;
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\nJosh Faught&nb sp\;(b. 1979 St. Louis\; lives San Francisco) makes sculpture and wall works with all manner of objects an d processes\, mixing cultural codes of high and low. \;Party Favors  \;collides a shadow weave pattern with piano keyboard fabric and a shopping list of novelty items\, among other items&mdash\;all of whi ch Faught devotedly lists in the medium line. Such work celebrates fiber hi story and technique while destabilizing the category of craft. Faught deplo ys abstraction like a smoke screen behind which he loads references to quee rness\, hobby culture\, and &ldquo\;othered&rdquo\; communities&mdash\;whet her gay histories\, fiber art\, or the often overlooked Pattern &\; Deco ration movement. But at the core of so much of Faught&rsquo\;s work is the process of collecting\, and the preservation and presentation of archives\, especially ones in danger of disappearing&mdash\;like those of generations of people lost to AIDS and those coping with that legacy.
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\nTerri Friedman \;(b. 1962 Denv er\, Colorado\; lives El Cerrito\, California) adopts the materials and pro cesses of traditional weaving but alters many of its conventions with acidi c\, bright yarns. As such\, her large-scale works associate with contempora ry painting as much as tapestry. Long interested in abstraction and paintin g\, Friedman has only recently begun to use fiber\, and one can perceive in her work the novice&rsquo\;s joy in simple techniques and even mistakes. S he works on a vertical standing loom the size of which limits width to four foot-wide panels. These units are expanded with split warps and multi-pane l installations. Friedman&rsquo\;s use of text\, topical content\, pop art stylings\, and color evokes artists such as Sister Corita Kent and Amy Sill man. A recent body of work incorporated words that transmit the artist&rsqu o\;s response to the 2016 Presidential election and its ongoing\, tumultuou s consequences: &ldquo\;SOS\,&rdquo\; &ldquo\;Do not touch\,&rdquo\;and &ld quo\;Awake.&rdquo\;
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\nTrude Guermonprez \;(b. 1910 Danzig\, Germany\; died 1976 San Francisco)\, a European weaver train ed in the Bauhaus tradition\, emigrated to America in the late 1940s to joi n her family at Black Mountain College. Guermonprez taught weaving at the c ollege\, assuming Anni Albers&rsquo\; classes during a sabbatical in 1947\, and alongside Albers from 1948 to 1949. Guermonprez relocated to Northern California in 1949 to teach at Pond Farm Workshops\, a working community of crafts masters led by potter Marguerite Wildenhain. Guermonprez made exper imental weavings alongside commissions for industry and private clients\, a nd from 1952 until her premature death in 1976\, she taught at the Californ ia College of Arts &\; Crafts in Oakland (now California College of the Arts) where she instructed and influenced countless artists and weavers. Gu ermonprez&rsquo\;s abstract weavings demonstrate her allegiance to Bauhaus principles of material and process\, as well as weaving&rsquo\;s associatio ns with painting. \;Calico Cat& nbsp\;(1953) is a personal work tha t pays homage to a painting she owned by Paul Klee\, as well as her love of cats. (Kay Sekimachi bought this work from the artist.) Guermonprez&rsquo\ ;s weavings\, restrained in both subject and palette\, transitioned into la rger and more experimental forms in the 1960s just as the fiber art movemen t took off. Her space hangings marked a departure both in color and form\, and above all related to sculpture. \;Notes to John I and II \;(1966) show her progression into text and symbols\, a shift in her oeuvre but very much a reflection of new modes of incorporating text in art inspir ed\, in part\, by the counterculture.
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\nIn 1974 \;Alexandra Jacopetti Hart \;(b. 1939 Preston\, Idaho\; lives Sebastopol \, California) completed a now legendary public play structure entirely of knotted rope in Bolinas\, Californi. \;Macrame Park \;was her own initiative\, made with vo lunteers\, and it remained in use throughout the 1970s. Its making and &ldq uo\;premier&rdquo\; are documented in Ben van Meter&rsquo\;s rarely seen do cumentary film\, itself a period piece of a time and place. Jacopetti Hart is also a weaver working in the tradition of tapestry. Her monochromatic Ne bulae imposes the endless grid structure of the loom onto pliable elements. Like others who pursued anti-materialist lives\, Jacopetti Hart sewed and embroidered her clothes as a means of thrift\, repair\, and self-expression . She made elaborately embroidered garments\, even co-founding Folkwear Pat terns for home sewers and needleworkers. Sensing a groundswell\, she and ph otographer Jerry Wainwright co-published a book celebrating Bay Area contem porary fashion and folk art. Native Funk and Flash (1974) was extr aordinarily popular and though out-of-print continues to inspire artists an d craftspeople.
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\nRuth Laskey &rsquo\;s (b. 1975 San Luis Obispo\; lives San Francisco) loom wea vings are formal exercises in line and color\, figure and ground\, structur e and surface. Laskey studied painting but\, dissatisfied with applying pai nt to canvas\, she began to weave her own blank canvases on which to paint before embracing the painterly qualities of weaving with color. Like her pr edecessors Anni Albers and Trude Guermonprez\, Laskey explores and expands the limitations of thread and loom. The strength of Laskey&rsquo\;s work is in the structural rules she applies to its making. She limits herself to l inen\, dye\, and the twill weaving pattern (a diagonal that diverges from p lain weave&rsquo\;s right angle grid). Works are titled after the commercia l dyes used to tint the thread. Laskey works in series\, with each new body of work proposing either a relationship between a straight line and a diag onal\, two interlocking colors\, or shifting degrees of diagonals. Though t wo dimensional and optical\, Laskey considers her works objects that embrac e both painting and sculpture.
\n< br style="color: rgb(34\, 34\, 34)\; font-family: Arial\, Verdana\, sans-se rif\; letter-spacing: normal\;" />\nEd Rossbach
 \;(b. 1914 Chicago\; d. 2002 Berkeley) should be classified as a fiber postmodernist for his devotion to the textile trad itions of worldwide cultures. His work references everything from ancient t extile fragments to Mickey Mouse\, all the while exploring structure and fo rm. Like Funk and assemblagist artists\, Rossbach used newspaper\, found ob jects\, garbage bags\, and plastic novelty trinkets\, among other non-art m aterials. He reveled in humble and atypical materials\, courting awkwardnes s and anti-form\, to create one of the most diverse bodies of work to be ca tegorized as fiber. But unlike some fiber artists who made large scale work to attain parity with sculpture\, Rossbach was ever faithful to intimate s cale\, to restless experimentation\, to wry humor\, to handcraft. His works in this exhibition demonstrate a range of techniques and scales\, from bas ketry to knotless netting\, looping\, lacemaking\, and jacquard. Despite be ing a prolific maker\, writer\, and a professor at the University of Califo rnia\, Berkeley\, between 1950 and 1979\, Rossbach\, by his own choice\, se ldom exhibited or sold his work. Still\, his impact on generations of artis ts is profound.
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\nKay Sekimachi \;(b. 1926 Sa n Francisco\; lives in Berkeley) studied with Trude Guermonprez during summ er sessions at CCA in the 1950s. Though Sekimachi had studied art and weavi ng intermittently for years\, her work was charged by Guermonprez&rsquo\;s pedagogical emphasis on both free experimentation and the rational logic of weaving. Sekimachi&rsquo\;s early double weavings demonstrate a gifted fac ility with harmonizing opposites: density and translucency\, complexity and simplicity\, technique and free expression. She began to make sculpture in the 1960s just as the international fiber movement was taking shape. Betwe en 1964 and 1974 she used monofilament to make a series of sculptures that hung in space&mdash\;a galvanizing break with pictorial weaving&rsquo\;s wa ll-bound condition. Made on multi-harness looms\, the sculptures were limit ed in color to black or white. For seven decades Sekimachi has worked with pliable elements\, especially monofilament\, thread\, and paper\, making ex perimental works that fold together Japanese and American traditions. Her r ecent series of small-scale\, subtle weavings pay homage to painter Agnes M artin.
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\nNote: The ti tle of this exhibition honors Ruth Asawa\, another Bay Area artist who work ed with linear pliable elements. She said of her favored material\, &ldquo\ ;I was interested in [wire] because of the economy of a line\, making somet hing in space\, enclosing it without blocking it out. It&rsquo\;s still tra nsparent. I realized that if I was going to make these forms\, which interl ock and interweave\, it can only be done with a line because a line can go anywhere.&rdquo\; Though Asawa&rsquo\;s work could not be secured for this exhibition\, her work and its logic are essential to the history and sensib ility of the Bay Area. Asawa is the subject of a solo exhibition on view at David Zwirner Gallery.
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\nJenelle Por ter is an independent curator in Los Angeles. From 2011 to 2015 she was the Mannion Family Senior Curator at the Institute of Contemporary Art/Boston where she organized the acclaimed &ldquo\;Fiber: Sculpture 1960&ndash\;pres ent\,&rdquo\; as well as monographic exhibitions of Arlene Shechet\, Erin S hirreff\, Mary Reid Kelley\, Jeffrey Gibson\, Jessica Jackson Hutchins\, Di anna Molzan\, and Christina Ramberg\, among others. Porter has worked as a curator for over twenty years\, including positions at the Institute of Con temporary Art\, Philadelphia\, Artists Space\, Walker Art Center\, and the Whitney Museum of American Art.
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\nPle ase contact Jeffrey Waldron at jwaldron@jamescohan.com or 212.714.9500 with press inquiries.
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\nFor further inqui ries regarding the exhibition\, please contact David Norr at \;< span style="color: rgb(34\, 34\, 34)\; font-family: Arial\, Verdana\, sans- serif\; letter-spacing: normal\;">dnorr@jamescohan.com or 212.714.9500.

\n LOCATION:James Cohan Gallery\,533 West 26th St. \nNew York\, NY 10001 SUMMARY:A Line Can Go Anywhere\, Josh Faught\, Terri Friedman\, Alexandra J acopetti Hart\, Ruth Laskey\, Kay Sekimachi END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:451029 DTSTART:20170907T180000 DTEND:20170907T200000 LOCATION:James Cohan Gallery\,533 West 26th St. \nNew York\, NY 10001 SUMMARY:A Line Can Go Anywhere END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:451030 DTSTART:20170916T000000 DTEND:20171029T000000 DESCRIPTION:
James Cohan will present an exhibition by Omer Fast on view from September 16 through October 29\, 2017 at the gallery&rsquo\;s Lower East Side location. This show is Fast&rsquo\ ;s second solo exhibition at James Cohan. An opening reception will be held on Saturday\, September 16 from 6-8 PM. \;
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The ex hibition presents the New York premiere of August\, a 3D digital f ilm inspired by the life and work of renowned German photographer August Sa nder\, celebrated for his masterful portraiture in People of the Twentieth Century. In his 15-minute fictional film\, Fast offers a dark portrait of S ander at the end of his life\, nearly blind and haunted by the memory of hi s son who died as a political dissident in a Nazi prison. \;
\n\n< div style="text-align: justify\;">August \;examines Sander as both visionary and powerless\, exposing an entanglement between these state s and inviting viewers to reconsider the relevance of image-making in the c ontext of political crisis and personal loss. During a hallucinatory flashb ack\, a Nazi officer quotes Walter Benjamin (who himself quoted Goethe) in praising Sander&rsquo\;s work as &ldquo\;delicately empirical.&rdquo\; Both critic and fan\, the officer appreciates the irony of his remark when pres enting himself as a subject for Sander to photograph &ndash\; and the artis t obliges\n\n
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In addition to the presentation of Augus t\, Fast will transform the gallery facade and interior into what they were like before gentrification: the waiting room of a Chinatown business with an eclectic aesthetic. In a very tense political climate\, this ambigu ous gesture represents a futile attempt to roll back the clock and speak ab out community\, citizenship and identity. What makes us authentic or assimi lated? Is it enough to put on appearances? If we look and act the part\, ar e we more acceptable in a neighborhood? In a town? In this country? This im mersive ficitional space continues Fast&rsquo\;s preoccupation with role-pl aying and time travel. In his recent solo exhibition Talking Is Not Alw ays the Solution at the Martin-Gropius-Bau in Berlin\, Fast presented works in spaces alternating between cinematic black-boxes and life-sized di oramas referencing institutional waiting rooms. This exhibition further del ves into a theatrical use of space\, turning the gallery facade into an imp ostor striving to emulate its local milieu. An earlier work by Fast\, L ooking Pretty for God (After G.W.) (2008)\, will be on view in the wai ting room. Looking Pretty for God is a straightforward documentary about funeral directors. Nevertheless\, while the camera explores the larg ely empty funeral homes where these men work\, little children sometimes ap pear and explain what the viewer is seeing. The aestheticization of death\, for both Fast and his mortician subjects\, represents yet another entangle ment of the visionary with the powerless.
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On Sunday\, September 17 at James Cohan&rsquo\;s Lower East Side location\, Fast will b e in conversation with Noam Elcott\, Associate Professor of Modern and Cont emporary Art and Media at Columbia Univeristy.  \;Elcott is the author of \;Artificial Darkness: An Obscure History of Modern Art and Media (University of Chicago Pr ess\, 2016)\, winner of the 2017 Society for Cinema and Media Studies (SCMS ) Anne Friedberg Innovative Scholarship Award\, as well as essays on art\, film\, and media\, published in leading journals\, anthologies\, and exhibi tion catalogues. His current book project is \;Art in the First Screen Age: Lá\;szló\; Moh oly-Nagy and the Cinefication of the Arts \;(University of Chicago Press). \;
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The exhibition will coincide with a presentation of August at the Minneapolis Institute of Art\, on view from September 24\, 2017 thr ough February 18\, 2018 and a screening of Fast&rsquo\;s recent feature fil ms Remainder and Continuity at the Walker Art Center on S unday\, September 24. On Friday\, September 15 MoMA will host a second annu al symposium on the work of August Sander as part of the August Sander Proj ect\, an initiative by the Museum in conjunction with Columbia University.& nbsp\;
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Omer Fast (b. 1972\, Jerusalem) grew up between Jerusalem and New York. In October 2015\, a monographic exhibition of Fast &rsquo\;s work titled Present Continuous opened at the Jeu de Paum e\, Paris\, and subsequently travelled to the Baltic Center of Contemporary Arts\, Gateshead\, UK\, and the KUNSTEN Museum of Modern Art\, Aalborg. De nmark. He has been the subject of solo exhibitions at the La Caixa\, Madrid \; Musé\;e d&rsquo\;Art Contemporain\, Montré\;al\; Museum of C ontemporary Art\, Krakow\; Dallas Museum of Art\, TX\; Cleveland Museum of Art\, OH\; the Martin Gropius Bau in Berlin\; and the Minneapolis Institute of Art\, MN. His work was featured in dOCUMENTA (13)\, the 54th V enice Biennale\, and the 2002 and 2008 Whitney Biennials. He received a BA from Tufts University and a BFA from the Museum School of Fine Arts\, Bosto n\, as well as an MFA from Hunter College in New York City. Fast lives and works in Berlin\, Germany.
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Please conatct Jeffrey Wald ron at jwaldron@jamescohan.com or 212.714.9500 with press inquiries.
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For further inquiries regarding the exhibtion\, please conta ct David Norr at dnorr@jamescohan.com or 212.714.9500.
\n LOCATION:James Cohan Gallery - Lower East Side\,291 Grand Street \nNew York \, NY 10002 SUMMARY:August\, Omer Fast END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:451031 DTSTART:20170916T180000 DTEND:20170916T200000 LOCATION:James Cohan Gallery - Lower East Side\,291 Grand Street \nNew York \, NY 10002 SUMMARY:August END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:451032 DTSTART:20170909T000000 DTEND:20171022T000000 DESCRIPTION:

Luhring Augustine Bushwick is pleased to present Tokyo Color\, Daido Moriyama&rsquo\;s second so lo show with the gallery. The exhibition includes color and black and white photographs\, as well as a slideshow projection by the artist.

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Moriyama is one of his generation&rsquo\;s mos t influential and renowned photographers. Since he began working in the 196 0s\, the artist has used photography to subvert conservative conventions of the medium\, setting forth a more subjective style. Moriyama&rsquo\;s work is hallmarked by his snapshot aesthetic\, capturing the discord of modern urban life with a loose\, but commanding point of view.

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Tokyo Color highlights Moriyama&rsquo\;s long engagement with color photography\, featuring a slideshow of his early exp lorations with color film\, alongside a series of his recent color prints. While best known for his high-contrast black and white images\, color photo graphy has been an integral part of his practice since the 1970s. Moriyama says\, "\;The black and white tells about my inner worlds\, my emotions and deep feelings that I feel every day walking through the streets of Tok yo or other cities\, as a vagabond aimlessly. The color describes what I me et without any filters\, and I like to record the instant for the way it lo oks to me. The first one is rich in contrast\, is harsh and fully reflects my solitary nature. The second one is polite\, gentle\, as I set myself tow ards the world."\; The images on view\, all taken in the artist&rsquo\; s hometown of Tokyo\, convey Moriyama&rsquo\;s ongoing fascination with his urban environment\, and his practice of compulsively collecting impression s of the city&rsquo\;s vibrancy\, as well as its vulgarities.

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The exhibition also presents a selection of Mori yama&rsquo\;s iconic black and white &ldquo\;tights&rdquo\; portraits\, a s ubject that the artist has continually revisited since his first series in the 1980s. The photographs focus on a woman&rsquo\;s legs in fishnets\, ero tically depicting the accentuation of the netting over the curves of the bo dy. Closely cropped\, these black and white images are studies in patterns\ , light and shadow\, and form. The body of work highlights Moriyama&rsquo\; s interest in intrigue and seduction\, themes that motivate the artist&rsqu o\;s practice\, and are also intrinsic to his photographs of Tokyo&rsquo\;s streets.

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Daido Moriyama was born i n Osaka\, Japan in 1938 and currently lives and works in Tokyo. He has had major solo shows at international institutions including Tate Modern\, Lond on\; the Los Angeles County Museum of Art\; the National Museum of Art\, Os aka\; the San Francisco Museum of Modern Art\; the Fotomuseum Winterthur\, Switzerland\; the Tokyo Metropolitan Museum of Photography\; and most recen tly at the Fondation Cartier pour l'\;Art Contemporain\, Paris\, in 2016 . His works are in prominent collections worldwide including the Museum of Modern Art\, New York\; the Centre Pompidou\, Paris\; the Metropolitan Muse um of Art\, New York\; the Los Angeles County Museum\; and the San Francisc o Museum of Modern Art\, among others. In 2012 the artist received The Inte rnational Center for Photography&rsquo\;s Lifetime Achievement Infinity Awa rd.

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For more information about Daid o Moriyama\, please contact Julia Speed at julia@luhringaugustine.com or 21 2.206.9100. For press inquiries about the artist\, please contact Caroline Burghardt at caroline@luhringaugustine.com or 718.386.2745.

\n LOCATION:Luhring Augustine Bushwick\,25 Knickerbocker Ave. \nNew York\, NY 11237 SUMMARY:Tokyo Color\, Daido Moriyama END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:451033 DTSTART:20170915T180000 DTEND:20170915T200000 LOCATION:Luhring Augustine Bushwick\,25 Knickerbocker Ave. \nNew York\, NY 11237 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:451035 DTSTART:20170907T000000 DTEND:20171014T000000 DESCRIPTION:

Nancy Margolis Gallery is plea sed to announce Aubrey Levinthal&rsquo\;s first solo exhibition at the gall ery will open Thursday\, September 7 and con­\;tinue through October 14\ , 2017. The artist reception will be Thursday\, Sep­\;tember 7\, 6pm to 8pm.

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Aubrey Levinthal is a still li fe and figurative painter living and working in Philadelphia. At a glance\, Aubrey Levinthal&rsquo\;s paintings appear to be simple translations of th e everyday moments we all experience in the course of our daily lives. Thes e brief moments\, whether ephemeral or banal\, are applauded and elevated b y the artist. Levinthal understands that the commonplace has its own beauty \, and no matter how inconse­\;quential\, it is embraced in the painting s and remains important. Each of Levinthal paintings articulates one of the se moments\, providing her a rich trove of material to extract from her own life. Winter Bath\, 2016\, and Elec­\;tion Night\, 2017\, examples of t he narratives she paints\, poignantly express her observations about hersel f as she retreats into solitude and thought. We observe a figure soaking in a lusciously warm bath\, and relate to the deep pleasure she feels\, and e qually empathize as she rests on the couch appearing sad after learning dis appointing news about an election. Levin­\;thal in these moments unveils her own emotions\, and allows us to view the world from her vantage point\ , but also from our own as well.

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Le vinthal&rsquo\;s paintings are more than the depiction of a series of momen ts from her daily life. Equally important to the power of these paintings i s how the artist juxtaposes color\, texture\, decoration\, form\, and compo sition within the paintings. She measures carefully what to show and how to do it.

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Flower Bath\, 2017 and Bana na Shopping\, 2017 differ from her other paint­\;ings\, in that it is th e design element that dominates. In Flower Bath bold Marimekko floral print s embellish the wall behind the seated figure in the frontal plane of the p ainting\, reminiscent of Matisse&rsquo\;s magical cutouts made later in lif e. This work explores minimalism\, abstraction\, and chang­\;ing planes\ , emphasizing once again her contemporary identity and inde­\;pendent ch oices. The gorgeous golden bananas and the large floral print is what catch es your eye first\, and is the lure that pulls you in rather than a narrati ve as occurs in other paintings.

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Le vinthal&rsquo\;s paintings are about feeling\, family\, and living in the r eal world. She confronts familial interaction and varied accompanying emoti ons simply and directly. She freely and openly without apology allows us to view the intimate and personal exchanges in her own life which\, in turn\, provokes us to examine and confront them in our own. The everyday fleeting moments delivered in her paintings convey with humor\, fresh­\;ness\, a nd reflection a great deal about this artist\, and the life she lives.

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Aubrey Levinthal recei ved an MFA from the Pennsylvania Academy of the Fine Arts in 2011. She has participated in numerous exhibitions including recent group shows at NOVELL A Gallery NY\, Queens College Art Center NY\, and Mrs. Gallery. In Philadel phia\, recent group shows include the Pennsylvania Academy of the Fine Arts Museum\, Woodmere Art Museum\, and the University of the Arts. Her January 2016 solo exhibition at Gross McCleaf Gallery was reviewed in the Philadel phia Inquirer. Her work has been featured in ARTnews\, the NYSUN\, Harper&r squo\;s Magazine and New American Paintings. Levinthal is an assistant prof essor at Rowan University. She has also taught at the Pennsylvania Academy of the Fine Arts and has been a visiting artist at the University of Virgin ia\, Millersville University and Woodmere Art Mu­\;seum. Levinthal is th e recent recipient of her second Elizabeth Greenshields Foundation grant wh ich funded her solo show at the Painting Center\, NY in January 2017 and a residency at Ballinglen Arts Foundation in County Mayo\, Ireland in May 201 7.

\n LOCATION:Nancy Margolis Gallery\,523 W. 25th St. \nNew York\, NY 10001 SUMMARY:Solo Exhibition\, Aubrey Levinthal END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:451036 DTSTART:20170907T180000 DTEND:20170907T200000 LOCATION:Nancy Margolis Gallery\,523 W. 25th St. \nNew York\, NY 10001 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:451037 DTSTART:20170612T000000 DTEND:20171001T000000 DESCRIPTION:
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Frank Lloyd Wright was one of the most prolific and renowned architects of the 20th century\, a radical designer and intel lectual who embraced new technologies and materials\, pioneered do-it-yours elf construction systems as well as avant-garde experimentation\, and advan ced original theories with regards to nature\, urban planning\, and social politics. Marking the 150th anniversary of the American architect&rsquo\;s birth on June 8\, 1867\, MoMA presents Frank Lloyd Wright at 150: Unpac king the Archive\, a major exhibition that critically engages his mult ifaceted practice. The exhibition comprises approximately 450 works made fr om the 1890s through the 1950s\, including architectural drawings\, models\ , building fragments\, films\, television broadcasts\, print media\, furnit ure\, tableware\, textiles\, paintings\, photographs\, and scrapbooks\, alo ng with a number of works that have rarely or never been publicly exhibited . Structured as an anthology rather than a comprehensive\, monographic pres entation of Wright&rsquo\;s work\, the exhibition is divided into 12 sectio ns\, each of which investigates a key object or cluster of objects from the Frank Lloyd Wright Foundation Archives\, interpreting and contextualizing it\, and juxtaposing it with other works from the Archives\, from MoMA\, or from outside collections. The exhibition seeks to open up Wright&rsquo\;s work to critical inquiry and debate\, and to introduce experts and general audiences alike to new angles and interpretations of this extraordinary arc hitect.

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Frank Lloyd Wright at 150: Unpacking the Archive is organized by The Museum of Modern Art\, New York\, and Avery Architectural &\; Fi ne Arts Library\, Columbia University.

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Organized by Barry Bergdoll\, Curator\, Department of Architecture and Design\, The Museum of Modern Art\, and the Meyer Schapiro Professor of Art History and Archaeology\, Columbia University\; with Jennifer Gray\, Proje ct Research Assistant\, Department of Architecture and Design\, The Museum of Modern Art.

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The exhibition is made possible b y Hyundai Card.

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Generous funding is provided by Sue and Edgar Wachenheim III and by the Graham Foundation for Advanced Studies in the Fine Arts.

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Paint provided by Farrow &\; Ball.

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Additional support is provided by the Annual Exhibition Fund with major contributions from Kate W. Cassidy Foundation\, Alice and Tom Tisch\, Glenn and Eva Dubin\, The Donald R. Mullen Family Foundation\, Inc.\, The Contem porary Arts Council of The Museum of Modern Art\, Mimi and Peter Haas Fund\ , Brett and Daniel Sundheim\, Karen and Gary Winnick\, and The Junior Assoc iates of The Museum of Modern Art.

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\n\n LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SUMMARY:Frank Lloyd Wright at 150: Unpacking the Archive\, Frank Lloyd Wrig ht END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:451039 DTSTART:20170819T000000 DTEND:20171009T000000 DESCRIPTION:
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The Museum of Modern Art presents Projects 107: Lone Wolf Recital C orps. The Lone Wolf Recital Corps\, a multidisciplinary performance co llective founded in 1986 by artist and musician Terry Adkins (American\, 19 53&ndash\;2014)\, has an accumulative\, rotating membership of collaborator s in various musical and visual arts disciplines. During Adkins&rsquo\;s li fetime the Corps performed within and in conjunction with Adkins&rsquo\;s e xhibitions\; described by Adkins as &ldquo\;recitals\,&rdquo\; these perfor mances incorporated spoken word\, live music\, video projection\, and costu med\, choreographed movement. For Adkins\, these &ldquo\;installation based experiences [issued] from an ongoing quest to reinsert the legacies of unh eralded immortal figures to their rightful place within the panorama of his tory.&rdquo\; The Lone Wolf Recital Corps&rsquo\; performances\, which Adki ns orchestrated with the collaborative improvisation of the Corps\, have co mmemorated and celebrated such figures as John Brown\, John Coltrane\, Matt hew Henson\, Bessie Smith\, and others.

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Projects 107 will be the first exhibition to reunite the Lone Wolf Recital Corps since Adkins&rsquo\;s death. Conceived as a series of l ive performances by the reconstituted Corps\, a changing group of artists w ill reprise selections from the group&rsquo\;s repertoire in an installatio n of Adkins&rsquo\; sculptures. The exhibition will be supplemented by docu mentary video of earlier recitals\, as well as performance props\, costumes \, and ephemera that trace the history of the Corps.

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Projects 107 will bring together an intergenerat ional roster of artists and musicians\, including Sanford Biggers\, Don Byr on\, Jean-Paul Bourelly\, Vincent Chancey\, Arthur Flowers\, Charles Gaines \, Tyehimba Jess\, Rashid Johnson\, Demetrius Oliver\, Cavassa Nickens\, Cl ifford Owens\, Kamau Patton\, Dread Scott\, Jamaaladeen Tacuma\, Robert Wis dom\, Tukufu Zuberi\, and others.

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Organized by Akili Tommasino\, Curatorial As sistant\, Department of Painting and Sculpture.

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The Elaine Dannheisser Projects Series is made possible in par t by the Elaine Dannheisser Foundation and The Junior Associates of The Mus eum of Modern Art.

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\n LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SUMMARY:Projects 107: Lone Wolf Recital Corps END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:451040 DTSTART:20170819T103000 DTEND:20170819T173000 LOCATION:MoMA (Museum of Modern Art)\,11 West 53 Street \nNew York\, NY 100 19 SUMMARY:Projects 107: Lone Wolf Recital Corps END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:451041 DTSTART:20170908T000000 DTEND:20171014T000000 DESCRIPTION:

Postmasters is thrilled to ann ounce Family Portrait\, Aneta Bartos'\;s debut solo exhibition with the gallery.
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\nThe fifteen works in the show are a select ion from Bartos'\;s current project\, Family Portrait\, explori ng the father-daughter relationship and her memories growing up with her bo dybuilder dad in Tomaszó\;w Mazowiecki\, Poland. The artist poses wit h her speedo-wearing father in various scenarios in her homeland. Their dyn amic is complex\, and digs into a dreamscape of memories\, re-enacting flee ting moments and alluding to the joy\, uninhibitedness\, rebellion\, and co mplexity inherent as a daughter grows up and comes of age. The work creates layers of possible meaning\, drawing the viewer into a beautiful\, compell ing\, and unnerving world.
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\nBartos'\;s parents separated w hen she was eight. Her mother moved to New York and Bartos remained in Pola nd to be raised by her dad. At age sixteen\, she moved to New York to join her mother. Years later\, she returned to Poland several times to create Family Portrait. Shot on both Polaroid and 126 film\, in color and b lack and white\, the works are seductive\, unsettling\, and at times humoro us.
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\nIn a profile of Bartos for Photograph\, Elisabe th Biondi writes:
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\nThe pastoral setting is a romanticized portal to Bartos'\;s past. Her father'\;s poses are often heroic\; a t times the pictures are playful and flirty\, almost seductive. Seen togeth er\, they display the sadness of a man who knows he is aging\, with the sub text of his waning sexuality. They are bittersweet\, images of time passing and memories being preserved.
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\nExtending a tradition th at arguably began with Diane Arbus'\;s disconcerting portraits of strang ers\, the images comprising Family Portrait are psychologically in tense. For Bartos\, this intensity is drawn out through intimacy\, as in Ma rilyn Minter'\;s Coral Ridge Towers series\, a haunting chronic le of familial estrangement. Building on such histories\, while also incorp orating self-portraiture&mdash\;a tradition that has been rich\, especially among female photographers\, since Cindy Sherman'\;s Untitled Film Stills\, to such a degree that it has become a rite of passage of sort s&mdash\;Bartos'\;s photographs are uniquely autobiographical and fictiv e\, candid and staged\, intimate and strange.
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\nBartos receive d a Bachelor of Fine Arts from the School of Visual Arts in 2001. Her most recent group shows include Nude\, V1 Gallery\, Copenhagen\; Ma gic Mirror\, Daniel Cooney\, NY\; NSFW: Female Gaze\, Museum of Sex\, NY\; and Discursive Selves\, Westbeth Gallery\, NY.
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\nHer work has been reviewed and featured in New York Magazine\ , Modern Painters\,Photograph\, Time Out\, W Magazine\, Vice\, Interview\, Elephant\, and Secret Behavior\, as well as online in publications suc h as Artforum\, Vulture\, Artinfo\, Hyperallergic\, Art in America\, Th e Huffington Post\, Forbes\, and Time among others.
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\nBar tos recently received a Pollock Krasner Award to pursue her next body of wo rk.

\n LOCATION:Postmasters\,54 Franklin Street \nNew York\, NY 10013 SUMMARY:Family Portrait\, Aneta Bartos END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:454168 DTSTART:20170908T180000 DTEND:20170908T200000 LOCATION:Postmasters\,54 Franklin Street \nNew York\, NY 10013 SUMMARY:Family Portrait END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:451042 DTSTART:20170908T000000 DTEND:20171014T000000 DESCRIPTION:

Postmasters is very pleased to announce Anti Social\, Rafaë\;l Rozendaal'\;s third solo e xhibition with the gallery.
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\nStretched like paintings\, six n ew large-scale weavings comprise the show. Each derives from '\;Abstract Browsing\,'\; a C hrome extension designed by the artist. This free software plugin transform s content-filled web pages into vibrant\, geometric patterns\, devoid of in formation. The resulting non-arbitrary abstractions of well-known websites\ , like Google\, the Pirate Bay\, and Reddit\, simultaneously reveal unusual \, unhuman compositions and the scaffolding of the web.
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\nSurf ing the web is fast and fluid. Weaving is antithetically slow and process-b ased&mdash\;what the artist describes as "\;mechanical painting."\; Rozendaal selected weaving as the medium for these works because of the re lationship between computer programming and the loom: The Jacquard Loom ins pired Charles Babbage to incorporate perforated punch cards in his analytic al engine. Thus\, the loom could be considered the first computer.
\n< br />\nThe publication of Rozendaal'\;s first major monograph\, Everything\, Always\, Everywhere (Valiz\, 2017) coincides with the exhibition. Accompanying the book is  9\;Here Hear\,'\; a new app by the artist that translates vision into melody. Using color contrast and edge detection\, th e phone'\;s camera recognizes shapes\, adding brightly colored animation s with corresponding audio tones to the world around you.
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\nRa faë\;l Rozendaal (b. 1980\, Netherlands) is Dutch-Brazilian artist who uses the internet as his canvas. His websites attract 50 million visits per year. His practice also consists of installations\, lenticular paintings\, tapestries\, drawings\, writings\, lectures\, and a podcast. He is the cre ator of BYOB (Bring Your Own Beamer)\, an open source DIY curatorial format . In February 2015\, his work was presented in Times Square as a part of th e Midnight Moment exhibition series\, and in 2012\, his website Much Be tter Than This was presented on the world'\;s largest LED screen in Seoul Square. Recent exhibitions include the Centre Pompidou\, Stedelijk M useum\, NIMk Amsterdam\, MU in Eindhoven\, Bonniers Konsthall in Stockholm\ , Casa Franç\;a-Brasil in Rio de Janeiro\, Valencia Biennial\, and th e Internet Pavilion at the Venice Biennale\, as well as Het Nieuwe Instituu t in Rotterdam\, where he curated an exhibition of screensavers.

\n LOCATION:Postmasters\,54 Franklin Street \nNew York\, NY 10013 SUMMARY:Antisocial\, Rafael Rozendaal END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:454167 DTSTART:20170908T180000 DTEND:20170908T200000 LOCATION:Postmasters\,54 Franklin Street \nNew York\, NY 10013 SUMMARY:Antisocial END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:451043 DTSTART:20170918T000000 DTEND:20171218T000000 DESCRIPTION:

Since the 1960s\, Nicola L. ha s occupied a unique position through her interdisciplinary practice. She cr eates works that are thematically connected but take on many different form s and formats\, from performance to film to domestic objects. Her exhibitio n at SculptureCenter is the artist'\;s first institutional survey\, incl uding works from her wide-reaching oeuvre from the late 1960s to 2000s\, sh owing her "\;functional art"\; alongside her paintings and collages \, as well as video.
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\nIn the 1960s\, Nicola L. worked as an a rtist between Ibiza and Paris\, connecting with other key figures exploring Pop\, including Yves Klein\, Marta Minují\;n\, and Alberto Greco. In the late 1970s\, she moved to New York City\, where she currently resides in the Chelsea Hotel. Nicola L.'\;s work takes up notions of skin and su rface\, often breaking apart representations of the body and turning them i nto furniture-like objects and vice versa. Dressers\, lamps\, sofas\, and o ther items resembling human forms comprise her functional objects. This bod y of work appears as a cast of characters\; physically confronting their hu man counterparts as they open and close\, turn off and on\, and store perso nal items. Her series of Penetrable works\, initially conceived to b e entered or worn by viewers and/or performers\, extends the body'\;s ex terior\, skin\, into vinyl and textile casings that enclose single or multi ple bodies within another layer of material. An emphasis on superficial cov erings and caricaturized anthropomorphic objects ties into Nicola L.'\;s longstanding interests in feminism and in interrogating constructions of s ubjectivity.
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\nNicola L. (French\, born 1937 in Mazagan\, Moro cco\; lives and works in New York) studied at the Acadé\;mie Julian f ollowed by the É\;cole Nationale Supé\;rieure des Beaux-Arts de Paris. Her solo exhibitions have been held at Elga Wimmer PCC\, New York ( 2016\, 2015)\; Broadway 1602\, New York (2013)\; Cat-Berro Galerie\, Paris (2008)\; Wooster Projects\, New York (2001)\; Florida International Univers ity\, Miami (1986)\; Thread Waxing Space\, New York (1986)\; Le Magasin\, G renoble (1986)\; and Galerie Daniel Templon\, Paris (1969). Notable group e xhibitions include The World Goes Pop\, Tate Modern\, London (2016)\ ; A Modest Proposal\, Hauser &\; Wirth\, New York (2016)\; Liverp ool Biennial (2014)\; artevida\, Museu de Arte Moderna do Rio de Jan eiro (2014)\; re.act.feminism #2\, Fundació\; Antoni Tà\ ;pies\, Barcelona (2012)\; La Bienal de la Habana (2012)\; elles@centrep ompidou\, Paris (2009)\; The Death of the Audience\, Vienna Sece ssion (2009)\; Aimer\, travailler\, exister\, MAMCO\, Geneva (2004)\ ; and Grandes Femmes\, Petits Formats\, Galerie Iris Clert\, Paris ( 1974). Since the late 1960s\, Nicola L. has conceived group performances fo r experimental theaters and public spaces worldwide\, including the Isle of Wight Pop Music Festival (1969) and the 12th Avant-Garde Festival\, New Yo rk (1975). Her work is in the collections of Centre Pompidou\, Paris\; Gall ery of Modern Art\, Glasgow\; FRAC Bretagne\, Rennes\; MAMCO\, Geneva\; Art &\; Design Atomium Museum\, Brussels\; and M HKA Museum of Contemporary Art\, Antwerp\, among other institutions.
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\nNicola L.: Wor ks\, 1968 to the Present is curated by SculptureCenter Curator Ruba Katrib and is accompanied by a fully-illustrated publication with essay s by Katrib and Erica F. Battle\, Associate Curator of Contemporary Art\, Philadelphia Museum of Art.

\n LOCATION:Sculpture Center\,44-19 Purves Street \nLong Island City\, NY 1110 1 SUMMARY:Works\, 1968 to the Present\, Nicola L. END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:451044 DTSTART:20170917T170000 DTEND:20170917T190000 LOCATION:Sculpture Center\,44-19 Purves Street \nLong Island City\, NY 1110 1 SUMMARY:Works\, 1968 to the Present END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:451045 DTSTART:20170918T000000 DTEND:20171218T000000 DESCRIPTION:

Kelly Akashi is a Los Angeles-based artist working in sculpt ure and photography\, often using materials like wax\, glass\, bronze\, lig ht\, and air to emphasize time and ephemerality. Akashi'\;s exhibition a t SculptureCenter marks her first solo institutional presentation and will include new works commissioned for the lower level galleries incorporating large and mid-scale glass forms.

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\nThroughout Akashi'\;s work\, glass forms are often placed in combi nation with other objects\, such as candles and lost-wax bronze casts. Akas hi displays these diverse elements within specifically designed structures\ , creating elaborate tableaus. Her arrangements suggest abstracted narrativ es of use and explore relationships between different forms and materials. For her exhibition at SculptureCenter\, Akashi continues her exploration in to specific connections between air and fire -- two elements necessary to p roduce her glass works -- by periodically lighting wax candles within her i nstallations\, altering the appearance of the works over time. Energetic an d alchemical transformations of material are central to her work: the objec ts comprising Akashi'\;s sculptures are physical manifestations of the i ntangibility of a breath of air or a burst of flame.
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\nKelly A kashi (born 1983 in Los Angeles\; lives and works in Los Angeles) has recen tly presented solo exhibitions at Ghebaly Gallery\, Los Angeles (2016)\; To morrow Gallery\, New York (2015)\; Between Arrival &\; Departure\, D&uum l\;sseldorf (2015)\; Michael Jon Gallery\, Miami (2015)\; and Chin'\;s P ush\, Highland Park\, CA (2013). Recent group exhibitions include Lyric on a Battlefield\, Gladstone Gallery\, New York (2017)\; Dreamers Aw ake\, White Cube\, London (2017)\; Vertical Gardens\, Antenna Sp ace\, Shanghai (2017)\; Los Angeles - A Fiction\, Musé\;e d&rs quo\;art contemporain de Lyon\, France (2017) and Astrup Fearnley Museet\, Oslo (2016)\; Made in L.A. 2016: a\, the\, though\, only\, Hammer Mu seum\, Los Angeles (2016)\; Fear of a Blank Pancake\, White Flag Pro jects\, Saint Louis (2016)\; and Can'\;t Reach Me There\, Midway Contemporary Art\, Minneapolis (2015). Akashi holds an MFA from the Univers ity of Southern California\, Los Angeles and has studied at the Staatliche Hochschule fü\;r Bildende Kü\;nste - Stä\;delschule in Frankfur t am Main.
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\nKelly Akashi: Long Exposure is curated by SculptureCenter Curator Ruba Katrib and is accompanied by a fully-il lustrated publication.

\n LOCATION:Sculpture Center\,44-19 Purves Street \nLong Island City\, NY 1110 1 SUMMARY:Long Exposure\, Kelly Akashi END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:451046 DTSTART:20170917T170000 DTEND:20170917T190000 LOCATION:Sculpture Center\,44-19 Purves Street \nLong Island City\, NY 1110 1 SUMMARY:Long Exposure END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:451047 DTSTART:20170910T000000 DTEND:20171015T000000 DESCRIPTION:

Does an image have a backside\, a \;derriè\;re\, or is it a holl ow facade\, like moving stage set pieces in early theater? \; \;

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What lives behind the image\, in the dimension-less gap b etween it and its background? Is there a smell to the air? Feel around for a texture. What else is there besides a presence without matter\, dustless and cold?

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A mirror with no reflection\; a voice without \;echo.  \;TELEVOIX \;makes queries about the image and its shadow&ndas h\;a fiction of the index.

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< span style="color: #333333\;">From behind glass\, a game of telephone plays out in an empty mall of surfaces. Each aisle reveals a series of impersona tors who pose but are mute. Does the screen present or conceal?

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Stepping closer\, the forms recede. Are these image shadows sleight of hand? \; They are maybe more mundane\, much less substantial than trickery\, with an ordinary presence&ndash\;playful or insidious\, and anyway silent.< /p>\n\n

Where are we in this triangle of co de? Bending away from the material world\, we stretch instead toward the wo rld of signs\, propping ourselves up on a third leg&ndash\;its shadow\, an appendage felt but unseen.

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Victoria Fu (b. 1978 Santa Monica\, California) received an MFA from the California Institute of the Arts\; an MA in Art History from the University of Southern California\; and a BFA from Stanford University. She was a par ticipant of Skowhegan and the Whitney Independent Study Program\, and is a recent Guggenheim Fellow and Harpo Foundation Grantee. Fu&rsquo\;s work is currently on view at Pé\;rez Art Museum\, Miami\, in a group show\, & lsquo\;Within Genres&rsquo\;. \; Recent solo exhibitions include Katona h Museum of Art\, Katonah\, NY (2016)\; Center for Ongoing Research &\; Projects\, Columbus\, OH (2015)\; The Contemporary\, Baltimore\, MD (2015)\ ; University Art Gallery\, University of California\, Irvine\, CA (2014). S he has a forthcoming solo exhibition at the Museum of Contemporary Art Tucs on in January 2018.

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Fu&rsquo\;s wor k has been included in group exhibitions and screenings such as Open Window \, Museum of Contemporary Art\, Los Angeles\, CA (2016)\; Projections\, 53r d New York Film Festival\, New York (2014 &\; 2015)\; \;Vision Quest \, Museum of Contemporary Art Chicago\, Chicago\, IL (2015)\; 2014 Whitney Biennial\, Whitney Museum of American Art\, New York\, NY (2014)\; IX Biena l de Nicaragua\, Fundació\;n Ortiz Gurdian\, Managua\, Nicaragua (201 4)\; Approximately Infinite Universe\, Museum of Contemporary Art San Diego \, San Diego\, CA (2013). As an on-going collaboration with artist Matt Ric h\, they recently presented a two-person exhibition at The Suburban\, Milwa ukee\, WI (2017)\, which will travel to UMass Boston&rsquo\;s Art Universit y Hall Gallery in March 2018.

\n LOCATION:Simon Preston Gallery\,301 Broome Sytreet \nNew York\, NY 10002 SUMMARY:Solo Exhibition\, Victoria Fu END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:454447 DTSTART:20170910T180000 DTEND:20170910T200000 LOCATION:Simon Preston Gallery\,301 Broome Sytreet \nNew York\, NY 10002 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:451048 DTSTART:20170907T000000 DTEND:20171021T000000 DESCRIPTION: LOCATION:Tanya Bonakdar Gallery\,521 W. 21st St. \nNew York\, NY 10011 SUMMARY:A Durable Web\, Lisa Oppenheim END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:454144 DTSTART:20170907T180000 DTEND:20170907T200000 LOCATION:Tanya Bonakdar Gallery\,521 W. 21st St. \nNew York\, NY 10011 SUMMARY:A Durable Web END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:451136 DTSTART:20170905T000000 DTEND:20170930T000000 DESCRIPTION:

First Street Gallery is pleased to announce a solo exhibitio n of recent work by Tracy Collamore. Entitled \;A Doll&rsquo\;s Hou se\, the exhibition will run from September 5th \;to 30th \;20 17\, with an opening reception for the artist on Thursday\, September 7th&n bsp\;from 6 to 8 pm. \; \;

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In her previ ous exhibitions\, Tracy Collamore has shown highly colored\, brightly lit p aintings of suburban life that leave a darker after-effect upon the viewer\ , implying the existence of an ominous dimension beyond the physicality of the objects and their settings. \; \;In this\, her third solo exhib ition at First Street Gallery\, Collamore concentrates on paintings of a do ll&rsquo\;s house that has been residing in her studio over the past two ye ars. \; \;Ranging in size from 8 x 10 inches to 3 x 5 feet\, the pa intings are a series of vignettes\, which capture the miniaturized precious ness of the dollhouse\, its contents\, and its inhabitants.

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Collamore draws on the familiarity of the everyday objects she paints and creates an authentic visual reality of the doll&rsquo\;s house that identifies with genre scenes of suburban modernity. \; \;And y et\, the images provoke the existence of an alternate\, psychological reali ty beyond their immediate impression. \; \;By using the visual fami liarity of a doll&rsquo\;s house\, Collamore exposes the implications of ou r societal structure\, the confinements of domesticity and gender roles\, a nd the iconography of childhood conditioning. \; \;These images are subtly terrifying as they gently expose the underbelly of our modern socie ty&rsquo\;s expectations.

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Tracy Collamore has a B.A. in Studio Art from Moravian College and an M.F.A. in Painting from We stern Connecticut State University\, where she studied with resident facult y including Margaret Grimes and Marjorie Portnow\, and visiting faculty inc luding Susanna Coffey\, Judy Glantzman\, and Ruth Miller. \;Collamore h as exhibited her work extensively in solo\, invitational\, and juried exhib itions regionally and in New York City. \; \;She is an Associate Fa culty of Art at Post University and serves as President to the Board of Dir ectors at First Street Gallery.

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See more of Collamore&rsquo\;s wo rk at www.tracycollamore.com.

\n LOCATION:First Street Gallery\,526 West 26th Street Suite 209\nNew York\, N Y 10001US SUMMARY:A Doll's House\, Tracy Collamore END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:451137 DTSTART:20170907T180000 DTEND:20170907T200000 LOCATION:First Street Gallery\,526 West 26th Street Suite 209\nNew York\, N Y 10001US SUMMARY:A Doll's House END:VEVENT END:VCALENDAR
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In his fifth solo show at Anton Kern Gallery\, the California-based painter Brian Calvin presents a new body of work featuring tightly-cropped portrait paintings\, colored pencil drawings\, and anthropomorphic wooden s culptures.

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Among the new group of paintings\, the arti st introduces tondos (circular shaped canvases)\, whose cropping eliminates any sense of background or place\, and underscores the flatness of his com positions. Also\, for the first time at the gallery\, Calvin presents sculp tures: stilt-size painted wooden legs leaning against the wall\, suggesting a group of idle teenage loiterers. The exhibition demonstrates the evoluti on of Calvin&rsquo\;s reduced style of depicting the human form\, and a loo seness that opens up his pictorial vocabulary.

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Through repetition of his archetypal female figure\, the artist invites us to look past the inviting face we are confronted by\, and consider the idiosyncras ies of his formal choices. By reducing the face to its essential features\, and isolating eyes\, lips\, hair\, each work offers pieces of a code for t he viewer to interpret.

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Oversize eyes gaze past the vi ewer. Lips are paused between forming words\, revealing charmingly imperfec t teeth and soft pink tongues. Faces are cropped and abstracted to various degrees\, drawing attention to specific features. Mini landscapes appear in fingernails\, the shapes and gradations in eyes and lips mimic sunsets ove r a horizon. Calvin&rsquo\;s dreamy palette of pastels and ocean blues refl ects the eternal summer of California and the sweetness of youth.

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Throughout the exhibition\, the artist presents exercises in se eing. He plays with doubling\; hanging works that are nearly identical\, bu t differ in terms of scale\, orientation\, or expression. Titles such as A Gauche and A Droit\, Inhale \;and Exhale suggest opposites\, sequences\, or perhaps a duality in states of bei ng. In Sleeper\, he places mouths where the eyes should be and vic e versa. This simple inversion frustrates our instinct to rearrange the fea tures\, creating an exciting optical tension.

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Calvin&r squo\;s work is asking\, not answering\, questions. Unconcerned with repres entation or narrative\, the artist frees himself to meditate in the abstrac t activity of painting and explore the history of portraiture - from cave p aintings\, to the Renaissance\, to the selfie - tapping into a primitive hu man desire to create images.

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\n LOCATION:Anton Kern Gallery\,16 East 55th Street \nNew York\, NY 10022US SUMMARY:Solo Exhibition\, Brian Calvin END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:454162 DTSTART:20170907T180000 DTEND:20170907T200000 LOCATION:Anton Kern Gallery\,16 East 55th Street \nNew York\, NY 10022US SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450563 DTSTART:20170907T000000 DTEND:20171007T000000 DESCRIPTION:

Mike Kuchar\, recipient of the United States Artist award in 1993\, and a Guggenheim Fellowship in 2017\, was born in 1942. His teachers in public school recognized his ability to draw and suggested he attend a high school geared for commercial art becaus e\, &ldquo\;fine artists starve!&rdquo\;

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After graduating from the School of Art and Design in Manh attan\, he worked as a &lsquo\;retoucher\,&rsquo\; retouching &lsquo\;high fashion&rsquo\; photos for Harpers Bazaar \, Vogue \; and the New York Times \; fashion magazine while producing his own\, low budget 16 mm mo vies at home\, &ndash\;This swept him into the &lsquo\;underground movie&rs quo\; scene of the 1960s. Later\, he moved to California where the &lsquo\; underground comics&rsquo\; movement was in full swing. Mike painted the cov er and illustrated three stories for a comic book titled &lsquo\;Gay Heart Throbs.&rsquo\; Editors for other publications saw his work and asked him t o contribute to their magazines&hellip\;And so\; Mike got back into drawing pictures! &ndash\;He still makes movies\, but likes to create with pen and brush too\, hence\; this &lsquo\;exhibit&rsquo\; of original drawings from his private collection that have never been published. [Mike Kuchar]

\n LOCATION:Anton Kern Gallery\,16 East 55th Street \nNew York\, NY 10022US SUMMARY:Drawings by Mike!\, Mike Kuchar END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:454163 DTSTART:20170907T180000 DTEND:20170907T200000 LOCATION:Anton Kern Gallery\,16 East 55th Street \nNew York\, NY 10022US SUMMARY:Drawings by Mike! END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450638 DTSTART:20170905T000000 DTEND:20170923T000000 DESCRIPTION:

A group of woven sc ulptures that humorously&ndash\;painfully&ndash\;show my dating life&rsquo\ ;s trauma.

\n LOCATION:NohoM55 Gallery\,530 West 25th St 4th Fl \nNew York\, NY 10001US SUMMARY:HOW IT FEELS FALLING FOR YOU\, Juliet Martin END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450639 DTSTART:20170909T160000 DTEND:20170909T180000 LOCATION:NohoM55 Gallery\,530 West 25th St 4th Fl \nNew York\, NY 10001US SUMMARY:HOW IT FEELS FALLING FOR YOU END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450829 DTSTART:20170913T000000 DTEND:20171021T000000 DESCRIPTION: LOCATION:Susan Inglett Gallery\,522 West 24th Street \nNew York\, NY 10011 SUMMARY:Bow\, Beverly Semmes END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:454189 DTSTART:20170913T180000 DTEND:20170913T200000 LOCATION:Susan Inglett Gallery\,522 West 24th Street \nNew York\, NY 10011 SUMMARY:Bow END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450847 DTSTART:20170908T000000 DTEND:20171008T000000 DESCRIPTION:

Foxy Production is pleased to announce "\;human sheep brain &ldquo\;alice in wonderland&rdquo\; Ameri cana"\;\, Petra Cortright&rsquo\;s second solo exhibition at the galler y. Cortright presents a new series of large digital paintings on aluminum a nd linen\, including one triptych. In muted tones\, her abstracted landscap es portray aquatic gardens\, buffeted by wind\, with dark clouds hovering o verhead. The artist subtly animates her autumnal scenes with marks\; brushs trokes\, and fields of black\, blue\, and gray.

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While Cortright&rsquo\;s new works channel a number of Moderni st painting styles\, their production has most in common with Action Painti ng. She works intuitively\, often at speed\, combining digital painting too ls with images and textures sourced from the Internet. Her works&rsquo\; un canny resemblance to oil painting is undercut by their innate connection to the electronic screen and the digital world it projects. \;

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With their subdued\, seasonal moods\, they ma y reflect the broader social climate we are navigating today\, although the Fluxus-like elements of chance and improvisation in Cortright&rsquo\;s pra ctice preclude them proposing any singular narrative. Cortright has said: & nbsp\;"\;I always try to introduce a somewhat random process into my wo rk. Sometimes I&rsquo\;ll insert lines of poetry into searches on Google im ages. I try to put weird words together to try and bring up things I didn&r squo\;t know I was looking for."\;* \;

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Petra Cortright (Santa Barbara\, CA\, 1986) lives and works in Los Angeles\, CA. She has studied fine art at Parsons The School of Design\ , New York\, NY (2008)\, and the California College of the Arts\, San Franc isco\, CA (2004).  \;

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Selected exhibitions include: the &ldquo\;4th Ural Industrial Biennial Of Contempora ry Art\,&rdquo\; Ekaterinburg and other cities of the Ural region\, Russia\ ; &ldquo\;RUNNING NEO-< span class="caps">GEO GAMES UNDER MAME\,&rdquo\; City Gallery\, W ellington\, New Zealand (solo) (both 2017)\; &ldquo\;Electronic Superhighwa y\,&rdquo\; Whitechapel Gallery\, London\, UK\; &ldquo\;Shift\, Stretch\, E xpand: Everyday Transformations\,&rdquo\; Museum of Contemporary Art Santa Barbara\, CA (both 2016)\; &ldquo\;The Metabolic Age\,&rdquo\; MALBA\, Buenos Aires\, Argentina\; &ldquo\;On YouTube. Kunst und Playlists aus 10 Jahren\,&rdquo\; Kunsthaus Langenthal\, Switzerland\; &ldquo\;Im Inneren der Stadt\,&rdquo\; Kü\;nstlerhaus Bremen\, Germany\ ; &ldquo\;NIKI\, LUCY\, LOLA\, VIOLA\,&rdquo\; Depart Foundation\, Los Angeles\, CA (solo) (all 2015)\; &ldquo\;Art Post- Internet\,&rdquo\; Ullens Center for Contemporary Art\, Beijing\, China (20 14)\; Frieze Film\, Frieze London\, UK\, and the 12th Bienniale de Lyon\, F rance (both 2013.)

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*From: McKinnon\ , Julian. &ldquo\;Bring me the weird.&rdquo\; artnews NE W ZEALAND. Spring 2017: 82-85. \;

\ n LOCATION:Foxy Production\,2 East Broadway\, 200 \nNew York\, NY 10038US SUMMARY:human sheep brain “alice in wonderland” Americana\, Petra Cortright END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:454160 DTSTART:20170908T180000 DTEND:20170908T200000 LOCATION:Foxy Production\,2 East Broadway\, 200 \nNew York\, NY 10038US SUMMARY:human sheep brain “alice in wonderland” Americana END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450930 DTSTART:20170907T000000 DTEND:20171014T000000 DESCRIPTION:

Mitchell-Innes &\; Nash is pleased to present an exhibition of installation\, sculptures\, and paintin gs by Los Angeles-based artist Amanda Ross-Ho: MY PEN IS HUGE\, on view from September 7 to October 14\, 2017. The exhibitio n is the gallery&rsquo\;s third solo exhibition with the artist\, and will feature an installation of works that Ross-Ho will produce on-site at the g allery during the month of August including fabricated\, oversized objects\ , and a series of paintings based on works on paper created over the past y ear.

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Ross-Ho&rsquo\;s distinctive a nd diverse practice broadly engages material culture and artifacts of every day life and work. For over a decade\, her work has explored the ecology of the studio as a primary subject\, engaging it through close forensic exami nation and reflexive call and response. Past works have imported the archit ectural entirety of the studio into galleries and museum spaces\, enacted m eticulous theatrical reenactments of authentic activity\, and systematicall y amplified humble artifacts into monuments.

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The use of scale shifting has also featured prominently in Ross-H o&rsquo\;s work for many years. \; Utilizing it as a hyperbolic device to de-stabilize continuity alongside gestures of subtlety\, her use of scal e finds root in her formative experiences in photography\, performance\, an d prop-making. For Ross-Ho\, scaling is a method of describing intimacy thr ough what she calls a sculptural &lsquo\;close up&rsquo\; as well as unders tanding objects anatomically through theatrical and forensic recreation.

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Last summer\, Ross-Ho lost the lease on her Downtown Los Angeles warehouse studio of nine years\, and was forced to put its contents into storage. Around the same time\, she found a colle ction of vintage paper clock face dials on Ebay\, being liquidated from a c lock maker. Amputated from the mechanism and components that comprise their intact timepieces\, the blank clock faces suggested a poetic potential and a vacant stage for activity. She bought them all\, and to mitigate her stu dio transition while also maintaining a heavy exhibition and travel schedul e\, Ross-Ho began directly using the paper clock faces as work surfaces\, w hich evolved over the course of a year as she spent time in in airplanes\, hotel rooms\, Airbnb apartments\, as well as her own kitchen table. Over th e course of many months\, doodles\, calculations\, diagrams\, lists\, notes to self and other anxious scribbling&mdash\;combined with the residue of h er consumption of food and drink&mdash\;aggregated on the surfaces of the c lock faces. The resulting layered surfaces\, dense with the recording of he r daily activities of life and art\, supplant the movement of a timepiece&# 39\;s usual mechanisms\, and present a physical recording of the passage of time within the circuitry of a frenetic mind.

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Rather than simply exhibit the clock faces as primary works\, R oss-Ho will treat these works on paper as studies or rehearsals for a perfo rmative production to take place onsite in Mitchell-Innes &\; Nash&rsquo \;s gallery. Throughout the month of August\, Ross-Ho will import a studio environment into the gallery\, translating twelve of the clock works on pap er into large-scale paintings produced in real time. By accelerating a year &rsquo\;s worth of work into a month\, the performance is an act of compres sion\, collapsing chronology as well as the environments of production and presentation. The result will be a hybrid installation consisting of the au thentic residue of work\, and the theatrical amplification of many of these same artifacts.

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In addition to an assortment of specially fabricated objects that will be incorporated into t he installation\, the exhibition will also include oversized everyday objec ts that are already available in the marketplace\, typically used as props or sold as &lsquo\;gag&rsquo\; gifts. The use of oversized readymades is ne w for Ross-Ho\, complicating her own visual language of scaling by looping her own production tendencies back to the existing mass-produced world of & lsquo\;novelty&rsquo\; objects&mdash\;calling attention to the circular and overlapping nature of all cultural production.

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The title MY PEN IS HUGE derives fro m the bawdy novelty T-shirt design popularized sometime in the late 70&rsqu o\;s or early 80&rsquo\;s. Its braggadocios yet feigned arrogance through j uvenile wordplay could be a regressive look backwards\, or sadly\, a timely snapshot of contemporary American life\, in which scale\, power\, and true meaning are all mutable constructs. By reclaiming and rewiring the power d ynamic of this phrase\, Ross-Ho takes back the pen\, underscoring the heroi cs and fallibility of her own mark making.

\n LOCATION:Mitchell-Innes & Nash - 26th St.\,534 W. 26th St. \nNew York\, NY 10001 SUMMARY:My Pen Iis Huge\, Amanda Ross-Ho END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450931 DTSTART:20170907T180000 DTEND:20170907T200000 LOCATION:Mitchell-Innes & Nash - 26th St.\,534 W. 26th St. \nNew York\, NY 10001 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450936 DTSTART:20170907T000000 DTEND:20171014T000000 DESCRIPTION:

Paula Cooper Gallery is please d to announce a one-person exhibition of recent work by Carey Young. The sh ow will present Young&rsquo\;s video work Palais de Justice (2017) \, as well as a new series of photographs. The exhibition will be on view a t Paula Cooper Gallery 534 West 21st Street from September 7th through Octo ber 14th\, 2017.

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Palais de Just ice was filmed surreptitiously at the Palais de Justice in Brussels\, a vast 19th century courthouse designed in an ornate late Neo-Baroque style . Contradicting the familiar patriarchal culture of law\, Young&rsquo\;s co ncealed camera depicts female judges and lawyers at court. Sitting at trial \, directing proceedings or delivering judgments\, female judges are spied through a series of circular windows in courtroom doors. Palais de Just ice subtly builds a counter-narrative &ndash\; a legal system seemingl y centered on\, and perhaps controlled by women. Here\, men and their icono graphy of patriarchal power are still present\, but their usually dominant position is reversed. Male lawyers wait patiently and nervously outside cou rtrooms for a female judge to allow them in. They stand in front of their j udge as she enters\, and remain standing until she allows them to sit. They plead their case in front of female judges\, who only occasionally bestow attention. As the piece develops\, Young&rsquo\;s camera also captures youn ger female lawyers in a more intimate and personal way\, either caught with in reflections\, or through becoming noticed by some of her subjects.

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The piece develops Young&rsquo\;s intere st in the complex relations between law\, gender and performance\, and cons iders the complex relations between law\, lenses\, surveillance and ideas o f framing or being framed. Examined through the lens of contemporary politi cs\, both within the United States and abroad\, the film acts as a critical counterpoint to regressive trends towards autocratic government and limite d civil rights\, particularly those belonging to women.

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For her new series of photographs\, Young presents ima ges of courthouse doorways. Titled Before the Law\, after Franz Ka fka&rsquo\;s 1915 parable in which the protagonist is continuously denied a ccess to &lsquo\;the law\,&rsquo\; the series depicts these these doorways as metaphors for the legal system itself. Courtrooms are glimpsed in variou s ways &ndash\; a red glow emanating from one entices us with its surprisin g warmth and seductiveness\; a red velvet curtain in another calls to mind law&rsquo\;s reliance on aspects of theatre\; in a third\, a courtroom visi ble through a frosted glass window glows like an abstract painting\, as if law&rsquo\;s abstractions may connect with artistic thinking in ways which have not yet been fully considered.

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Born in 1970\, Carey Young is British-American. Her work has been exhibite d in prominent national and international exhibitions and has been the subj ect of numerous one-person exhibitions including Dallas Museum of Art\, cur ated by Gavin Delahunty (2017)\; Migros Museum of Contemporary Art\, curate d by Raphael Gygax (2013)\; Eastside Projects\, Birmingham\, England (2010) \, which traveled to Cornerhouse\, Manchester and MiMA\, Middlesborough\; L e Quartier\, Quimper\, France (2013)\; The Power Plant\, Toronto (2009)\; a nd the Contemporary Art Museum St. Louis (2009). Young&rsquo\;s work has al so been presented at the Taipei Biennial (2010)\, Tate Britain (2009)\, Mos cow Biennale (2007)\, Modern Art Oxford (2007)\, Performa 05 and the Venice Biennale (2003). A monographic study of her work\, Subject to Contract \, was published by JRP Ringier in 2013. The artist is currently based in London\, England.

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For more info rmation\, please contact the gallery: (212) 25 5-1105 or info@paulacooper gallery.com

\n LOCATION:Paula Cooper Gallery - 534 W. 21st Street\,534 W.21st St. \nNew Yo rk\, NY 10011 SUMMARY:Solo Exhibition\, Carey Young END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450937 DTSTART:20170907T180000 DTEND:20170907T200000 LOCATION:Paula Cooper Gallery - 534 W. 21st Street\,534 W.21st St. \nNew Yo rk\, NY 10011 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450938 DTSTART:20170907T000000 DTEND:20171007T000000 DESCRIPTION:

Paula Cooper Gallery is please d to present an exhibition of early works by Christian Marclay opening Sept ember 7th at 521 West 21st Street. On view are two sculptures and a video c reated by the artist in the 1990s\, as well as a selection of photographs a nd works on paper\, exploring the recurrence of telephonic technologies as visual and acoustic material in Marclay&rsquo\;s work. The exhibition will be on view through October 7th. There will be an opening reception on Septe mber 7th from 6 to 8pm.

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For more th an three decades\, Christian Marclay has explored the connections between t he visual and the audible\, creating works in which these two distinct sens orial experiences enrich and challenge each other. Working across a diverse range of media including sculpture\, video\, photography\, collage\, and p erformance\, Marclay deconstructs the ubiquity of sound to extrapolate its perceptual limits and examine the increasing prevalence of sonic mediation through technology such as digital recording\, mass reproduction\, and tele communication. His installations often employ appropriated objects that mer ge or reconfigure auditory and visual elements to challenge our ontological understanding of them.

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On view is a selection of Marclay&rsquo\;s works that examine the telephone &ndash\; a recurring subject in his practice\, often appearing as a mute or inadequat e object. In the gallery&rsquo\;s main room is Marclay&rsquo\;s large-scale installation entitled Boneyard\, created in 1990 and comprised of seven hundred and fifty hydrostone casts of telephone receivers\, their wh ite osseous corpus scattered across the floor. Relics of an earlier era\, t he discarded remains suggest the loss implicit in this mediated form of com munication.

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On view in the gallery& rsquo\;s second room\, Marclay&rsquo\;s work from 1994\, Extended Phone II\, swirls throughout the space\, its massive volume of black plasti c tube elongating the length between the receiver and transmitter of a tele phone handset. As the work circumvolves into a hypertrophied and ineffectiv e device\, the extended phone further complicates the telephonic distinctio n between sign and referent\, speaker and listener.

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Telephones (1995) is Marclay&rsquo\;s seven minut e video composed of clips taken from classic Hollywood films in which its a ctors are seen using a telephone. The narrative builds from a sequence of r epetitive cuts showing dials\, then salutations\, and abbreviated conversat ions\, before a series of unresolved or unsettled goodbyes. As the artist n oted in a 1997 interview: &ldquo\;Absence is a void to be filled with one&r squo\;s own stories &hellip\;. Silence is the negative space that defines s ound.&rdquo\; In Telephones\, the viewer is left with an obscured narrative that invites reflection on linguistic communication as altered\, unstable\, or insufficient\, and in particular when filtered and abstracted through the telephone.

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Christian M arclay (born 1955 in San Rafael\, CA) studied at the Ecole Supé\;rieu re d&rsquo\;Art Visuel in Geneva from 1977&ndash\;1980\, at the Massachuset ts College of Art in Boston from 1977&ndash\;1980\, and as a visiting schol ar at Cooper Union in New York in 1978. Marclay&rsquo\;s work has been show n in museums and galleries internationally. He has had important one-person presentations at the Kunsthaus\, Zurich (1997)\, the Museum of Contemporar y Art\, Chicago (2001)\, the San Francisco Museum of Modern Art (2002)\, Wh itney Museum of American Art\, New York (2010)\, the Garage Center for Cont emporary Culture\, Moscow (2011)\, Aargauer Kunsthaus\, Aarau (2015)\, and Sapporo Art Museum\, Sapporo (2017). Marclay received the Golden Lion award for best artist at the 54th Venice Biennale for his 24-hour virtuosic vide o piece\, The Clock\, which was first shown at White Cube in Londo n in 2010. Since then\, The Clock has been exhibited at a number o f institutions worldwide including Paula Cooper Gallery (2011)\, the Museum of Modern Art\, New York (2012)\, San Francisco Museum of Modern Art (2013 )\, Guggenheim Bilbao (2014)\, Centre Pompido-Metz (2014)\, SALT Beyoğlu\, Istanbul (2014)\, Museum Berardo\, Lisbon (2015)\, and at the Contemporary Arts Center\, presented by Prospect New Orleans (2016).

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For more information\, please contact the gallery: (212) 255-1105 or info@paulacoopergallery.com

\n LOCATION:Paula Cooper Gallery - 521 W. 21st Street\,521 W 21 St. \nNew York \, NY 10011 SUMMARY:Phones\, Christian Marclay END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450939 DTSTART:20170907T180000 DTEND:20170907T200000 LOCATION:Paula Cooper Gallery - 521 W. 21st Street\,521 W 21 St. \nNew York \, NY 10011 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170922T063736Z UID:450966 DTSTART:20170907T000000 DTEND:20171013T000000 DESCRIPTION: