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BEGIN:VCALENDAR VERSION:2.0 PRODID:icalendar-ruby CALSCALE:GREGORIAN BEGIN:VEVENT DTSTAMP:20170501T064546Z 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.
THE GALLERY IS AT WWW.ARTBREAK.COM WHERE YOU MAY SEARCH FOR\n
WILLIAM RO-SEY THERE YOU MAY CONTACT WCD207@GM AIL.COM TO OFFER THE FAMILY A PRICE IRREGARDLESS OF PRICE MARKEDLOCATION:ARTBREAK\,3956 YONKERS \nNEW YORK\, NY 08574 SUMMARY:RO-SEY\, WM ROSE END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064546Z UID:66391 DTSTART:20090817T180000 DTEND:20090817T200000 LOCATION:ARTBREAK\,3956 YONKERS \nNEW YORK\, NY 08574 SUMMARY:RO-SEY\, WM ROSE END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064546Z 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:20170501T064546Z 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:20170501T064546Z 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 .
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.
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.\n
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.\n
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.\n
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 firstname.lastname@example.com or call 718.592.9700 x122.\n
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.
In a major collaboration with the Hall Art Foundation\, the keystone of which is a large and long-term exhibition of sculpture and pain tings by Anselm Kiefer\, MASS MoCA opens a 10\,000 square-foot building at MASS MoCA specially re-purposed by the Hall Art Foundation and devoted to t he art of Anselm Kiefer.\n
The exhibition includes É\;troit s sont les Vaisseaux (Narrow are the Vessels) (2002)\, an 82-foot long \, undulating wave-like sculpture made of cast concrete\, exposed rebar\, a nd lead\; The Women of the Revolution (Les Femmes de la Revolution) (1992)\, comprised of more than twenty lead beds with photographs and wal l text\; Velimir Chlebnikov (2004)\, a steel pavilion containing 30 paintings dealing with nautical warfare and inspired by the quixotic the ories of the Russian mathematical experimentalist Velimir Chlebnikov\; and a new\, large-format commission created by the artist specifically for the installation at MASS MoCA.\n
Anselm Kiefer\, who first visited MASS M oCA in 1990 when it was still in the early planning stages\, ranks among th e best-known and most important of post-World War II German artists living and working today. Born in 1945 in southern Germany during the final days o f the collapse of the Third Reich\, Kiefer experienced divided postwar Germ any firsthand. Across his body of work\, Kiefer argues with history\, addre ssing controversial and even taboo issues from recent history with bold dir ectness and lyricism. Kiefer often turns to literature and history as prime source material for his work\, as he did\, for example\, in the suite of p aintings that comprise Velimir Chlebnikov (2004).\n
The arti st often builds his imagery on top of photographs\, layering his massive ca nvases with dirt\, lead\, straw\, and other materials that generate a &ldqu o\;ground&rdquo\; that reads literally of the earth itself. Within these th ick\, impastoed surfaces Kiefer embeds textual or symbolic references to hi storic figures or places: these become encoded signals through which Kiefer invokes and processes history.\n
A law student\, Kiefer switched his studies to art in 1965 and held his first solo exhibit in 1969. During the early 1970s he studied with conceptual artist Joseph Beuys\, whose interes t in using an array of cultural myths\, metaphors\, and personal symbolic v ocabulary as a means to engage and understand history inspired Kiefer. The artist has described his own art-making process as stimulated by Beuys&rsqu o\; philosophies: &ldquo\;Painting\, for me\, is not just about creating an illusion. I don&rsquo\;t paint to present an image of something. I paint o nly when I have received an apparition\, a shock\, when I want to transform something. Something that possesses me\, and from which I have to deliver myself. Something I need to transform\, to metabolize\, and which gives me a reason to paint.&rdquo\; Like Beuys\, whose works were often constructed of fragile\, organic materials (including blood\, fat\, and honey)\, Kiefer &rsquo\;s works often incorporate unusual\, fugitive materials such as ash\ , clay\,and dried plant materials. With their rough-hewn textures and expan sive narrative formats that often evoke charred landscape and historical\, sometimes apocalyptic settings\, Kiefer&rsquo\;s work did not conform to th e pared-down Minimalist or Conceptualist movements that were becoming mains tream at the time he was a student. Instead he created massive\, dark paint ings\, books constructed of large sheets of lead\, and figurative works tha t explored German folklore and were inspired by Caspar David Friedrich\, am ong others.\n
Kiefer&rsquo\;s works are often realized in large forma ts\, which in turn demand special exhibition spaces. MASS MoCA is adept at collaborating with artists\, collectors\, foundations\, and cultural instit utions to bring important bodies of art to the public\, best exemplified by its 2008 partnership with Yale University Art Gallery\, the Williams Colle ge Museum of Art\, and the studio of Sol LeWitt\, which realized a 25-year exhibition devoted to LeWitt&rsquo\;s monumental wall drawings\, a landmark quasi-permanent installation that was named "#1 Museum Exhibition of the Y ear" by Time magazine. The museum is proud to host an array of distinct cur atorial points of view\, within its renovated 19th singular factory campus.\n
The Hall Art Foundation makes available works of postwar and conte mporary art from its collection and from the collection of Andrew and Chris tine Hall for the enjoyment and education of the public. In addition to the dedicated gallery space at MASS MoCA\, the Hall Art Foundation operates a contemporary art space in Reading\, Vermont.LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SUMMARY:Solo Exhibition\, Anselm Kiefer END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064546Z UID:316887 DTSTART:20130928T000000 DTEND:20281201T000000 DESCRIPTION:
In a major collaboration with the Hall Art Foundation\, the keystone of which is a large and long-term exhibition of sculpture and pain tings by Anselm Kiefer\, MASS MoCA opens a 10\,000 square-foot building at MASS MoCA specially re-purposed by the Hall Art Foundation and devoted to t he art of Anselm Kiefer.\n
The exhibition includes É\;troit s sont les Vaisseaux (Narrow are the Vessels) (2002)\, an 82-foot long \, undulating wave-like sculpture made of cast concrete\, exposed rebar\, a nd lead\; The Women of the Revolution (Les Femmes de la Revolution) (1992)\, comprised of more than twenty lead beds with photographs and wal l text\; Velimir Chlebnikov (2004)\, a steel pavilion containing 30 paintings dealing with nautical warfare and inspired by the quixotic the ories of the Russian mathematical experimentalist Velimir Chlebnikov\; and a new\, large-format commission created by the artist specifically for the installation at MASS MoCA.\n
Anselm Kiefer\, who first visited MASS M oCA in 1990 when it was still in the early planning stages\, ranks among th e best-known and most important of post-World War II German artists living and working today. Born in 1945 in southern Germany during the final days o f the collapse of the Third Reich\, Kiefer experienced divided postwar Germ any firsthand. Across his body of work\, Kiefer argues with history\, addre ssing controversial and even taboo issues from recent history with bold dir ectness and lyricism. Kiefer often turns to literature and history as prime source material for his work\, as he did\, for example\, in the suite of p aintings that comprise Velimir Chlebnikov (2004).\n
The arti st often builds his imagery on top of photographs\, layering his massive ca nvases with dirt\, lead\, straw\, and other materials that generate a &ldqu o\;ground&rdquo\; that reads literally of the earth itself. Within these th ick\, impastoed surfaces Kiefer embeds textual or symbolic references to hi storic figures or places: these become encoded signals through which Kiefer invokes and processes history.\n
A law student\, Kiefer switched his studies to art in 1965 and held his first solo exhibit in 1969. During the early 1970s he studied with conceptual artist Joseph Beuys\, whose interes t in using an array of cultural myths\, metaphors\, and personal symbolic v ocabulary as a means to engage and understand history inspired Kiefer. The artist has described his own art-making process as stimulated by Beuys&rsqu o\; philosophies: &ldquo\;Painting\, for me\, is not just about creating an illusion. I don&rsquo\;t paint to present an image of something. I paint o nly when I have received an apparition\, a shock\, when I want to transform something. Something that possesses me\, and from which I have to deliver myself. Something I need to transform\, to metabolize\, and which gives me a reason to paint.&rdquo\; Like Beuys\, whose works were often constructed of fragile\, organic materials (including blood\, fat\, and honey)\, Kiefer &rsquo\;s works often incorporate unusual\, fugitive materials such as ash\ , clay\,and dried plant materials. With their rough-hewn textures and expan sive narrative formats that often evoke charred landscape and historical\, sometimes apocalyptic settings\, Kiefer&rsquo\;s work did not conform to th e pared-down Minimalist or Conceptualist movements that were becoming mains tream at the time he was a student. Instead he created massive\, dark paint ings\, books constructed of large sheets of lead\, and figurative works tha t explored German folklore and were inspired by Caspar David Friedrich\, am ong others.\n
Kiefer&rsquo\;s works are often realized in large forma ts\, which in turn demand special exhibition spaces. MASS MoCA is adept at collaborating with artists\, collectors\, foundations\, and cultural instit utions to bring important bodies of art to the public\, best exemplified by its 2008 partnership with Yale University Art Gallery\, the Williams Colle ge Museum of Art\, and the studio of Sol LeWitt\, which realized a 25-year exhibition devoted to LeWitt&rsquo\;s monumental wall drawings\, a landmark quasi-permanent installation that was named "#1 Museum Exhibition of the Y ear" by Time magazine. The museum is proud to host an array of distinct cur atorial points of view\, within its renovated 19th singular factory campus.\n
The Hall Art Foundation makes available works of postwar and conte mporary art from its collection and from the collection of Andrew and Chris tine Hall for the enjoyment and education of the public. In addition to the dedicated gallery space at MASS MoCA\, the Hall Art Foundation operates a contemporary art space in Reading\, Vermont.LOCATION:MASS MoCA\, North Adams\, MA\,1040 MASS MoCA Way \nNorth Adams\, M A 01247 SUMMARY:Anselm Kiefer END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064546Z 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.\n
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 em>. 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.\n
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:20170501T064546Z UID:377233 DTSTART:20150601T000000 DTEND:20170506T000000 DESCRIPTION:
Dia Art Foundation Pre sents Robert Irwin&rsquo\;s Excursus: Homage to the Square3< /em>\n
The presentation of Rob
ert Irwin&rsquo\;s Excursus: Homage to the Square3 (199
8&ndash\;99) at Dia:Beacon will mark the return of the work to public view\
, approximately fifteen years after its premiere at Dia Center for the Arts
in New York City. Beginning on June 1\, 2015\, audiences will be able to e
xperience Irwin&rsquo\;s "site-conditioned" installation in the museum whos
e master plan he created. The new installation of Excursus: Homage to t
he Square3 was developed specifically for Dia:Beacon and wi
ll be accompanied by a symposium and a publication.
The work began as a site-specific installati on titled Prologue: x183 that occupied an entire floor of Dia Center for the Arts\, Dia&rsquo\;s former exhibition space in New Yo rk City\, during the spring of 1998. The piece featured white fluorescent l ights that were installed within eighteen cubic chambers and defined by flo or-to-ceiling scrims\; the windows were covered with custom-fabricated blue -and-gray theatrical gels\, providing visitors with a maze-like environment of subtly changing shadows to explore. Months into the installation\, Irwi n took the opportunity to further incorporate color into the piece by wrapp ing each set of fluorescent lights in complex combinations of vividly color ed gels. This new work was retitled Excursus: Homage to the Square 3 in reference to Josef Albers&rsquo\;s celebrated series. Irwin &rsquo\;s layered use of colored gels was directly informed by Albers&rsquo \;s method of creating idiosyncratic hues through overlaid layers of transl ucent paint treatments. Excursus: Homage to the Square3 was acquired by Dia in 2000.
The new installation of Excu rsus: Homage to the Square3 at Dia:Beacon will represent a singular manifestation of Irwin as an artist. Moving from his interior gall ery layouts and flow patterns to the architectural interventions evident th roughout the building to the landscaped gardens and forecourt that he desig ned\, audiences will have the opportunity to experience an environment in w hich Irwin has touched virtually every facet.
&ldquo\;Excu rsus: Homage to the Square3 invites audiences to explore th e work of art. What is so unique is that there is no beginning\, middle\, o r end. Audiences can enter the work from a variety of entry points\,&rdquo\ ; said Yasmil Raymond\, Curator\, Dia Art Foundation. &ldquo\;It has been s uch an honor to work closely with Irwin\, a pioneer of the L.A.-based Light and Space movement of the 1960s\, to reconceive this project for Dia:Beaco n and create a long-term plan that will allow Dia to share this work with f uture generations.&rdquo\;
Maintaining Dia&rsquo\;s philosophy of displaying single-artist presentations for extended periods of time\, < em>Excursus: Homage to the Square3 be on view at Dia:Beacon for two years.
A symposium on Excursus: Homage to the Square3 is scheduled for fal l 2015.
A book will be pro duced as the next volume in the core series documenting the collection of D ia Art Foundation.
The install ation of Robert Irwin&rsquo\;s Excursus: Homage to the Square3 is made possible by lead support from the National Endowment for th e Arts and Cindy and Howard Rachofsky. Major support is provided by The Bro wn Foundation\, Inc.\, of Houston and Dia&rsquo\;s Commissioning Committee: Marguerite S. Hoffman\, Jill and Peter Kraus\, and Leslie and Mac McQuown. Additional support is provided by the New York State Council on the Arts\, a State agency\, and Pace Gallery.
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:20170501T064546Z 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:20170501T064546Z UID:423040 DTSTART:20160618T000000 DTEND:20170514T000000 DESCRIPTION:
This piece of local history ab out four Newarkers who made a difference features the following key benefac tors of the Newark Museum:\n\n
* Lida C
lanton Broner
\n* Caroline Bamberger Fuld
\n* Howard W. Hayes
\n* W. Clark Symington
Each of th ese people brought to the Museum different interests and perspectives\, and their collections as well as their ideas helped shape the institution in t he first half of the 20th century.\n LOCATION:Newark Museum\,49 Washington Street \nNewark\, New Jersey 07102 SUMMARY:Newark Stories: Four Newarkers Who Made a Difference END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064546Z UID:427222 DTSTART:20160908T000000 DTEND:20170630T000000 DESCRIPTION:
Numbers are integral to Jewish rituals\, belief\, significan t historical dates\, and daily life. Numbers and numerology have been at th e core of Biblical understanding since the Bible was codified and possibly before. Inescapable\, numbers are the global language of humanity. In this new exhibition\, more than fifty contemporary artists explore the meaning o f numbers and their symbolism through a broad range of artistic media.\ n
 \;LOCATION:HUC-JIR Museum - New York\,One West Fourth Street \nNew York\, New York 10012 SUMMARY:"Paint by Numbers"\, Marlene Adler\, DL Alvarez\, Debra Band\, Ed B aynard\, Riva Bell\, Henry Bismuth\, Matt Blackwell\, Sandra Bowden\, Ariel Burge\, Bunny Burson\, Melanie Dankowicz\, Joelle Dautricourt\, Damon Davi s\, Simon Donaldson\, Freeman Dyson\, Leonard Everett Fisher\, Larry Franke l\, Saara Gallin\, Grace Graupe-Pillard\, Barbara Green\, Laurie Gross\, Ca rol Hamoy\, Gunter Demnig & Peter Hess\, John Hirsch\, Tamar Hirschl\, Dori t Jordan Dotan\, Tobi Khan\, Judy Glickman Lauder\, John Lawson\, Andrew Pa ul Leonard\, Peachy Levy\, Margalit Mannor\, Suzi Matthews\, Richard McBee\ , David Mumford\, Jacqueline Nichols\, Tetsuya Noda\, Mark Podwal\, Archie Rand\, Tobia Ravà\, Trix Rosen\, Judy Sirota Rosenthal\, Jeffrey Schrier\, Uri Shulevitz\, Stephen Smale\, Fred Spinowitz\, Arthur Szyk\, Meryl Tarada sh\, David Wander\, Joyce Ellen Weinstein\, Ruth Weisberg\, Paul Weissman\, Donald Woodman\, Estelle Kessler Yarinsky END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064546Z UID:427223 DTSTART:20160908T180000 DTEND:20160908T200000 LOCATION:HUC-JIR Museum - New York\,One West Fourth Street \nNew York\, New York 10012 SUMMARY:"Paint by Numbers"\, Marlene Adler\, DL Alvarez\, Debra Band\, Ed B aynard\, Riva Bell\, Henry Bismuth\, Matt Blackwell\, Sandra Bowden\, Ariel Burge\, Bunny Burson\, Melanie Dankowicz\, Joelle Dautricourt\, Damon Davi s\, Simon Donaldson\, Freeman Dyson\, Leonard Everett Fisher\, Larry Franke l\, Saara Gallin\, Grace Graupe-Pillard\, Barbara Green\, Laurie Gross\, Ca rol Hamoy\, Gunter Demnig & Peter Hess\, John Hirsch\, Tamar Hirschl\, Dori t Jordan Dotan\, Tobi Khan\, Judy Glickman Lauder\, John Lawson\, Andrew Pa ul Leonard\, Peachy Levy\, Margalit Mannor\, Suzi Matthews\, Richard McBee\ , David Mumford\, Jacqueline Nichols\, Tetsuya Noda\, Mark Podwal\, Archie Rand\, Tobia Ravà\, Trix Rosen\, Judy Sirota Rosenthal\, Jeffrey Schrier\, Uri Shulevitz\, Stephen Smale\, Fred Spinowitz\, Arthur Szyk\, Meryl Tarada sh\, David Wander\, Joyce Ellen Weinstein\, Ruth Weisberg\, Paul Weissman\, Donald Woodman\, Estelle Kessler Yarinsky END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064546Z UID:427368 DTSTART:20161104T000000 DTEND:20170507T000000 DESCRIPTION:
Marilyn Minter&rsquo\;s sensual paintings\, photographs\, and video s vividly explore complex and contradictory emotions around beauty and the feminine body in American culture. She trains a critical eye on the power o f desire\, questioning the fashion industry&rsquo\;s commercialization of s ex and the body. \;Marilyn Minter: Pretty/Dirty \;is the f irst retrospective of her work.\n\n
Spa nning more than four decades\, the exhibition begins with the artist&rsquo\ ;s earliest artworks\, from 1969 through 1986\, including rarely exhibited photographs as well as paintings incorporating photorealist and Pop art tec hniques. It continues with works from the late 1980s and 1990s that examine visual pleasure in visceral depictions of food and sex. The exhibition cul minates in Minter&rsquo\;s ongoing investigation of how the beauty industry expertly creates and manipulates desire through images.\n\n
Marilyn Minter: Pretty/Dirty \;is co-org anized by the Contemporary Arts Museum Houston and the Museum of Contempora ry Art Denver. The Brooklyn presentation is organized by Catherine Morris\, Sackler Family Curator\, and Carmen Hermo\, Assistant Curator\, Elizabeth A. Sackler Center for Feminist Art\, Brooklyn Museum.\n\n
The accompanying book is published by Gregory R. Miller &\; Company\, the Contemporary Arts Museum Houston\, and the Museum of C ontemporary Art\, Denver.\n\n
 \; p>\n
This exhibition is supported by generous grants from Gregory R. Mill er &\; Co.\; Amy and John Phelan\; Jeanne Greenberg Rohatyn/Salon 94\, N ew York\; and Lizzie and Jonathan Tisch. Generous support for the Brooklyn Museum presentation is provided by the May and Samuel Rudin Family Foundati on\, Inc.\; the Taylor Foundation\; Lizzie and Jonathan Tisch\; Richard Edw ards and Baldwin Gallery\, Aspen\; Christina and Emmanuel Di Donna\; Stefan Edlis and Gael Neeson\; \;the Bertha and Isaac Liberman Foundation\; a nd Emily Glasser and William Susman.\n\n
\nMarilyn Minter: Pretty/Dirty \;is part of \; A Year of Yes: Reimagining Feminism at the Brooklyn Museum\, a yearlon g series of ten exhibitions celebrating the 10th anniversary of the Elizabe th A. Sackler Center for Feminist Art. Leadership support is provided by El izabeth A. Sackler\, an anonymous donor\, the Stavros Niarchos Foundation\, the Calvin Klein Family Foundation\, and Mary Jo and Ted Shen. Generous su pport is also provided by the Taylor Foundation\, the Antonia and Vladimer Kulaev Cultural Heritage Fund\, and The Cowles Charitable Trust.
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.\n
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.\n
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.\n
A Passion for Tiffany Lamps \;is organized by The \;Neustadt \;Collection of Tiffany GlassLOCATION: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:20170501T064546Z UID:427803 DTSTART:20160910T000000 DTEND:20170618T000000 DESCRIPTION:
This exhibition explores the dialogue between Janet Taylor P ickett&rsquo\;s artwork and that of renowned French artist Henri Matisse. E mploying a diverse range of media\, Taylor Pickett is known for using the d ress form as an iconic template to express her journey as an African Americ an woman\, daughter\, mother\, and artist. The exhibition features over 76 collages and four handmade books\, spotlighting the ongoing creative conver sation between the two artists and the profound impact of Matisse on Taylor Pickett&rsquo\;s art.LOCATION:Montclair Art Museum\,3 South Mountain Avenue \nMontclair\, NJ 070 42 SUMMARY:Janet Taylor Pickett: The Matisse Series\, Janet Taylor Pickett END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064546Z UID:427804 DTSTART:20160910T120000 DTEND:20160910T170000 LOCATION:Montclair Art Museum\,3 South Mountain Avenue \nMontclair\, NJ 070 42 SUMMARY:Janet Taylor Pickett: The Matisse Series\, Janet Taylor Pickett END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064546Z UID:429552 DTSTART:20161220T000000 DTEND:20180107T000000 DESCRIPTION:
This exhibition features a sel ection of the finest artworks from the renowned Asia Society Museum Collect ion. Included are Chinese\, Korean\, and Japanese ceramics\, Indian and Cam bodian sculpture\, and sculptures from South and Southeast Asia and the Him alayas that show the varied imagery associated with the transmission of Bud dhism across the region.LOCATION:Asia Society Museum\,725 Park Avenue at 70th Street\nNew York\, NY 10021 SUMMARY:Masterpieces from the Asia Society Museum Collection END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064546Z 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:20170501T064546Z UID:429555 DTSTART:20161104T000000 DTEND:20170618T000000 DESCRIPTION:
In Iggy Pop Life Class\, Turner Prize‒winning artist Jeremy Deller uses the traditional life dra
wing class to stage a performative event with Iggy Pop as model and subject
. The exhibition presents the resulting drawings along with works from our
historical collections\, chosen by Deller\, that depict the male body\, exa
mining shifting representations of masculinity throughout history.
\n< br />\nThe fifty-three drawings included in the exhibition were created on February 21\, 2016\, during a one-day life drawing class\, using Pop as the unexpected model. The class was held at the New York Academy of Art and in cluded twenty-two artists drawn from New York City&rsquo\;s diverse communi ties\, ranging in age from 19 to 80\, with varying backgrounds and levels o f education and experience. The class was led by artist and drawing profess or Michael Grimaldi. The participating artists are Jeremy Day\, Jeanette Fa rrow\, Margaret Fisher\, Seiji Gailey\, Robert Hagan\, Tobias Hall\, Deirdr a Hazeley\, Patricia Hill\, Okim Woo Kim\, Maureen McAllister\, Kallyiah Me rilus\, Guno Park\, Kinley Pleteau\, Angel Ramirez\, Robert Reid\, Mauricio Rodriguez\, Danielle Rubin\, Taylor Schultek\, Charlotte Segall\, Andrew S hears\, and Levan Songulashvili.
De ller&rsquo\;s collaboration with Pop as a nude model is essential to his co ncept. A pioneer rock musician&mdash\;as a singer\, songwriter\, musician\, and actor&mdash\;Pop began performing in the 1960s\, becoming known for st renuous and unpredictable stage performances that often left his body batte red and cut. As Deller notes\, "\;Iggy Pop has one of the most recogniz able bodies in popular culture. A body that is key to an understanding of r ock music\, and that has been paraded\, celebrated\, and scrutinized throug h the years in a way that is unusual for a man. It is also fair to say that it has witnessed a lot. It was for these reasons that I wanted him to sit for a life class."\; For Deller\, the life drawing class offered the op portunity to study his body in direct and palpable terms.\n\n
Iggy Pop Life Class is organized by Sharon Matt Atkins\, Vice Director\, Exhibitions and Collections Management\, Broo klyn Museum.\n\n
Generous support for this exhibition is provided by Mike Wilki ns and Sheila Duignan\, the FUNd\, and Cristina Enriquez-Bocobo.\n\n
The accompanying book is published by the Bro
oklyn Museum in association with Heni Publishing\, London. This publication
is supported by the FUNd.
\n \;
Iggy Pop Life Class is part of A Year of Yes: Reimagini ng Feminism at the Brooklyn Museum\, a yearlong series of ten exhibiti ons celebrating the 10th anniversary of the Elizabeth A. Sackler Center for Feminist Art. Leadership support is provided by Elizabeth A. Sackler\, an anonymous donor\, the Stavros Niarchos Foundation\, the Calvin Klein Family Foundation\, and Mary Jo and Ted Shen. Generous support is also provided b y the Taylor Foundation\, the Antonia and Vladimer Kulaev Cultural Heritage Fund\, and The Cowles Charitable Trust.\n
Dia presents Hanne Darboven&rsquo\;s Kulturgeschichte 1880&ndash\;1983 (Cultural History 1880&ndash\;1983\, 1980&ndash\;83) at Dia: Chelsea at 545 West 22nd Street in New York City. \; The presentation o ffers audiences the opportunity to experience this important work from Dia& rsquo\;s permanent collection\, which has not been on view in the United St ates for over a decade.\n
Cultural History 1880&ndash\;1983 features 1\,590 framed works on paper and 19 sculptural objects. The framed works on paper include photographs of doorwa ys\, daily newsmagazine covers\, images of cameras and Hollywood celebritie s\, touristic postcards\, the contents of an exhibition catalogue on postwa r art\, and documentation of prior installations of the work. The specifici ty of the materials chosen embodies a blending of the personal and the publ ic\, telling the story of society at large\, while also presenting an autob iography of Darboven herself. From the covers of Der Spiegel with their emphasis on war and brutality\, to the racial overtones seen in the s lave figures and rainmaker sculptures\, to the postcards presenting a bucol ic and pastoral prewar Germany\, there is a narrative of trauma and recover y that runs throughout Darboven&rsquo\;s work. For the viewer\, \;C ultural History 1880&ndash\;1983 can be an all-encompassing and overwh elming experience\, physically impossible to take in at once. It is the mag num opus of an artist whose work remains lesser known than her Minimalist a nd Conceptual peers\, particularly so within the United States.&nbs p\;\n
Dia presents an exhibition of Kishio Suga&rsquo\;s work at Dia:Chelsea at 541 West 22nd Street in New York City. Suga is a founding member of Mono-ha (School of Things)\, which emerged in Japan in the 1960s and 1970s and dev eloped in parallel with Postminimal and Land art in the United States and A rte Povera in Europe&mdash\;movements at the core of Dia&rsquo\;s permanent collection. Curated by Jessica Morgan and Alexis Lowry\, this is \;Sug a&rsquo\;s first solo museum show in the United States. \;\n
In this exhibition\, Suga responds to the buildin g&rsquo\;s unique history as a marble-cutting facility by recreating his&nb sp\;Placement of Condition \;(1973)\, a signature installation of cut stones that lean precariously away from each other\, but are bound together with wire into a mutually dependent and stable network. This work is on view alongside a selection of other significant historical installati ons and new works conceived specifically for Dia that explore issues of bal ance and structure and that respond to the physical parameters of the space . His new commission investigates material equilibrium through a series of interweaving metal rods that are perched on top of wooden uprights.  \;\n
The Shape of Things: Photographs from Robert B. Menschel presents an engaging survey of The Museum of Modern Art&rsquo\;s multifaceted collection of photography. Borrowing its title f rom the eponymous work by Carrie Mae Weems\, the exhibition is drawn entire ly from works acquired over the past 40 years with the support of Robert B. Menschel\, telling the story of photography from its beginnings.\n\n
Covering more than 150 years of photography& mdash\;from an 1843 view of Paris by William Henry Fox Talbot\, the English father of photography\, to Andreas Gursky&rsquo\;s contemporary monumental landscapes\, the exhibition underscores an equal attention to the past and the present\, and a strong belief that they complement each other\; and th at each generation reinvents photography. Since Menschel joined the Committ ee on Photography at MoMA in 1977\, over 500 works have entered the collect ion through his support\, including 162 photographs he recently donated fro m his personal collection.\n\n
Organize d by Quentin Bajac\, The Joel and Anne Ehrenkranz Chief Curator\, with Kate rina Stathopoulou\, Curatorial Assistant\, Department of Photography.\n
Making Fa ces presents a selection of images from the Department of Film&rsquo\; s extensive collection of films stills that explore the representation of h istorical &ldquo\;otherness&rdquo\; onscreen. This exhibition examines the attempts of commercial film studios to aestheticize identity at various his torical moments. Photographic enlargements capture both conscious and uncon scious deviations from cultural\, social\, racial\, and gender expectations from the silent era through the Blaxploitation films of the 1970s.\n
Organized by Ashley Swinnerton\, Collection Specialist\, and Dessane Cassell\, Curatori al Fellow\, Department of Film.\n
The Edward Hopper House is pleased to present the restaging of Edward Hopper&rsquo\;s bedroom. The bedroom in which Hopper spent the fi rst 28 years of his life is transformed into a showcase designed in period style by Architectural Digest featured designer\, Ernest de la Torre\, and architect\, Walter Cain.\n
 \; \; \; \; \; \;  \; \; \; \; \; \; \; \; \; \;  \; \; \; \; \; \; \; \; \; \; \;&nb sp\; \; \; \; \; \; \; \; \; \; \;& nbsp\; \; \; \; \; \; \; \; \; \; \ ;\n
The staging of Hopper&rsquo\;s bedroom is a fitting acknowledgeme nt of the profound impact the space had on his artistic development. Growin g up with a view of the Hudson River from his bedroom window\, young Edward Hopper was inevitably drawn to its banks. He would spend hours at the vill age docks and shipyards\, sketching and watching the building and rigging o f boats. The activity on the river is captured in many of Hopper&rsquo\;s e arly drawings and paintings\, and boats and seascapes remained common subje cts in his art throughout his life.\n
Also central to his artistic development was the so-called &ldquo\;Hudson River light&rdqu o\; of Nyack. The strong rays of morning sunlight streaming through the eas t facing windows of his bedroom would create shifting patterns of light and shadow on the floor and walls. Hopper incorporated these tangible blocks o f sunlight into early paintings and many of his later masterpieces. Visitor s to this showcase will be able to appreciate all the unique features of th e bedroom that so inspired Edward Hopper and led him on his creative path.& nbsp\; Due to the historic nature of the house and other limitations\, the second floor room is only accessible by the stairs. \;LOCATION:Edward Hopper House\,82 North Broadway \nNyack\, NY 10960US SUMMARY:Renowned designer Ernest de la Torre and architect Walter Cain to r eimagine Edward Hopper's bedroom in his Nyack home END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064546Z UID:430699 DTSTART:20161001T180000 DTEND:20161001T200000 LOCATION:Edward Hopper House\,82 North Broadway \nNyack\, NY 10960US SUMMARY:Renowned designer Ernest de la Torre and architect Walter Cain to r eimagine Edward Hopper's bedroom in his Nyack home END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064546Z UID:431239 DTSTART:20161020T000000 DTEND:20170529T000000 DESCRIPTION:
This exhibition of Renaissance mai olica\, drawn exclusively from The Met's world-renowned collection\, will c elebrate the publication of Maiolica\, Italian Renaissance Ceramics in The Metropolitan Museum of Art by Timothy Wilson. As Wilson writes\, " Painted pottery\, at its most ambitious\, is a serious form of Italian Rena issance art\, with much to offer those interested in the wider culture of t his astoundingly creative period." This creativity was applied to a vast ra nge of practical objects. The exhibition will include tableware and serving vessels\, desk ornaments\, storage containers\, devotional objects\, as we ll as sculpture\, all made in painted and tin-glazed earthenware.\n
The maiolica tradition flourished from the 15t h to the 17th century. Italian potters transformed techniques they owed to the Islamic world into something entirely unprecedented\, and in turn laid the foundations for similar pottery traditions across Europe. Potters and p ottery painters exploited innovations of the Renaissance goldsmith\, sculpt or\, and painter in what was a relatively humble medium. That it was owned by the social elite of Italy\, however\, testifies to its artistic value. p>\n
This exhibition will explore how the d ifferent functions of Renaissance maiolica dictated the ways painted potter y was seen and decorated. Groups of objects will be installed in displays s uggestive of their use. An assembly of storage jars will give a sense of a pharmacy's shelves. Among the tableware on display will be istoriato plates and dishes&mdash\;their surfaces covered with scenes from mytholo gy and ancient history&mdash\;from some of the most important services comm issioned by leading Italian families. The exhibition will also show maiolic a-makers using ceramic\, paint\, and glaze to compete with other art forms\ , including a Madonna and Child that imitates a framed panel paint ing and a Lamentation group that likely once functioned as a sculp ted altarpiece\, the largest known example of sculptural maiolica to surviv e.\n
The publication is made po ssible by The Metropolitan Museum of Art's Friends of European Sculpture an d Decorative Arts\, The Peter Jay Sharp Foundation\, Marica and Jan Vilcek\ , and Ceramica-Stiftung Basel.\n
Group show of artist who use Red in their work.LOCATION:Hunterdon Art Museum\,7 Lower Center Street \nClinton\, NJ 08809-1 303 SUMMARY:RED END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064546Z UID:431336 DTSTART:20170115T140000 DTEND:20170115T160000 LOCATION:Hunterdon Art Museum\,7 Lower Center Street \nClinton\, NJ 08809-1 303 SUMMARY:RED END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064546Z UID:434856 DTSTART:20161210T000000 DTEND:20170904T000000 DESCRIPTION:
CIM- "\;seven"\; in Ukrainian- plays on the notion o f a collective and what binds the seven artists in this exhibition cultural ly and ethnically\, as first and second generation Ukrainian-American and U krainian-born artists from the New York City area. This exhibition\, curate d by Roman Hrab\, with catalogue contribution by Olena Chervonik\, convenes their individual experiences as a collective of artists working in a wide range of styles and media.\n LOCATION:Ukrainian Museum\,222 East 6th St. \nNew York\, New York 10009 SUMMARY:CIM\, Luba Drozd\, Adriana Farmiga\, Maya Hayuk\, Roman Hrab\, Yuri Masnyj\, Christina Shmigel\, Marko Shuhan END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064546Z UID:435501 DTSTART:20170119T000000 DTEND:20170513T000000 DESCRIPTION:
The FLAG Art Foundatio n presents Cynthia Daignault: \;There is nothing I could say that I haven&rsquo\;t thought before\, \;< /em>on its 10th \;floor gallery from \;January 1 9 &ndash\; May 13\, 2017. \; Daignault&rsquo\;s new \;seri es of paintings &ndash\; part \;solo exhibition\, virtual group show\, and curatorial project &ndash\; resulted from collaborating with \;30 a rtists\, including: Cory Arcangel\, Sadie Barnette\, Carol Bove\, Robert Go ber\, Josephine Meckseper\, Jonathan Monk\, \;Fred Wilson\, \;and m any more. As it&rsquo\;s now rarer to experience a physical art object than its surrogate\, the exhibition explores the role of the virtual in contemp orary art\, as well as \;ideas of \;agency\, \;collaborative ap propriation\, \;and the traces we leave behind.\n LOCATION:FLAG Art Foundation\,545 West 25th Street 9th Floor\nNew York\, NY 10001 SUMMARY:There is nothing I could say that I haven't thought before\, Cynthi a Daignault END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064546Z UID:435502 DTSTART:20170119T180000 DTEND:20170119T200000 LOCATION:FLAG Art Foundation\,545 West 25th Street 9th Floor\nNew York\, NY 10001 SUMMARY:There is nothing I could say that I haven't thought before END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064546Z UID:435503 DTSTART:20170119T000000 DTEND:20170513T000000 DESCRIPTION:
The FLAG Art Foundatio n presents tapestries and paintings by internationally acclaimed a rtists Etel Adnan | Gerhard Richter\, on its 9th floor gal lery from January 19 &ndash\; May 13\, 2017. The exhibitio n initiates a conversation \;between two masters of \;contemporary painting\, from the vastly different backgrounds of Beirut and Germany\, wh o continue to challenge the concept of working in a single style or media\, translating their explosive color abstractions and painting processes to c anvas\, ceramic\, \;glass\, and tapestry.\n LOCATION:FLAG Art Foundation\,545 West 25th Street 9th Floor\nNew York\, NY 10001 SUMMARY:Joint Exhibition\, Etel Adnan\, Gerhard Richter END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064546Z UID:435504 DTSTART:20170119T180000 DTEND:20170119T200000 LOCATION:FLAG Art Foundation\,545 West 25th Street 9th Floor\nNew York\, NY 10001 SUMMARY:Joint Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064546Z UID:435710 DTSTART:20170301T000000 DTEND:20170801T000000 DESCRIPTION:
★OPENING RECEPTION 1/3 5th FAREWELL Comic Show + Fum iaki Asai★\n\n
-Gallery 1-\n\n
5 th FAREWELL Comic Show\n\n
Participati ng Artists\n\n
Gerardo R. Casas (Curator)\n\n
Ellen Stedfeld (Co-curator)\n\n
Matthew Noel Paquette (Co-curator) p>\n\n
Jose Feliciano\n\n
Ryan J. Zalis\n\n
Patrick Sinnott p>\n\n
Kelly M. Teaman\n\n
Joel M. Casimiro\n\n
Lina Lee\ n\n
January Bacus\n\n
Michelle Peluso\n\n
Melanie Harris\ n\n
Burnest Griffin IV\n\n
Rashawn &ldquo\;Inu&rdquo\; Love\n\n
Justin Jones\n\n
Jeff Maksuta\n\n
David Shear\n\n
Rich ard P. Wojcicki\n\n
Angelika Erne\n\n
Anon Cadieux\n\n
Ch ristopher Cook\n\n
Tara Hayes\n\n
Emmanuel &ldqu o\;Art Screams Life&rdquo\; Knigh\n\n
Gerard Thelemaque\n\n
Gre gory Silverman\n\n
Derwin Roberson\n\n
Xinmei Liu\n\n
Nao aki Funayama\n\n
Yuki Kano\n\n
Cherry &ldquo\;Zeze&rdquo\; Yiu< /p>\n\n
Yosuf Gurung\n\n
Shogo Miyasaka\n\n
Yunshan Yang\ n\n
James Vega\n\n
Anthony J. Quintessenza\n\n
Sophocles Plok amakis\n\n
-Gallery 2-\n\n
Artist: Fumiaki Asai\n\n
Biography: p>\n\n
Fumiaki Asai was born in Aichi Prefecture and grew up in Shiga Pre fecture. He started his creative activity since 2011. The starting point of his creative activities was when he received a shock in color while viewin g the Mexican scenery\, landscape\, and more in a TV program. He began his creative activities the next day. His production activities are mainly pain tings. He taught himself how to paint. He directly expresses his emotions t hat come out of his mind. He does not keep it to himself. Therefore\, color and techniques will come out of his subconscious. And he will come out to see the color in his head. Asai was interested in overseas. He stayed in Au stralia for about one week after graduating from high school. He have recei ved a big shock from all the differences he felt with his five senses at th at time. He started to feel the want to work abroad in his heart. He receiv es inspirations from American culture and British rock music. When he sees his work\, he hopes that people will see his work without too much thinking and simply feel something out of it. His work represents his person.\n \n
 \;\n LOCATION:Ouchi Gallery\,170 Tillary St. suite 105\nBrooklyn\, NY 11201 SUMMARY:★OPENING RECEPTION 1/3 5th FAREWELL Comic Show + Fumiaki Asai★\, Co mic Show Participating Artists + Fumiaki Asai END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064546Z UID:435711 DTSTART:20170301T190000 DTEND:20170301T220000 LOCATION:Ouchi Gallery\,170 Tillary St. suite 105\nBrooklyn\, NY 11201 SUMMARY:★OPENING RECEPTION 1/3 5th FAREWELL Comic Show + Fumiaki Asai★ END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064546Z UID:436335 DTSTART:20170121T000000 DTEND:20170521T000000 DESCRIPTION:
Alfred Sisley (1839-1899): Impressionis
t Master
\nJanuary 21\, 2017 - May 21\, 2017
Bruce Museum\, Greenwich\, CT strong>\n\n
The Bruce Museum and the Hô\;tel de Caumont Centre d&rs quo\;Art in Aix-en-Provence\, France\, are mounting a major monographic exh ibition of the art of the French Impressionist Alfred Sisley (1839 &ndash\; 1899). The first retrospective in the United States in over twenty years o f this purest of all the major Impressionists\, the \;show is comprised of about 50 of Sisley&rsquo\;s paintings from private collections \;an d major museums in Europe and North America. The Bruce Museum will premiere the exhibition and be the only venue in the United States.\n\n< p>A friend of Claude Monet and Pierre-Auguste Renoir\, Sisley init ially worked in \;the naturalistic landscape tradition of the Barbizon School but increasingly adopted a proto-Impressionistic style\, creating a body of work that has an \;impressive internal consistency and cumulati ve authority. Throughout his \;career\, Sisley adhered to the style of divided light and color\, momentary effects \;of illumination\, and an acute responsiveness to atmosphere that are the \;signature attributes of Impressionism. He dutifully painted \;en plein air \;in all  \;manner of weather\, recording his favorite sites in the environs of Paris &ndash\; \;Bougival\, Louveciennes\, Marly-le-Roi\, Saint-Mammè\ ;s &ndash\; in exhaustive detail\, in \;all seasons\, and under ever-ch anging skies. Born in Paris to British parents\, \;Sisley studied the l andscape paintings of Constable and Turner before enrolling \;in Charle s Gleyre&rsquo\;s studio where he met Monet and Renoir. Little biographical  \;information about his life has survived so his art must speak for it self\, and does \;so with haunting beauty. The magic with which he was able to capture light \;sparkling on water\, winter sun on snow\, and t rees rustled by a breeze create \;some of the most memorable Impression ist images.
Sponsored by T he Charles M. and Deborah G. Royce Exhibition Fund\; Florence Gould Foundat ion\; David T. Langrock Foundation\;The Malcolm Hewitt Wiener Foundation\; First Republic\; Guardian Life Insurance Company of America\; Robert Lehman Foundation\; State of Connecticut\; A Committee of Honor chaired by Gale a nd Bob Lawrence\, Pam and Bill Lawrence\, Kathleen L. Metinko and Jan Roger s Kniffen\, Viriginia and Juan Meyer\, Leah and Bob Rukeyser\; and Honorary Chair Mrs. Bé\;né\;dicte de Montlaur\, Cultural Counselor of t he French Embassy in the United States.\n\n
\nAlfred Sisley (1839-1899). \;The Flood at Port Marl y\, 1876. \;Oil on canvas\, 50 x 61 cm. \;Carmen Thyssen-B ornemisza Collection on \;loan at the Thyssen-Bornemisza Museum\,&n bsp\;Madrid (CTB.1974.25) \;©\; Colecció\;n Carmen Th yssen-Bornemisza on \;loan at the Museo Thyssen-Bornemisza p>\n LOCATION:Bruce Museum\,1 Museum Drive \nGreenwich\, CT 06830 SUMMARY:Alfred Sisley (1839-1899): Impressionist Master\, Alfred Sisley END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064546Z UID:436591 DTSTART:20170115T000000 DTEND:20170514T000000 DESCRIPTION:
Derfner Judaica Museum + The Art Collection at Hebrew Home a t Riverdale\, in conjunction with Garvey|Simon\, New York\, is pleased to a nnounce its latest exhibition Susan Schwalb: Metalpoint Paintings on view in the Elma and Milton A. Gilbert Pavilion Gallery from January 15& ndash\;May 14\, 2017. A reception and artist&rsquo\;s talk will be held on Sunday\, January 22\, 2017\, from 1:30&ndash\;3 p.m. in the Gilbert Pavilio n Gallery at Hebrew Home at Riverdale. R.S.V.P. via 718.581.1596 or art@heb rewhome.org.\n\n
The exhibition includes 15 paintin gs executed in metalpoint and colored gesso by Susan Schwalb\, who has been working in the centuries-old technique since 1973. She began experimenting with silverpoint after encountering the medium unexpectedly via an artist friend and has emerged as one of its foremost masters today.\n\n
&nbs p\;\n\n
Historically\, the practice of metalpoint dates back to the H igh Renaissance\, when silver was the most commonly used material. Artworks created using this technique are executed with a metalpoint stylus that cr eates very fine lines when applied to specially coated paper. Once a line i s laid down\, it cannot be erased or changed. Schwalb uses a variety of met als in her work\, including copper\, aluminum\, gold\, platinum\, and tin. Working on a prepared surface of either wood panel or paper laid on wood pa nel\, she draws painstakingly thin lines in different formations. \; Sc hwalb often coats the paper herself\, creating the surface on which she wil l work\, and considers this to be an essential part of her creative process .\n\n
Work from three series are included in this e xhibition&mdash\;Harmonizations (2015)\, Intermezzo (2015 &ndash\;2016)\, and Polyphony (2013&ndash\;2016)&mdash\;each of wh ich derives its title from musical terminology. Schwalb intentionally works in series\, drawing inspiration from previous works to create new ones.&nb sp\; For example\, Harmonizations is a direct continuation of the spatial and compositional explorations that began in Polyphony\, a series focusing on overlapping lines and shapes. Each piece in Harmoni zations is both executed on a square picture surface and comprised of 36 individual smaller squares\, with a single one left blank. The series ex plores the idea of the void\, or a space intentionally left open and unoccu pied. Working in a square format has been paramount to Schwalb&rsquo\;s wor k since 1997.\n\n
About the artist\n\n
Susan Schwalb is one of the foremost figures in the revival of t he ancient technique of silverpoint drawing in America. She was born in New York City and studied at the High School of Music &\; Art\, and at Carn egie-Mellon University. Schwalb has been in residence at the Virginia Cente r for the Creative Arts (2010\,&rsquo\;07\, &lsquo\;92\,&rsquo\;73)\, the M acDowell Colony (1989\, &rsquo\;75\,&rsquo\;74)\, Yaddo (&rsquo\;81) and ha s had two residencies in Israel in 1994 at Mishkenot Sha&rsquo\;ananim\, Je rusalem\, and the Tel Aviv Artists&rsquo\; Studios. She has had over 35 sol o exhibitions and has exhibited nationally and internationally. Her work is represented in most major public collections\, including The Museum of Mod ern Art\, New York\; The Metropolitan Museum of Art\, New York\; the Nation al Gallery of Art\, Washington DC\; The British Museum\, London\; the Brook lyn Museum\, New York\; Kupferstichkabinett&mdash\;Staatliche Museen zu Ber lin\, Germany\; the Victoria and Albert Museum\, London\; and The Ashmolean Museum\, Oxford\, England. Currently\, two of her prints are included in T he Metropolitan Museum of Art&rsquo\;s exhibition Drawings and Prints: Sele ctions from The Met Collection which is on view in The Robert Wood Johnson\ , Jr. Gallery through January 30\, 2017.\n\n
Elizabeth K. Garvey is t he co-founder and owner of Garvey|Simon\, New York (est. in 2010). Prior to her current role\, she was President and Owner of EKG Art Advisory (1999&n dash\;2009) and Co-Director of Schmidt&ndash\;Bingham Gallery on 57th Stree t in New York\, where she worked from 1989&ndash\;1998. Liz runs Garvey|Sim on Gallery\, a boutique gallery in Chelsea that is focused on drawing\, wor ks on paper\, unusual materials\, and design\, while also acting as curator and advisor to select private clients. With over 25 years of experience in the fine art industry in New York\, Liz leverages her professional relatio nships with other galleries\, auction houses\, private dealers and artists to offer clients a relaxed entry into the often intimidating visage of the New York art world.\n\n
About Hebrew Home a t Riverdale\n\n
As a member of the American Alliance of Muse ums\, Hebrew Home at Riverdale by RiverSpring Health is committed to public ly exhibiting its art collection throughout its 32-acre campus including th e Derfner Judaica Museum and a sculpture garden overlooking the Hudson Rive r and Palisades. The Derfner Judaica Museum + The Art Collection provides e ducational and cultural programming for residents of the Hebrew Home\, thei r families\, and the general public from throughout New York City\, its sur rounding suburbs\, and visitors from elsewhere. RiverSpring Health is a non profit\, non-sectarian geriatric organization serving more than 12\,000 old er adults in greater New York through its resources and community service p rograms. Museum hours: Sunday&ndash\;Thursday\, 10:30 a.m.&ndash\;4:30 p.m. Art Collection and grounds open daily\, 10:30 a.m.&ndash\;4:30 p.m. Call 7 18.581.1596 for holiday hours and to schedule group tours\, or for further information\, visit our website at http://www.riverspringhealth.org/art\n\n
This exhibition is supported\, in part\, by pu blic funds from the New York City Department of Cultural Affairs in partner ship with the City Council.\n LOCATION:Derfner Judaica Museum + The Art Collection at Hebrew Home at Rive rdale\,5901 Palisade Avenue \nBronx\, NY 10471 SUMMARY:Susan Schwalb: Metalpoint Paintings\, Susan Schwalb END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064546Z UID:436592 DTSTART:20170122T133000 DTEND:20170122T150000 LOCATION:Derfner Judaica Museum + The Art Collection at Hebrew Home at Rive rdale\,5901 Palisade Avenue \nBronx\, NY 10471 SUMMARY:Susan Schwalb: Metalpoint Paintings END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064546Z 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.\n\n
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:20170501T064547Z UID:437227 DTSTART:20170201T000000 DTEND:20170530T000000 DESCRIPTION:
The Genius of Geoffrey Holder\n\n
Fe bruary 1\, 2017- May 30\, 2017\n\n
Gallery Hours: Monday-Saturday\, 1 0:00am - 6:00pm\n\n
Free and Open to the public.\n\n
Miller Gallery\n\n
Jamaica Center for Arts &\; Learning (J CAL)\n\n
161-04 Jamaica Ave.\n\n
Jamaica\, NY 11432 \;\ n\n
As a choreograph er\, designer\, director\, and actor\, Holder is well represented in all of the research and circulating collections of The New York Public Library fo r the Performing Arts. In this exhibition\, he is honored for his career in dance and theater\, his Tony Award-winning work as director and costume de signer for The Wiz\, and contributions to the repertory of the Alvin Ailey American Dance Theater and Dance Theater of Harlem. \;\n\n
 \ ;\n LOCATION:Jamaica Center for Arts and Learning\,161-04 Jamaica Ave. \nJamaic a\, NY 11432 SUMMARY:The Genius of Geoffrey Holder END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:437228 DTSTART:20170201T100000 DTEND:20170201T180000 LOCATION:Jamaica Center for Arts and Learning\,161-04 Jamaica Ave. \nJamaic a\, NY 11432 SUMMARY:The Genius of Geoffrey Holder END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:437612 DTSTART:20170209T000000 DTEND:20170526T000000 DESCRIPTION:
*EXTEND ED THROUGH MAY 26\, 2017*\n\n
David Krut Projects is pleased to present /'\;atmes\,fir/\ , a group exhibition featuring three emerging abstract artists from South A frica: Mongezi Ncaphayi\, Robyn Penn\, &\; Jacob Van Schalkwyk. In this exhibition&ndash\;which takes its title from the phonetic spelling of the w ord Atmosphere&ndash\;all three artists respond to the dynamic climate of c ontemporary South Africa\, primarily through the use of painterly abstracti on.\n\n
Mongezi Ncaphayi\, a painter-pr intmaker and accomplished jazz musician\, uses splashes of color amidst rep eated lines\, patterns and forms that undulate like sounds and rhythm&ndash \;harkening to the modernist relationship of painting to jazz. Notably map- like\, Ncaphayi&rsquo\;s paintings\, prints and drawings are made using mem ory and intuition to retrace the contours of his large collection of maps.< /p>\n\n
Robyn Penn\, another painter-printm aker from Johannesburg\, has been long fixated on the subject of the cloud and the dire situation surrounding the Earth&rsquo\;s atmosphere. Over time \, her cloud depictions have gone from hyperrealistic to scratchy\, energet ic\, gestural\, nebulous compositions of marks made using a sophisticated y et often acidic use of color. Her newest etchings and prints exist somewher e between the beautiful and the brutal\, where skyscapes of color and line become politically charged meditations on climate change denial.\n\n
Using lithographic ink\, Jacob van Schalkwyk mends scenes of color. From CMYK scale to ultra-violet\, the palette is pul led from natural and artificial landscapes seen in Cape Town. In the studio \, these colors are mixed in large batches\, then rolled\, splashed\, dripp ed\, or splattered upon the surface of the paper. One may recognize the bri ght orange of a construction zone barrel\, the pale pink of a beach Sunset\ , the tar black of asphalt\, the pewter of a kicked stone. These random ins tances of color coalesce\, crisscross\, and merge into a sense of place: de composition\, 3am\, noise\, the guessing and second guessing of the studio.\n\n
For more information please contac t email@example.com.\n LOCATION:David Krut Projects\,526 West 26th Street\, #816 \nNew York\, NY 1 0001 SUMMARY:/'atmes\,fir/\, Mongezi Ncaphayi\, Robyn Penn\, Jacob van Schalkwyk END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:437613 DTSTART:20170209T180000 DTEND:20170209T200000 LOCATION:David Krut Projects\,526 West 26th Street\, #816 \nNew York\, NY 1 0001 SUMMARY:/'atmes\,fir/ END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:437726 DTSTART:20170127T000000 DTEND:20170507T000000 DESCRIPTION:
Organized by ICP Curators Caro l Squiers and Cynthia Young\, Assistant Curators Susan Carlson and Claartje van Dijk\, along with adjunct curators Joanna Lehan and Kalia Brooks with assistance from Akshay Bhoan and Quito Ziegler\, Perpetual Revolution: The Image and Social Change continues ICP&rsquo\;s long-standing tradi tion of exploring the social and historic impact of visual culture.\n\n
Today\, viewers are barraged by seemingly endless streams of new kinds of media images on an unprecedented scale. Perpetual Revolution explores the relation between the overwhelming i mage world that confronts us\, and the volatile\, provocative\, and often-v iolent social world it mirrors.\n\n
Thi s exhibition proposes that an ongoing revolution is taking place politicall y\, socially\, and technologically\, and that new digital methods of image production\, display\, and distribution are simultaneously both reporting a nd producing social change. The epic social and political transformations o f the last few years would not have happened with the speed and in such dep th if it weren&rsquo\;t for the ever-expanding possibilities offered by thi s revolution.\n\n
Perpetual Revolut ion: The Image and Social Change presents six \;of these critical issues transformed by visual culture: #BlackLivesMatter\, gender fluidity\, climate change\, terrorist propaganda\, the 2016 presidential election and the right-wing fringe\, and the refugee crisis.\n\n
See more press release\n LOCATION:International Center of Photography (ICP) Museum\,250 Bowery \nNew York\, NY 10012 SUMMARY:Perpetual Revolution: The Image and Social Change END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:437727 DTSTART:20170127T100000 DTEND:20170127T180000 LOCATION:International Center of Photography (ICP) Museum\,250 Bowery \nNew York\, NY 10012 SUMMARY:Perpetual Revolution: The Image and Social Change END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:437728 DTSTART:20170127T000000 DTEND:20170507T000000 DESCRIPTION:
Opening January 27\, Unwav ering Vision #1: 3160 Images of Social Change from the ICP Collections is an interactive multimedia presentation by Alan Govenar\, Jean-Michel Sa nchez\, and Julien Roger\, and is produced by Documentary Arts in associati on with on-situ. Installed in the free public space in the ICP Museum at 25 0 Bowery\, the piece incorporates more than three thousand images dealing w ith social change from the ICP&rsquo\;s permanent collection.\n\n
At its core\, Unwavering Vision #1 is a n artwork and an interactive metaphor\, simultaneously alluding to the tena city of &ldquo\;concerned&rdquo\; photographers and to the commitment of IC P to open dialogue about imagemaking\, past and present. It welcomes public engagement and comments as it evolves. The installation is supported in pa rt by Communities Foundation of Texas.\n\n
Perpetual Revolution : The Image and Social Change&mdash\;an examination of the relatio n between today&rsquo\;s overwhelming image world and the volatile social s phere we inhabit&mdash\;also opens at the ICP Museum on January 27.\n\n
Founded in 1985 by Alan Govenar to present new persp ectives on historical issues and diverse cultures\, Documentary Arts\, Inc. is a non-profit organization based in Dallas and New York. Documentary Art s&rsquo\; work with major institutions&mdash\;including the National Endowm ent for the Arts\, African American Museum (Dallas)\, FARO (Brussels)\, Mai son des Cultures du Monde (Paris)\, and UNESCO (Nairobi)&mdash\;have highli ghted little-known practitioners of cultural forms via photography\, films and videos\, audio recordings\, oral histories\, exhibitions\, public progr ams\, new technologies\, and collections of material culture.\n\n
Unwavering Vision #1 is part of an ongo ing collaboration between ICP and Documentary Arts. \;This partnership consists of a significant donation to ICP from the Documentary Arts Collect ion and a Documentary Arts Fellowship\, which supports the careers of promi sing students enrolled in ICP&rsquo\;s Full-Time Programs (Documentary Prac tice and Visual Journalism\, General Studies in Photography\, New Media Nar ratives\, and ICP-Bard MFA) to deepen their photography practice.\n\n
In this installation are sixty-five selectio ns from the 60\,000-work Texas African American Photography (TAAP) Archive\ , the centerpiece of Documentary Arts&rsquo\; gift to the ICP in 2014 of mo re than 100\,000 photographs\, films\, videos\, and audio recordings. The T AAP Archive\, founded by Govenar and Kaleta Doolin\, focuses primarily on t he work of twentieth-century African American community photographers activ e in rural and urban Texas.\n LOCATION:International Center of Photography (ICP) Museum\,250 Bowery \nNew York\, NY 10012 SUMMARY:Unwavering Vision #1: 3160 Images of Social Change from the ICP Col lections\, Alan Govenar\, Julien Roger\, Jean-Michel Sanchez END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:437729 DTSTART:20170127T100000 DTEND:20170127T180000 LOCATION:International Center of Photography (ICP) Museum\,250 Bowery \nNew York\, NY 10012 SUMMARY:Unwavering Vision #1: 3160 Images of Social Change from the ICP Col lections END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:437747 DTSTART:20170201T000000 DTEND:20170530T000000 DESCRIPTION:
As a ch oreographer\, designer\, director\, and actor\, Holder is well represented in all of the research and circulating collections of The New York Public L ibrary for the Performing Arts. In this exhibition\, he is honored for his career in dance and theater\, his Tony Award-winning work as director and c ostume designer for The Wiz\, and contributions to the repertory of the Alv in Ailey American Dance Theater and Dance Theater of Harlem. \;< /p>\n LOCATION:Jamaica Center for Arts and Learning\,161-04 Jamaica Ave. \nJamaic a\, NY 11432 SUMMARY:The New York Public Library for the Performing Arts presents The Ge nius of Geoffrey Holder\, Geoffrey Holder END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:437748 DTSTART:20170203T190000 DTEND:20170203T210000 LOCATION:Jamaica Center for Arts and Learning\,161-04 Jamaica Ave. \nJamaic a\, NY 11432 SUMMARY:The New York Public Library for the Performing Arts presents The Ge nius of Geoffrey Holder END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:437825 DTSTART:20170216T000000 DTEND:20170529T000000 DESCRIPTION:
On February 16\, 2017\, Neue G alerie New York will open "\;Alexei Jawlensky\,"\; the first full m useum retrospective in the United States devoted to the work of the Russian -born Expressionist artist Alexei Jawlensky (1864-1941). Jawlensky moved to Munich in 1896\, where he became an integral member of the artistic avant- garde that advanced important developments in Expressionism and abstraction . The show is organized by independent curator Vivian Endicott Barnett\, au thor of volumes of Vasily Kandinsky&rsquo\;s catalogue raisonné and expert on German and Russian modern art. The Neue Galerie is the sole venue for t he exhibition\, which will be on view through May 29\, 2017.\n\n
The exhibition will include approximately 75 pain tings ranging in date from 1900 to 1937 and will explore the chronological and thematic development of Jawlensky&rsquo\;s work. It is comprised of loa ns from public and private collections worldwide. The exhibition will begin with early figure paintings\, still-lifes\, and landscapes\, and continues with a series of paintings created between 1914 and 1921 known as Vari ations\, which evolved from the view from the artist&rsquo\;s window i nto expressions of pure color. The exhibition will follow with a selection of semi-abstract works known as Mystical Heads\, Savior&rsquo\ ;s Faces\, and Abstract Heads\, which reduce the human face t o simple geometric forms and contrasting colors. The exhibition will conclu de with the artist&rsquo\;s late Meditations and Still-Lifes em>\, a series of spiritual paintings created towards the end of his life\, which stem from the piety of his Russian Orthodoxy.\n\n
Alexei Jawlensky was born in Torzhok in the province of T ver in 1864 and attended school in Moscow before studying painting with the Russian realist painter Ilya Repin in St. Petersburg. Growing increasingly disenchanted with realism\, and after meeting the artist Marianne von Were fkin\, Jawlensky moved to Munich\, where he and Kandinsky studied with Anto n Ažbè. Jawlensky was deeply influenced by the work of the Fauves after se veral trips to France\, where he became familiar with the art of Paul Céza nne\, Paul Gauguin\, Henri Matisse\, and Vincent van Gogh.\n\n
In 1908\, Jawlensky joined Kandinsky\, Werefkin\, a nd Gabriele Münter for several weeks to paint in the Bavarian town of Murn au\, south of Munich\, where they lived. The following year\, Jawlensky\, K andinsky\, and others formed the Neue Künstlervereinigung München\, an ar tists&rsquo\; association. Jawlensky was friendly with Paul Klee\, August M acke\, Franz Marc\, and artists associated with Der Blaue Reiter. At the st art of World War I\, Jawlensky fled to Switzerland\, where he remained for seven years. In 1921\, Jawlensky relocated to Wiesbaden in southern Germany \, where he lived and worked until his death in 1941. Though Jawlensky&rsqu o\;s oeuvre is not well known in the United States\, he exhibited widely du ring his time and exerted a strong influence on key developments in modern art.\n\n
A fully-illustrated catalogue\ , published by Prestel Verlag\, will accompany the exhibition\, featuring c ontributions by leading scholars in the field\, including Vivian Endicott B arnett\, Angelica Jawlensky Bianconi\, Jill Lloyd\, and Roman Zieglgänsber ger.\n\n
This exhibition is made possib le in part by the Neue Galerie President&rsquo\;s Circle.\n LOCATION:Neue Galerie Museum for German and Austrian Art\,1048 Fifth Avenue \nNew York\, NY 10028 SUMMARY:Solo Exhibition\, Alexei Jawlensky END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:437826 DTSTART:20170216T110000 DTEND:20170216T180000 LOCATION:Neue Galerie Museum for German and Austrian Art\,1048 Fifth Avenue \nNew York\, NY 10028 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:437838 DTSTART:20170203T000000 DTEND:20170430T000000 DESCRIPTION:
Among the 250+ elements on view are the New-York Historical Society&rsquo\;s set of 1710 Four Indian Kings prints and one of the earliest recordings (1706) in Western accounts of a p ictograph done by a Seneca warrior representing his tattoos and personal si gnature. Highlights of the exhibition include Thomas Edison&rsquo\;s electr ic pen and early 20th-century tattoo machinery\; dramatic sideshow banner s and cabinet cards\; a large selection of designs by the Bowery pioneers o f modern tattooing\, including Sam O'\;Reilly\, Lew Alberts\, Bob Wicks\ , Ed Smith\, and Bill Jones\; rare photography documenting the tattoo ban y ears and artwork by mainstream visual artists who tattooed during the ban\; and works by some of the finest New York tattoo artists of today. Organize d by the New-York Historical Society\, this exhibition is curated by Assist ant Curator of Exhibitions\, Cristian Petru Panaite.\n\n
Support provided by\n\n
 \;\ n\n
Exhibitions at the New-York Historical Societ y are made possible by Dr. Agnes Hsu-Tang and Oscar Tang\, the Saunders Tru st 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 A ndrew Cuomo and the New York State Legislature.\n\n
Media sponsor:
In 2015\, Arthur and Eileen Newman generously gifted 15 magnificent Hudson River Sch ool paintings from their collection to the New-York Historical Society. The se new acquisitions\, shown alongside selected examples from New-York Histo rical&rsquo\;s holdings\, are displayed together for the first time since t hey hung on the walls of the Newmans&rsquo\; Manhattan home.\n\n
In conjunction with pieces from the Newman beques t\, New-York Historical presents The Hudson River Portfolio\, a co llection of 19th-century prints by John Hill\, who engraved a selection of Hudson River Valley landscapes by Irish-born artist William Guy Wall&mdash\ ;considered a forerunner to the Hudson River School. This special installat ion will feature Hill&rsquo\;s prints as well as original nature studies by Wall.\n\n
Exhibitions at the New-York Historical Society are made possible by Dr. Agnes Hsu-Tang and Oscar Tang\, the Saunders Trust for American History\, the New York City Department of Cultural Affairs\, and the New York State Council on the Arts with the supp ort of Governor Andrew Cuomo and the New York State Legislature.\n\n
&n bsp\;\n\n
Media sponsor:
The Bruce Museum and the Hô\;tel de Caumont Centre d&rsq uo\;Art in Aix-en-Provence\, France\, are mounting a major monographic exhi bition of the art of the French Impressionist Alfred Sisley (1839-1899). Th e first retrospective in more than 20 years of this purest of all the major Impressionists\, \;Alfred Sisley (1839-1899): Impressionis t Master spotlights about 50 of Sisley&rsquo\;s paintings\, wh ich come from private collections and major museums in Europe and North Ame rica. The Bruce Museum in Greenwich\, Connecticut\, will premiere the exhib ition and is the only venue in the United States. The show will then travel to France\, where it will be on exhibit from June through October 2017.\n\n
While his landscapes are generally modest in scal e and tonally relatively restrained\, the magic with which he was able to c apture the effects of the light dancing on water\, the brilliance of winter sun on snow and hoar frost\, the movement of the wind in trees\, the explo ration of the depth of a rural scene\, and the vastness of the skies create compelling works akin to poetry. They demand close\, quiet contemplation a nd their re-evaluation is well overdue.\n\n
Th e exhibition Alfred Sisley (1839-1899): Impressionist Master is or ganized by the Bruce Museum\, Greenwich\, Connecticut and Culturespaces. Th e show is curated by MaryAnne Stevens\, independent art historian and curat or of the 1992/3 and 2002/3 retrospective exhibitions on the artist. It is accompanied by a fully illustrated catalogue published by Editions Hazan. C ontributors to this volume\, Richard Shone\, who wrote a book on the painte r\, and Kathleen Adler\, a 19th-century French specialist\, bring new insig hts that ensure the publication will be an indispensable reference on the a rtist and his oeuvre.\n\n
At the Bruce Museum\ , Alfred Sisley (1839-1899): Impressionist Master is sponsored by The Charles M. and Deborah G. Royce Exhibition Fund\; Florence Gould Founda tion\; David T. Langrock Foundation\; The Malcolm Hewitt Wiener Foundation\ ; First Republic\; Guardian Life Insurance Company of America\; Robert Lehm an Foundation\; State of Connecticut\; a Committee of Honor chaired by Gale and Bob Lawrence\, Pam and Bill Lawrence\, Kathleen L. Metinko and Jan Rog ers Kniffen\, Virginia and Juan Meyer\, Leah and Bob Rukeyser\; and Honorar y Chair Mrs. Bé\;né\;dicte de Montlaur\, Cultural Counselor of the French Embassy in the United States.\n LOCATION:Bruce Museum\,1 Museum Drive \nGreenwich\, CT 06830 SUMMARY:Alfred Sisley (1839-1899): Impressionist Master\, Alfred Sisley (18 39-1899) END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:438210 DTSTART:20170211T000000 DTEND:20170611T000000 DESCRIPTION:
For over a century\, the collecti on at the Bruce Museum has grown steadily and been developed carefully thro ugh donations and purchases. After Robert Moffat Bruce bequeathed his home as well as a few portraits to the Town of Greenwich in 1908\, the Bruce Mus eum hosted its first exhibition of art four years later. At the time\, the Greenwich Press noted that it was a welcome change to see &ldquo\; a long gallery hung with paintings from the best works of local artists.&rd quo\;\n\n
&ldquo\;In this latest exhibition of the Museum&rsquo\;s \; artworks \, we are especially pleased to be able to reveal for the first time some o f the most recent additions to the Bruce collection\,&rdquo\; remarked Sutt on\, &ldquo\;including the deftly sculpted bas-relief bronze of Robert Loui s Stevenson by Augustus Saint-Gaudens\, a fine coastal scene by Alfred Thom son Bricher\, and a spring landscape by the Danish artist Peder Mø\;r k Mø\;nsted\, which were purchased just a few months ago.&rdquo\; &nb sp\; \;\n\n
Canvas and Cast explores artists&rsquo\; handling of diff erent media &ndash\; bronze\, marble\, oil\, pastel\, acrylic and collage & ndash\; through examples of 16th-century Dutch portraiture\, 19th-century A merican figural sculpture\, academic style painting\, and French and Americ an landscapes from the turn of the 20th century.\n\n
This exhibition also focuses on the treatment of form and composition across time. For instance\, Ca nvas and Cast looks at the refined handling of the human form in Willi am-Adolphe Bouguereau&rsquo\;s painting Faun and Bacchante (1860) and Auguste Rodin&rsquo\;s bronze-cast sculpture The Kiss (1886). This pairing is juxtaposed with the work of Expressionist and Abstract Expr essionist artists\, such as Jack Levine and Robert Rauschenberg\, who quest ioned traditional notions of formal composition almost a century later. Lev ine&rsquo\;s Mars Confounded (1946) evokes a traditional Classical landscape with reclining nudes\, but renders them in a satirical fashion. Likewise\, Rauschenberg&rsquo\;s Greyhound Nightmare (1981) incorp orates recognizable\, representational imagery\, but reconfigured in fantas tical juxtapositions.\n\n
Canvas and Cast: Highlights from the Bruce Museum&rs quo\;s Art Collection runs through June 11\, 2017 and is generously su pported by The Charles M. and Deborah G. Royce Exhibition Fund and the Connecticut Office of the Arts. \;\n LOCATION:Bruce Museum\,1 Museum Drive \nGreenwich\, CT 06830 SUMMARY:Canvas and Cast: Highlights from the Bruce Museum's Art Collection\ , William Merrit Chase\, Robert Rauschenberg and many more\, Theodore Robin son\, Auguste Rodin END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z 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:20170501T064547Z UID:438453 DTSTART:20160305T000000 DTEND:20170805T000000 DESCRIPTION: LOCATION:Art New York\,Pier 94 \nNew York\, NY US SUMMARY:Art New York 2016 END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:438643 DTSTART:20170301T000000 DTEND:20170611T000000 DESCRIPTION:
Appealing to art connoisseurs and animal lovers alike\, this collection of 46 small bronze sculptures fro m the 19th and 20th centuries encompasses all manifestations of the animali er movement. The exhibition moves from the romantic wild beasts of the inve ntor of the genre\, Antoine-Louis Barye\, to the horses and domestic animal s that were favored by some of his most important followers\, Jules Mê \;ne and Rosa Bonheur. It also includes important examples of animal art by 20th-century American artists Herbert Haseltine and Charles Russell\, as w ell as by emerging contemporary artists.\n\n
This exhibition comes to the Arkell from The Georgia Museum of Art. p>\n LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SUMMARY:Animals in Bronze: The Michael and Mary Erlanger Collection of Anim alier Bronzes from the Georgia Museum of Art END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:438644 DTSTART:20170301T100000 DTEND:20170301T170000 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SUMMARY:Animals in Bronze: The Michael and Mary Erlanger Collection of Anim alier Bronzes from the Georgia Museum of Art END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:438653 DTSTART:20170216T000000 DTEND:20170525T000000 DESCRIPTION:
Elisa Contemporary Art is plea sed to present "\; Through her Eyes: A Southern California Perspect ive of our World "\;. This two-woman show features two Southern Ca lifornia Abstract artists Kimber Berry and Stephan ie Cate. It will open on February 16th and run through May 25th. O ur artists interpret the universe in art &ndash\; revealing their impressio ns of our environment on earth both naturally created and impacted by our h uman interactions\, as well as our surrounding planets.\n\n
The exhibit will include two series by Kimber Berry - Liquid Landscapes and Plastic Gardens. Berry&rsquo\;s wor k represents the intersection of technology\, nature and humanity. Her pain tings are boldly colorful\, in constant motion and multi-dimensional. She m asterfully integrates cut and layered digital elements imposed on paper and vinyl with pure paint creating a dance between the virtual world and the o rganic universe.\n\n
According to Berry \, the Liquid Landscapes &ldquo\;are an organic somewhat abstr act ocean-like environment selected for its peaceful calming effect and bec ause it helps in opening up the mind to other levels of being. Our lives ar e made up of constructed environments.&rdquo\; These worlds are create d with a combination of digitally altered photographs of her paint strokes collaged in with her actual Acrylic paint.\n\n
In the Plastic Gardens series\, Berry explores the human i mpact on our natural environment &ndash\; how we relate to and manipulate n ature. &ldquo\;How are we\, as a society\, going to create harmony and balance with the Earth? Is the creation of plastic gardens enough to offset the damage we'\;re doing?.. I'\;ve constructed this series of painti ngs inspired by these plastic gardens. Plastic refers both to the materials I use\, but also to the flexibility of these organic environments to exist and take any form the gardener wishes. Continuing my exploration of digita l and paint\, reality and illusion\, new and old technology to take a close r look into the duality of societal expansion and growth. Using digitally m anipulated photographs of paint\, natural and plastic organic plants and fl owers along side and embedded in actual paint\, the highly manipulated surf aces of my paintings illustrate how highly manipulated nature has become. W e need to ask ourselves what is our true relationship with nature?&rdquo\;\n\n
From emerging Los Angeles art ist\, Stephanie Cate\, we&rsquo\;ll be traveling far into space&hellip\;app roximately 390 million miles&hellip\;and more precisely to the planet Jupit er. The exhibit will feature the Europa series\, both paintings on Wood Panel\, and studies on paper. This series is based on the moon\, Euro pa and Cate&rsquo\;s fascination with this planet\, it&rsquo\;s structure a nd the potential for life.\n\n
Europa ( Jupiter II) is the sixth-closest moon of Jupiter and the sixth-largest moon in the Solar System. Europa was discovered in 1610 by Galileo Galilei and was named after Europa\, mother of King Minos of Crete. Europa - an icy moo n of Jupiter - is slightly smaller than Earth'\;s moon. It is unique in the solar system\, being thought to have a global ocean of water in contact with a rocky seafloor. If the ocean is proven to exist\, Europa could be a promising place to look for life beyond Earth.\n\n
Its surface is smooth and bright\, consisting of water and ice criss-crossed by long\, linear fractures. This texture and movement is bol dly captured within Cate&rsquo\;s brushstrokes. Like Earth\, Europa is thou ght to have an iron core\, a rocky mantle and an ocean of salty water benea th its ice crust. If this ocean exists\, the tides might also create volcan ic or hydrothermal activity on the seafloor\, supplying nutrients that coul d it suitable for living things.\n\n
About the Artists:
Kimber Berry\n\n
Kimb er is a Los Angeles artist\, who is part of the "\;Flow Movement\," \; a term coined by Art Critic (and curator) Peter Frank. Her artwork is vi brant and dynamic mixed media combining acrylics\, resins and digitally alt ered photographs of her paint-strokes. As a native of LA\, Kimber loves to blur the line between what is real and what is illusion.\n\n
She has received a lot of positive attention from art critics and curators on the West Coast and has been featured in solo and g roup shows in New York\, LA\, Atlanta and London. She has been part of rece nt exhibits at the Riverside Museum and the Huntington Beach Art Center in California.\n\n
Her work is in public a nd private collections around the world. Kimber has been featured in Hampto ns Cottages &\; Gardens\, Ocean Home\, Art Ltd\, Luxe Interiors +Design\ , Flaunt\, New York Times and CBS News.\n\n
She received her MBF from University of Southern California and MFA fr om Claremont Graduate University. In 2013\, she created an installation at Terminal 3 at LAX. Kimber is also part of the Artists Pension Trust .\n\n
Stephanie Cate\n\n
Stephanie Cate is an abst ract painter based out of Los Angeles\, California. She spent most of her c hildhood in France\, before relocating to Los Angeles\, California at fourt een. She spent a couple of years as an apprentice for a muralist in Santa M onica\, painting large scale murals for casinos in Las Vegas and private re sidences before she decided to pursue her own artistic path. She attended M assachusetts College of Art and Design in Boston\, receiving a BFA in paint ing.\n\n
Being surrounded by the histor y and architecture of France as a child and the grand decaying beauty of fo rmer centuries left an early impression on her that still influences her wo rk to this day. After working for over a decade in a photographic based mix ed-media process\, Stephanie returned to her original love of pure abstract ion to delve in further and reconnect with freshness and liberation of text ure\, line\, shape and color.\n\n
Steph anie'\;s work is in public and private collections including Kelly Wears tler\, Renee Zellweger\, Annabeth Gish\n\n
Mr. Avi Amiel (President\, Art Collector International Magazine)\, Rasa Center for Yoga( Oregon)and Wynn Tower Suites (Las Vegas)\n LOCATION:Elisa Contemporary Art Gallery\,5622 Mosholu Avenue (near 256th St reet/Riverdale Library)\nRiverdale\, NY 10471 SUMMARY:Through Her Eyes: A Southern California Perspective of our World\, Kimber Berry\, Stephanie Cate END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:438722 DTSTART:20170127T000000 DTEND:20170514T000000 DESCRIPTION:
Fast Forward: Painting from the 1980s presents a focused look at painting from this decade with works drawn entirely from the Museum&rsq uo\;s collection. \;\n\n
In the 198 0s\, painting recaptured the imagination of the contemporary art world agai nst a backdrop of expansive change. An unprecedented number of galleries ap peared on the scene\, particularly in downtown New York. Groundbreaking exh ibitions&mdash\;that blurred distinctions between high and low art&mdash\;w ere presented at alternative and artist-run spaces. New mediums\, including video and installation art\, were on the rise. Yet despite the growing pop ularity of photography and video\, many artists actively embraced painting\ , freely exploring its bold physicality and unique capacity for expression and innovation.\n\n
The exhibition incl udes work by artists often identified with this explosive period&mdash\;Jea n-Michel Basquiat\, Sherrie Levine\, David Salle\, and Julian Schnabel&mdas h\;as well as by several lesser-known painters. These artists explored the traditions of figuration and history painting\, and offered new interpretat ions of abstraction. Many addressed fundamental questions about artmaking i n their work\, while others took on political issues including AIDS\, femin ism\, gentrification\, and war. In the face of a media-saturated environmen t\, artists in the 1980s recommitted to painting. Far from dead\, painting came to represent an important intersection between new ways of seeing and a seemingly traditional way of making art. \;\n\n
Fast Forward: Painting from the 1980s< /i> is organized by Jane Panetta\, associate curator\, with Melinda Lang\, curatorial assistant.\n
he formation of self and the i ndividual&rsquo\;s place in a turbulent society are among the key themes re flected in the work of the artists selected for the 2017 Whitney Biennial. The exhibition includes sixty-three participants\, ranging from emerging to well-established individuals and collectives working in painting\, sculptu re\, drawing\, installation\, film and video\, photography\, activism\, per formance\, music\, and video game design.\n\n
The Whitney Biennial is the longest running survey of contemporary a rt in the United States\, with a history of exhibiting the most promising a nd influential artists and provoking lively debate. The 2017 Biennial is th e Museum&rsquo\;s seventy-eighth in a continuous series of Annual and Bienn ial exhibitions initiated by Gertrude Vanderbilt Whitney in 1932. It is the first to be held in the Whitney&rsquo\;s downtown home at 99 Gansevoort St reet\, and the largest ever in terms of gallery space.\n\n
The 2017 Whitney Biennial is co-curated by Christopher Y. Lew and Mia Locks.\n\n
The film prog ram is organized by Christopher Y. Lew\, Mia Locks\, and Aily Nash.\n\n
Read more \;about the 20 17 Biennial curators and advisors.\n LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SUMMARY:Whitney Biennial 2017\, Group Show END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:438726 DTSTART:20170129T110000 DTEND:20170129T210000 LOCATION:Whitney Museum of American Art\,99 Gansevoort Street \nNew York\, NY 10014 SUMMARY:Whitney Biennial 2017 END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:438727 DTSTART:20170202T000000 DTEND:20171202T000000 DESCRIPTION:
★RECEPTION 2/3 Fri ★ Group Exhibition: Beginning\n\n
T ittle: Beginning\n\n
Part icipating Artists &\; Biography\n\n
Ai Hibino\n\n
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 .\n\n
Akane Nakamura\n\n
Aka ne Nakamura was born in Aichi Japan on 1993.\n\n
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.\n\n
Risa Mikami< /p>\n\n
Risa Mikami was born in the city of Takahama\,in Aichi Prefecture of Japan.\n\n
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.\n\n
In 2015 it experienced a 5.1ch of editing\, went to deepen the know ledge of recording and MA.\n\n
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.\n\n
 \;< /p>\n\n
Yuri Sakai\n\n
Yuri Sakai is from Aichi Pr efecture Japan. She has liked painting since her childhood.\n\n
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.\n\n
Thursday\, 2/2 &ndash\; Sunda y\, 2/12\n\n
12:00PM - 6:00 PM\n\n
Closed on Wednesday
&nbs p\;\n\n
 \;\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:20170501T064547Z 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:20170501T064547Z UID:439038 DTSTART:20170207T000000 DTEND:20170731T000000 DESCRIPTION:
HIPPO BALLERINA NYC PUBLIC ART  \;UNVEILING\n
< span data-term="goog_1379885945" tabindex="0">TUESDAY\, FEB 7\, 2017 : \;1:30 to 2:00 p.m.\n
|\n \n
Cynthia Harvey and Students from American Ballet Theatre'\;s \;\n
Jacqueline Kennedy Onassis School\n \n
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&nbs p\;\n
Unveiling ceremony for the NYC Park'\;s Art in the Parks installati on of artist \;Bjorn \;Skaarup'\;s colossal bronze sculpture\,&n bsp\;Hippo Ballerina\, 2016\, on public view from \;Feb 7 through July 31\, 2017. p>\n
 \;\ n
Photo-op with&n bsp\;Hippo Ballerina (installation mockup image above)\, artist Bj orn \;Skaarup\, former ABT Principal Dancer Cynthia Harvey\, Artistic D irector of the \;American Ballet Theatre Jacqueline Kennedy Onassis (AB T JKO) School\, and seven ABT JKO School students ages 13 - 17.\n \n\n
Bjorn Skaarup\ , artist\n
Wi lliam Castro\, NYC Parks Manhattan Borough Commissioner\n
Cynthia Harvey\, Artistic Dire ctor\, \;ABT JKO School\n
Ron Cavalier\, President\, Cavalier Galleries\n \n\n
\n\ n\n
Dante Park\n
64th Street a nd Broadway\, New York City\n
Tu esday\, Feb 7\, 1:30 to 2:00 p.m.\n
Brief 2-minute welcoming remarks will be prov ided at 1: 30 p.m. by the following:\n
Artist Bjorn Skaarup\; Cynthia Harvey\, ABT JKO S chool Artistic Director\; William Castro\, NYC Parks Manhattan Borough Comm issioner\, and Ron Cavalier\, President\, Cavalier Galleries.\n
\n\n \n
Hippo Ballerina NYC Public Art Installation Details\n
Hippo Ballerina \;will be plant ing her sizable slippered feet across from Lincoln Center beginning \;< span data-term="goog_1379885949" tabindex="0">February 7. Part of NY C Parks'\; Art in the Parks Program\, the over 15-foot tall\, copper tut u-clad bronze sculpture by Danish artist Bjorn Skaarup (Skaarup'\;s firs t US public art installation) will be on public view through \;July 31\, 2017. \;\n
 \;\n < /div>\n\n
Hippo Baller ina Companion Exhibition\n
Over 15 fellow animal bronze sculptures including a
balancing bear\, scootering cheetah\, and pogoing kangaroo will dazzle visi
tors with their fancy footwork as part of Cavalier Gallery'\;s companion
exhibition\, \;Bronze Creatures Great and Small\, opening&nbs
p\;the same day nearby at 3 West 57 Street\, and on view through \;
 \;< /p>\n
For the ins tallation and exhibition press release\, \;click here\, and video on the making of Hippo Ballerina\, \;click here.\n
From \;Feb. 7 to March 31\, 2017\, visitors who
follow \;@Dancewithhippoball
erina \;on Instagram\, and post their photos \;posing with
\;Hippo Ballerina \;on their Instagram pages using the hashtag #Dancewi
thhippoballerina will have the chance to win a limited-edition \;Hi
ppo Tightrope Dancer \;etching by the artist\, and two tickets to
a ballet performance at Lincoln Center. Photo contest entry rules: \;photo contest. \;For more info: \;www.facebook.com/
 \;\n\ n
Hippo Ballerina Unve iling Partners\n
Cavalier Galleries\n
Cavalier Galleries was founded in 1986 by Ronald C
avalier Jr.\, who was introduced to the art world by his father\, owner of
the Cavalier Renaissance Foundry whose clients has included the Met\, MoMA\
, and Hirshorn museums.  \;Located in New York City\; Greenwich\, CT\;
and Nantucket\, MA\, Cavalier Galleries has organized outdoor sculpture pla
cements for the public to enjoy\, including the 2014 installation of Jim Re
nnert'\;s \;sculpture\, \;THINK BIG\, at Union Square P
ark. \;www.cavali
 \; \;\n
\n\ n\n
NYC Parks'\; Art in the Parks\n
NYC Parks'\; Art in the Parks program has consistently fostered the creation and installation of t emporary public art in parks throughout the five boroughs. Since 1967\, NYC Parks has collaborated with artists and arts organizations to produce over one thousand public artworks in New York City parks. \;www.nyc.gov/parks/art\n div>\n\n
American Ballet Theatre Jacqueline Kennedy Onassis School\n
The American Ballet Theatre Jacqueline Kennedy Onassis School aims to provide the highest quality ballet training\, consistent with the styli stic requirements of American Ballet Theatre\, and to provide dancers with a rich knowledge of classical technique and the ability to adapt to all sty les and techniques of dance.\n
\n\n\ n
Press Contacts:\n
Nicole St raus Public Relations\n
Cecilia Bonn\, \;212-734-9754\, \;917-434-4406\, \;firstname.lastname@example.com\n \n\n
 \; \;\n
NYC Parks\n
Maeri Ferguson\, \;212 -360-1311\ , \;Maeri .email@example.com\n
 \; \;\n\n
American Ballet Theatre\n
lly Ryan\, Director of Press and Public Relations
Gladstone Gallery is pleased to present an exhibition of new paintings b y Los Angeles-based artist Michael Williams. This will be the artist&rsquo\ ;s first exhibition with Gladstone Gallery in New York.\n\n
Williams continues in the vein of recent digitally printed works but on a grander sc ale. While Williams enjoys the directness that comes from working digitally \, he is also invested in the process of printing&rsquo\;s implied challeng e to the doctrine of painting. By designing the content of his paintings in the digital environment\, Williams both rejects the expressionistic dictum that painting is a direct extension of the body and reinvents it for the 2 1st century through the terms of computerized experience.\n\n
William s is drawn to the sort of painterly impasse presented by the material and c onnotational conflicts of oil painting vs. computer printing. Blending draw n lines\, stretched agglomerations of form\, and translucent scrims of pain t along the printed surface\, Williams&rsquo\; paintings situate us on an u nlikely border between the familiar and the indecipherable. Williams&rsquo\ ; work is simultaneously pluralistic and conceptual\, extending and interru pting modernist formalism while assimilating the ironies and contradictions of daily life. The familiarity of his vocabulary in these paintings&mdash\ ;houses\, computers\, spaceship interiors\, the &ldquo\;COEXIST&rdquo\; sym bol\, and tubes of paint&mdash\;is filtered through the artist&rsquo\;s wry sense of humor\, ultimately achieving a reasoned entropy. \;\n\n
Michael Williams was born in 1978 in Doylestown\, Pennsylvania. In April 2 017\, Williams will be the subject of a major solo exhibition at The Carneg ie Museum of Art in Pittsburgh\, Pennsylvania. Williams has exhibited his w ork at venues and institutions including: Secession\, Vienna\; the Museum o f Modern Art\, New York\; Dallas Museum of Art\, Dallas\, Texas\; Wexner Ce nter for the Arts\, Columbus\, Ohio\; Ballroom Marfa\, Marfa\, Texas\; and the Garage Center for Contemporary Culture\, Moscow. In 2015\, Williams hel d his first solo museum exhibition at Musé\;e des Beaux-Arts de Montr eal in Montreal\, Canada.\n
Gladstone Gallery is pleased t o present an exhibition of historical works realized by Italian artist Mimm o Rotella from 1953 to 1962. Representing a sea change in the artist&rsquo\ ;s practice\, the compositions on view are some of the first examples of Ro tella&rsquo\;s pioneering dé\;collage and retro d&rsquo\ ;affiche techniques\, methods that would become integral to Rotella&rs quo\;s artistic pursuit of continually engaging with mass media&rsquo\;s ow n promotional materials.\n\n
Following his return to Rome from a residency at Kansas City University in 1952\, Rot ella consciously abandoned abstract painting as his primary form of express ion. Stirred by the presence of movie and advertising posters around the ci ty &ndash\; and inspired by a cadre of other artists in the Italian capital at this time\, such as Alberto Burri\, Robert Rauschenberg\, Salvatore Sca rpitta\, and Cy Twombly &ndash\; Rotella began to rip banners and placards from walls and utilize them as the source material for his now-notorious as semblages. These works take two distinct forms: in the dé\;collag es\, Rotella piled and glued advertisements face-up before tearing awa y and incising individual layers\, thereby creating intentional and acciden tal expressionist juxtapositions of bold words\, pop cultural images\, and various hues. By contrast\, the artist&rsquo\;s retro d&rsquo\;affiches \, using only the posters&rsquo\; often-untouched versos\, showcase a concern with materiality à\; la Art Informel\, as evidenced by the vi sible traces of glue\, rust\, plaster\, and dust present in these compositi ons.\n\n
Hardly a veneration of popular tastes\, Rotella&rsquo\;s works collapse any semblance of cultural hierarc hy onto itself. Famous actors and consumer products all receive equal billi ng in the artist&rsquo\;s arrangements. Similar to his American Pop Art cou nterparts\, Rotella&rsquo\;s excavation of wide-ranging social figures root s the dé\;collages in the time of their creation\, while sim ultaneously underscoring the ephemerality of the present moment.\n\n
Mimmo Rotella was born in 1918 in Catanzaro\, Italy\, and passed away in 2006 in Milan. Over the course of his career\, Rotella was the subject of solo and group exhibitions at many international institutions\, including: Institute of Contemporary Arts\, London\; Mus&ea cute\;e d&rsquo\;Art Moderne et Contemporain\, Nice\; Musé\;e Tinguel y\, Basel\; Kunsthaus Zü\;rich\; Palazzo Grassi\, Venice\; and Palazzo Reale\, Milan. Rotella&rsquo\;s works are held in numerous prominent public collections worldwide\, including: Galleria Nazionale d&rsquo\;Arte Monder na e Contemporanea\, Rome\; Galleria Civica di Arte Moderna e Contemporanea \, Turin\; Centre Georges Pompidou\, Paris\; De Menil Collection\, Houston\ ; Museum Moderner Kunst Stiftung Ludwig\, Vienna\; National Gallery of Art\ , Washington D.C.\; Staatgalerie\, Stuttgart\, Germany\; and Tate Gallery\, London.\n\n
This exhibition is realize d in collaboration with the Mimmo Rotella Institute. Established in 2012 by Inna and Aghnessa Rotella\, the Institute aims to promote and preserve the art of Mimmo Rotella both in Italy and abroad. Rotella&rsquo\;s heirs appo inted Germano Celant to edit the artist&rsquo\;s multi-volume catalogue rai sonné\;\, of which the first volume was recently published.\n\n
In conjunction with the exhibition\, Gladsto ne Gallery has published a catalogue with essays by Antonella Soldaini and Veronica Locatelli\, both of the Mimmo Rotella Institute.\n LOCATION:Gladstone Gallery - 64th St.\,130 East 64th Street \nNew York\, NY 10065 SUMMARY:Selected Early Works\, Mimmo Rotella END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:439159 DTSTART:20170304T150000 DTEND:20170304T180000 LOCATION:Gladstone Gallery - 64th St.\,130 East 64th Street \nNew York\, NY 10065 SUMMARY:Selected Early Works END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:439191 DTSTART:20170115T000000 DTEND:20170730T000000 DESCRIPTION: LOCATION:The Conference Board Inc\,845 Third Avenue \nNew York\, New York U S SUMMARY:Spring Exhibition 2017\, Chellis Baird\, Toshiko Kitano Groner\, Re becca Kane\, Cecilia Monteverde\, Peter Ruta END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:439251 DTSTART:20170326T000000 DTEND:20170507T000000 DESCRIPTION:
&ldquo\;Postcards and Other Mementos&rdquo\; \;in Dobbs Ferry \;features artist Antonio Alvar
ez&rsquo\;s  \;abstract acrylic painted collages on wood. \;Proceed
s will benefit Planned Parenthood\, the ACLU\, and South Presbyterian Churc
h. March 26 through May 7\, 2017. Free opening reception on March 26\, 11:0
0 am &ndash\; 2:00 pm. \; \; Gallery hours: 10 am to 4 pm daily. Th
e Donald Gallery at South Presbyterian Church\, 343 Broadway\, Dobbs Ferry\
, NY 10522. Call 914-693-0473 or visit \;http://www.southpres.org/the-donald-gallery
\n \;
Latin Implosion!\n\n
March 4 &ndash\; May 5\, 2017\n\n
Opening Reception: Tues day\, March 7\, 6-8pm\n\n
Rodolfo Abular ach\, Mario Bencomo\, Pé\;rez Celis\, Agustin Fernandez\n\n
The Anita Shapolsky Gallery is pleased to present &ldquo\;Latin Im plosion!&rdquo\; a selection of works by four 20th century ma sters of Latin American art\, including Rodolfo Abularach\, Mario B encomo\, Pé\;rez Celis\, and Agustin Fernandez. Each of these four artists seeks to explore the sensory overload withi n each human interaction or experience. Histories of exile\, repatriation a nd diaspora transform the works into vehicles for re-imagining the most int imate aspects of these contested psychic spaces. Each artist depicts their narrative through the gaze of personal mythology and visual language\, with the physical and spiritual worlds dancing together within each frame. With &ldquo\;Latin Implosion!&rdquo\;\, the gallery i s thrilled to continue its legacy as a pioneering space for the exposure an d appreciation of the lucid dreamers of Latin America.\n\n
Born in Gu atemala in 1933 and of Palestinian descent\, Rodolfo Abularach is perhaps best known for his close-up depictions of the human eye\, y et his slow and mesmerizing abstractions evoke loneliness and introspection . Deviating from universally recognizable figurative works to visceral cell ular formations\, his pieces maintain a haunting voyeuristic quality\, thro ugh which the viewer is the object of desire. He studied at the Escuela Nat ional de Artes Plá\;sticas in Guatemala City in 1946\, and received a grant from the Direcció\;n de Bellas Artes of Guatemala to travel to New York City in 1958\, where he began his internationally acclaimed inves tigations of the eye.\n\n
Abularach&rsquo\;s works c an be found in the collections of the Museum of Modern Art\, the Metropolit an Museum of Art\, New York\, the Museum of Contemporary Art\, Sao Paulo\, Brazil\, and the Royal Museum of Fine Arts\, Copenhagen\, Denmark\, among m any others. He is a recipient of the Guggenheim Fellowship for Creative Art s\, Latin America and the Caribbean. \;\n\n
Cuban-born Ma rio Bencomo (b. 1953) blurs the lines between the intuitive and se nsual aspects of perception\, with references to the animism of the natural world. His playful\, colorful realms depict abstractions of feathers\, lea ves\, wings\, and their figurative relationships to each other. An avid rea der\, Bencomo often references poetry in his visual works\, as each plane t ells an elegant story of symbiosis\, pollination\, and regeneration. While his paintings utilize a whole spectrum of saturated colors\, his works on p aper evoke primal energies in simple black and white with deliberately plac ed color.\n\n
Mario Bencomo is in many collections\, including the Metropolitan Museum of Art\, The National Museum of Fine Art s of Havana\, Cuba\, the Art Museum of the Americas\, Washington\, D.C.\, T he Norton Museum of Art\, West Palm Beach\, Florida\, and the Musé\;o de Arte Contemporá\;neo\, Panamá\;\, Panama\, among others. He currently resides in Miami\, Florida.\n\n
A native of Argentina\,
Pé\;rez Celis (1939-2008) was a colorist who blended r
aw emotion with piercing planes in a Neo-Expressionist style. His intensity
in stroke and layering give his works a striking impact\, through which he
gained international acclaim. Often referencing his indigenous roots\, his
paintings\, sculptures and murals weave thick tapestries of color with exp
ert compositional fragmentations. Celis&rsquo\; style evolved during his ex
periences in the many places he lived\, where form and texture-focused work
s evolved into controlled lines and vibrant colors.
P&eac ute\;rez Celis is part of numerous major private collections and m useums including the Museum of Modern Art in New York\, the Museum of Moder n Latin American Art\, Nicaragua and Washington\, D.C.\, the Art Museum of Philadelphia\, the Museum of Syracuse University\, and the National Arts Fu nd\, Buenos Aires\, Argentina. In addition\, he illustrated Jorge Luis Borg es&rsquo\; translation of the epic Walt Whitman poem\, &ldquo\;Leaves of Gr ass / Ojas de Hierba&rdquo\;\, and painted numerous murals on La Bombonera\ , the home stadium of one of Argentina&rsquo\;s most popular futbol teams\, the Boca Juniors. Celis received the Alba Award at the 61st Saló\;n Nacional de Artes Plá\;sticas Argentino in 1972.\n\n
Ag ustin Fernandez (1928-2006) of Cuba settled in New York City in th e 1970&rsquo\;s and is often considered a Surrealist for his depictions of fleshy visions and fantastical metallic inventions. His works are directly inspired by the machine\, as mechanical joints\, fixtures\, buttons\, and t extures permeate his delicately rendered works. The erotic is never underst ated for Fernandez\, as the cold metal hand of industrialization plays tend erly with the flesh in a muted\, earthy palette. Fernandez sites exile as b eing influential in his development as an artist and exploration of more me taphysical realms.\n\n
Fernandez is currently experi encing a resurgence in popularity\, and was recently included in new art fa ir Paris Internationale in 2016. His work has also been included in numerou s collections and group shows at institutions such as New York&rsquo\;s Mus eum of Modern Art and London&rsquo\;s Victoria &\; Albert Museum\, as we ll as The Art Institute of Chicago\, The Bronx Museum of Art in New York\, the Yale University Art Gallery\, New Haven\, El Museo Nacional de Bellas A rtes\, Havana\, and many more. In 2006\, his family established the Agustin Fernandez Foundation\, and published &ldquo\;The Metamorphosis of Experien ce&rdquo\;\, a comprehensive survey of his work\, in 2012.\n LOCATION:Anita Shapolsky Gallery & A.S. Art Foundation\,152 East 65th Stree t \nNew York\, NY 10065 SUMMARY:Latin Implosion!\, Rodolfo Abularach\, Mario Bencomo\, Perez Celis\ , Agustin Fernandez END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:439815 DTSTART:20170307T180000 DTEND:20170307T200000 LOCATION:Anita Shapolsky Gallery & A.S. Art Foundation\,152 East 65th Stree t \nNew York\, NY 10065 SUMMARY:Latin Implosion! END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:439862 DTSTART:20170215T000000 DTEND:20170505T000000 DESCRIPTION:
The Painting Center\, an artist-ru n gallery in Chelsea\, announces a call for entries for its juried summer e xhibition \;FIGHT OR FLIGHT. \;This exhib ition is about the practice of making art during tumultuous times. Some art ists express their personal responses to world events\, while others intent ionally ignore what is going on and make art that becomes a refuge from the turbulence surrounding them.\n\n
 \;Looking back to specific art ists&rsquo\; reactions to unsettled times\, there are Picasso&rsquo\;s  \;Guernica \;and Gerhard Richter&rsquo\;s cycle of paintings&n bsp\;October 18\, 1977. \;On the other hand\, Matisse created his joyful collaged paper cutouts for his \;Jazz \;series during World War II in France\, and Jackson Pollock&rsquo\;s poured paintin gs were created in the nineteen fifties during the McCarthy era. Creativity can feed off the inspiration of current events and/or a personal vision. W e are looking for artists&rsquo\; responses to these times in which we live \, in 2017. \;\n\n
Application Process: \;Slide Room: \;thepaintingcente r.slideroom.com/\n\n
FIGHT OR FLIGHT \;is open to all media with the excep tion of digital art and giclee prints.\n LOCATION:The Painting Center\,547 West 27th Street\, Suite 500 \nNew York\, New York 10001 SUMMARY:Call for Artists - Juried Exhibition: FIGHT OR FLIGHT END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:440193 DTSTART:20170329T000000 DTEND:20170506T000000 DESCRIPTION:
Mitchell-Innes &\; Nash is pleased to announce \;M\\A\\R\\C\\H\, an exhi bition of Keltie Ferris&rsquo\; ongoing series of body pri nts at our Madison Avenue gallery. \;M\\A\\R\\C\\H \;is Fe rris&rsquo\; third solo show with Mitchell-Innes &\; Nash.\n\n
Ferris began the body print series during a resi dency in 2013. Contrary to the spray-painted abstract canvases for which sh e is known\, the body prints offer an avenue for Ferris to inject herself p hysically into her work\, both as a form of self-portraiture and as an alte rnate means of mark-making. The artist coats her body\, nude or clothed\, w ith oil and presses herself against paper on the floor of her studio. She t hen covers the impression with powdered pigment. The result is a photograph ic yet fragmented impression\, recalling an X-ray or Xerox copy.\n\n
With these new works\, Ferris continues to ex plore painting as a personal index and the literal relationship between the artist and his or her work. Although initially one might point to Yves Kle in\, in process Ferris&rsquo\; body prints are more closely indebted to Dav id Hammons and Jasper Johns. Unlike her predecessors\, however\, Ferris&rsq uo\; body prints reject an easy gendered identification of the body\, sugge sting a fluid and performative state of gender identity. Ferris highlights the physicality of the process\, subtly shifting the position of her body t o create impressions that range in tone from static to fluid\, defensive to aggressive\, and masculine to feminine. The viewer senses the artist&rsquo \;s hand and\, in turn\, the objecthood of the prints.\n\n
Similar to her atmospheric layered paintings\, the body prints also display a powerful perceptual depth. The imprints float in haz y compositions that suggest the shadow or memory of the artist\, literally and figuratively. As no two prints are exactly the same\, each work represe nts a multitude of forms. Displayed together\, the impressions present indi vidual facets of the artist&rsquo\;s identity\, both autonomous and depende nt. The artist calls into question the notion of seriality and the existenc e of a true carbon copy.\n LOCATION:Mitchell-Innes & Nash - Madison Ave.\,1018 Madison Ave. \nNew York \, NY 10021 SUMMARY:M\\A\\R\\C\\H\, Keltie Ferris END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:440194 DTSTART:20170329T180000 DTEND:20170329T200000 LOCATION:Mitchell-Innes & Nash - Madison Ave.\,1018 Madison Ave. \nNew York \, NY 10021 SUMMARY:Solo Exhibition END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:440342 DTSTART:20170205T000000 DTEND:20170618T000000 DESCRIPTION:
Montclair Art Museum will present Matisse and American A rt\, the first exhibition to examine this French master&rsquo\;s profo und impact upon the development of American modern art from 1907 to the pre sent. His art has provided a liberating model for American artists&rsquo\; varied explorations of vibrant color\, strong\, fluid lines\, and clear com positional structures in their pursuits of self-expression. Featuring 65 pa intings\, archival objects\, sculpture\, prints\, and works on paper\, Matisse and American Art will juxtapose 19 works by Matisse with 44 wo rks by American artists\, including Max Weber\, Alfred Maurer\, Maurice Pre ndergast\, Stuart Davis\, Richard Diebenkorn\, Robert Motherwell\, Ellswort h Kelly\, Roy Lichtenstein\, Andy Warhol\, Romare Bearden\, John Baldessari \, Sophie Matisse\, Faith Ringgold\, and Helen Frankenthaler. Matisse&rsquo \;s transformative impact on their works is revealed not only by their adap tations of his palette and pictorial structures but also through their choi ce and appropriation of his subject matter&mdash\;still lifes\, landscapes\ , figurative works\, studio interiors\, and portraits. While previous proje cts have illuminated Matisse&rsquo\;s relationship with postwar artists\, t his will be the first exhibition to expand Matisse&rsquo\;s impact beyond t he typical focus upon the New York School by extending it back to the begin ning of the 20th century and forward to the 21st.\n\n
(1) Roy Lichtenstein\, Bellagio Hotel Mural: Still Life wit h Reclining Nude (Study)\, 1997\, Cut-and-pasted\, painted and printed paper on board. The Roy Lichtenstein Foundation Collection\, ©\; Estat e of Roy Lichtenstein.\n\n
(2) Al fred H. Maurer\, Le Sentier\, ca. 1908\, Oil on gessoed board. Col lection of Todd Monti.\n\n
(3) Ma rguerite Thompson Zorach\, The Connoisseur\, 1910\, Oil on canvas. Private Collection\, ©\;The Zorach Collection\, LLC.\n LOCATION:Montclair Art Museum\,3 South Mountain Avenue \nMontclair\, NJ 070 42 SUMMARY:Matisse and American Art\, Milton Avery\, John Baldessari\, Romare Bearden\, Patrick Henry Bruce\, Eric Carle\, Arthur B. Carles\, Stuart Davi s\, Robert de Niro\, Richard Diebenkorn\, Arthur Dove\, Helen Frankenthaler \, Grace Hartigan\, Hans Hofmann\, Ellsworth Kelly\, Roy Lichtenstein\, Hen ri Matisse\, Sophie Matisse\, Alfred H. Maurer\, Robert Motherwell\, Kennet h Noland\, Walter Pach\, Judy Pfaff\, Janet Taylor Pickett\, Maurice Brazil Prendergast\, Faith Ringgold\, Mark Rothko\, Morgan Russell\, H. Lyman Saÿ en\, Morton Livingston Schamberg\, Sarah Stein\, Andy Warhol\, Max Weber\, Tom Wesselmann\, Marguerite Thompson Zorach\, William Zorach END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:440413 DTSTART:20170406T000000 DTEND:20170513T000000 DESCRIPTION: LOCATION:Yancey Richardson Gallery\,525 W. 22nd St. \nNew York\, NY 10011 SUMMARY:South\, Mark Steinmetz END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z 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.\n\n
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?\n \n
 \;\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:20170501T064547Z UID:440438 DTSTART:20170316T000000 DTEND:20170506T000000 DESCRIPTION:
JanKossen Contemporary is pleased to present Novum Spatium\, a two-person show featuring German based artists Dirk Salz an d Dieter Balzer\, on view from March 16th to May 6th\, 2017. Novum Spatium\, meaning New Space\, explores the co ncept of perception in relation to our environment\, physical space and one &rsquo\;s interaction within it.\n\n
Dieter Bal zer\, translates these ideas through pristine geometric abstraction\, creat ing sculptural\, minimalist form that deal with depth and negative space. B right\, intricate and overlapping\; the complex elements built upon each ot her\, carrythe viewer&rsquo\;s eyes over and through an\, endless looping\, playground of planes.  \;Elements of Balzer&rsquo\;s work run parallel to contemporary influences on graphic\, industrial\, and architectural des ign\,  \;the flatness of the vibrantly colored foils create a contempor ary twist on the theories of non-representational neoplasticism\, cubist sculptur e and the Japanese Superflat movement.\n\n
e Balzer uses 3-dimensional elements\, the work of Dirk Salz approaches the
se concepts from another perspective. Instead of creating physical depth wi
th his work\, Salz toys with the impression of it. Salz&rsquo\;s uses simpl
e\, Supremacist compositions that seem to echo with their color transparenc
y and smooth surfaces. These highly reflective pieces confront the viewer w
ith their own image\, and present an experience of shifting planes
\, and varying depths. Surrounding element
s found within the work&rsquo\;s environment emerge and are mirrored as one
moves back and forth between the self and the work.  \;Like John McLau
ghlin&rsquo\;s Light and Space movement\, the works invoke a sense of tempo
rality within one&rsquo\;s perception like a Robert Irwin or James Turrel i
nstallation\; reinventing the world around us.
Dieter Balzer studied at the Universities of Heidelberg and Chesterfield College of Art. His work can be viewed acro ss Germany at the Stern-Wywiol Galerie in Hamburg and the Galerie Corona Un ger in Bremen\, Germany\; and has previously shown across the United States and Canada. He currently lives and works in Berlin\, Germany.\n\n
Dirk Salz studied at RWTH in Aachen\, Germany and lives and works in Mulheim an der Ruhr. Exhibitions include public institutions such as the Museum Katharinenhof\, Kranenburg\, Kunstmuseum Mü\;lheim/R uhr\, Germany and has shown with various international galleries and art fa irs.\n LOCATION:Jankossen Contemporary 529 W 20th St\, 6th Floor\, Nueva York NY 1 0011\,529 W 20th St\, ^th Floor \nNew York\, NY 10011 SUMMARY:Novum Spatium\, Dieter Balzer\, Dirk Salz END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:440439 DTSTART:20170222T180000 DTEND:20170222T200000 LOCATION:Jankossen Contemporary 529 W 20th St\, 6th Floor\, Nueva York NY 1 0011\,529 W 20th St\, ^th Floor \nNew York\, NY 10011 SUMMARY:Novum Spatium END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:440452 DTSTART:20170402T000000 DTEND:20170709T000000 DESCRIPTION:
Knockdown Center is pleased to present TRAVELER\, a mural by Carl E. Hazlewood\, as a part of our Fifty Two Ft series of long-term comm issions of wall-based artworks in Knockdown Center&rsquo\;s East Corridor.< /p>\n\n
The mural&rsquo\;s title\, TRAVELER\, references the way viewers must physically move in order to grasp such a large work in a circumscribed space: essentially a long corridor at Knockdown&rsquo\;s entrance. The tit le \;also \;alludes to the artist&rsquo\;s shifting position\, not only as an immigrant but also as black\, poor\, older &ndash\; a boundary-c rosser of sorts within a category of persons increasingly problematized (an d sometimes demonized) in recent political machinations. While not explicit ly a sociopolitical artist\, Hazelwood manipulates abstract form and space& nbsp\;in an effort to illuminate his personal vision\, offering the possibi lity of poetic revelation.\n LOCATION:Knockdown Center\,52-19 Flushing Ave. Maspeth\nQueens\, NY 11378 SUMMARY:Carl E. Hazlewood: TRAVELER\, Carl E. Hazlewood END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:440453 DTSTART:20170415T180000 DTEND:20170415T210000 LOCATION:Knockdown Center\,52-19 Flushing Ave. Maspeth\nQueens\, NY 11378 SUMMARY:Carl E. Hazlewood: TRAVELER END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:440454 DTSTART:20170415T000000 DTEND:20170528T000000 DESCRIPTION:
C raft\, scrap\, and architectural minimalism coincide in \;Fo rmal Complaint. Featuring work by Aria Dean\, Female Background\, Christopher Hanrahan \, Mario Navarro\, and Megan Pahmier\, the exhibition returns handiwork to formalism\, maintaining a sense of slackness. Metal armatures lean and bend precariously\; a painting on unstretched canvas drags on the floor. Discar ded materials and everyday objects come to conjure an upright but &lsquo\;b ereft formalism&rsquo\; (as Hanrahan calls it). Tenderness and despair coal esce in objects that can only just support themselves\, much less make a cl aim for historical or philosophical significance. The works in the exhibiti on undermine past minimalisms from multiple directions&mdash\;in terms of m aterial\, attitude\, and dependence on context&mdash\;but out of a care for and maintenance of form\, rather than a casting off of it. Through these m ergers of vernacular minimalism and sad design\, work and supporting struct ure\, \;Formal Complaint \;creates its own ecology of exhibitionary space.\n\n
 \;\n LOCATION:Knockdown Center\,52-19 Flushing Ave. Maspeth\nQueens\, NY 11378 SUMMARY:Formal Complaint\, Female Background\, Aria Dean\, Christopher Hanr ahan\, Mario Navarro\, Megan Pahmier END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:440455 DTSTART:20170415T180000 DTEND:20170415T210000 LOCATION:Knockdown Center\,52-19 Flushing Ave. Maspeth\nQueens\, NY 11378 SUMMARY:Formal Complaint END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:440456 DTSTART:20170415T000000 DTEND:20170528T000000 DESCRIPTION:
K nockdown Center is pleased to present \;Baby\, Said Alice B. Toklas\,&n bsp\;a self-performing object theater produced by artist Hanne Tierney. Ins talled across the expanse of Knockdown Center&rsquo\;s Annex\, a series of vignettes come to life as cloth figures\, hula hoops\, and satin configurat ions gesture\, twirl\, and sway\, manipulated by a system of motors and rob otic electronics\, designed by engineer Oskar Strautmannis. A soundtrack fu rther animates each semi-abstract character\, composed of a drifting narrat ive that stages imagined arguments between Gertrude Stein and her life part ner Alice B. Toklas\, woven with excerpts from Stein&rsquo\;s early plays\, and with music by Erik Satie. \;Baby\, Said Alice B. Toklas  \;will be played on a fifteen-minute loop during gallery hours\, offering viewers the possibility of an ongoing encounter with the immersive\, ambulatory ex perience of Tierney&rsquo\;s enchanting work.\n LOCATION:Knockdown Center\,52-19 Flushing Ave. Maspeth\nQueens\, NY 11378 SUMMARY:Hanne Tierney: Baby\, Said Alice B. Toklas\, Oskar Strautmannis\, H anne Tierney END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:440457 DTSTART:20170415T180000 DTEND:20170415T210000 LOCATION:Knockdown Center\,52-19 Flushing Ave. Maspeth\nQueens\, NY 11378 SUMMARY:Hanne Tierney: Baby\, Said Alice B. Toklas END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:440562 DTSTART:20170316T000000 DTEND:20170527T000000 DESCRIPTION:
Harlem\, New York &ndash\; February 17\, 2017&hellip\;On Mar ch 16th a new art exhibition goes up at the Harlem School of the Arts (HSA) titled\,  \;&ldquo\;Hoppin&rsquo\; The Hoodoo Express&rdquo\; featurin g the works of abstract expressionist painter\, Danny Simmons\, curated by Jonathan Patton\, HSA Visual Arts Director. \; The presentation will re main open to the public through May 27th at HSA\, 645 St. Nicholas Avenue\, in New York City.\n\n
The show consists of 10 new paintings\, in whi ch the artist uses collage elements\, seamlessly incorporating swatches of patterned fabrics to demonstrate the influence of aboriginal sources on mod ern abstract\; and to show the intersection of African and western culture.  \; \;\n\n
Mr. Simmons describes these particular paintings as &ldquo\;a phase in the evolution of my work and quest to tie contemp orary painting to African spiritual practices.&rdquo\;  \;This is a connective theme that can often be found running through a good portion o f the paintings created by Simmons\, over his long and fruitful career.&nbs p\;\n\n
&ldquo\;I intend for my art to possess the same healing s piritual qualities that traditional African makers put into their sculpture s and painting. The hoodoo\, or magic to be found in the work\, is not in t he object itself\, but in the intention of the maker\,&rdquo\; says Si mmons.\n\n
Danny Simmons is well recognized as an entrepreneur and ph ilanthropist\, in addition to being an artist. \; For decades\, he has been instrumental in promoting artistic exploration in underserved communit ies in New York City and now in Philadelphia where he resides. \; He th rives on watching others discover their passion and their talent. \; Th is is evidenced by the number of artistic programs he supports through his Rush Philanthropic Arts Foundation and the Rush Arts Gallery spaces he has created\, where the works of emerging artists hang alongside his own.\n \n
The relationship with the Harlem School of the Arts is a natural fit.& nbsp\; HSA has served as a training ground for those pursuing artistic know ledge and the pursuit of artistic development across all of the disciplines (music\, dance\, theatre and the visual arts). \; &ldquo\;Having t his important show of Danny&rsquo\;s art at HSA is in keeping with the dire ction we now envision for HSA\,&rdquo\; says Eric Pryor\, president of the organization. \;  \;&ldquo\;We see HSA becoming a center f or the arts attracting community resident and visitors from across the coun try\, and from around the world.&rdquo\;\n\n
&ldquo\;Hoppin&rsqu o\; the Hoodoo Express&rdquo\; will open on March 16th with a reception at 6:30pm. \; It is free to the public and will run through May 27th. &nbs p\;In addition there will be an ARTMAKER-Artist Talk on March 30th at 7:30p m.\n\n
For Danny\, the importance of his work as well as this exhibit ion is quite simple\, &ldquo\;My intention is to uplift and connect peo ple to the spirit through my artwork.&rdquo\; \; \; p>\n LOCATION:HSA Gallery\,645 St. Nicholas Avenue \nNew York\, New York 10030US SUMMARY:HOPPIN' THE HOODOO EXPRESS\, Danny Simmons END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:440563 DTSTART:20170309T183000 DTEND:20170309T200000 LOCATION:HSA Gallery\,645 St. Nicholas Avenue \nNew York\, New York 10030US SUMMARY:HOPPIN' THE HOODOO EXPRESS END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:440582 DTSTART:20170401T000000 DTEND:20170501T000000 DESCRIPTION:
Prism is Rebecca Kane'\;s latest exploration in color and texture. It showcases new work inspired by the glowing vibrance of stained glass windows and the textures of the desert. \;\n LOCATION:Beautique\,8 West 58th Street \nNew York\, New York 10019US SUMMARY:Prism\, Rebecca Kane END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:440583 DTSTART:20170413T190000 DTEND:20170413T220000 LOCATION:Beautique\,8 West 58th Street \nNew York\, New York 10019US SUMMARY:Prism END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:440610 DTSTART:20170308T000000 DTEND:20170531T000000 DESCRIPTION:
The NYC Mural Arts Proje ct (NYC MAP) has partnered with Fountain House Gallery to foster new commun ity relationships and to challenge our perceptions about mental illness thr ough a collaborative mural making process.\n\n
\nThe project began in November a nd will continue through the end of June\, when the community mural will be installed on a walking bridge in Hell&rsquo\;s Kitchen. The NYC MAP Exhibi tion showcases artworks completed in the mural workshops and stories from o ur collaborative process. The exhibition will also give the larger communit y an opportunity to collaborate on the project. Community members will be a ble to add their ideas into the mural\, discuss community health issues and assets\, and learn about ways they can continue to be involved in making t he mural in Hell&rsquo\;s Kitchen.
In Not Going Anywhere \, Tatyana Fazlaliza deh brings street art indoors with wheatpasted portraits of Am erican artists and activists. Directly challenging the xenophobic and misog ynistic rhetoric now dominating American discourse\, Fazlalizadeh and her o f color subjects assert that they are not going anywhere. In her text\, Faz lalizadeh references her own black and Iranian identity and makes space for othered bodies&mdash\;be they black\, queer\, multilingual\, Muslim\, disa bled\, or indigenous&mdash\;in a more polyvocal America. Fazlalizadeh&rsquo \;s portraits are based on photographs and interviews with people around th e country. Listen to the voices of Not Going Anywhere&rsquo\;s sub jects on the iPads in the hallway.\n\n
Tatyana Fazlalizadeh is an illustrator\, muralist\, and painter who uses street ar t as a tool for tackling social issues. Her project Stop Telling Women to Smile&mdash\;a poster-based campaign to end street harassment&mdash \;has been wheatpasted on city streets in Brooklyn\, Chicago\, Atlanta\, Pa ris\, and Mexico City. Fazlalizadeh&rsquo\;s work has been exhibited in sol o and group exhibitions at Corridor Gallery\, Brooklyn\; Butler Gallery\, M iami\; Mills College Art Museum\, Oakland\; Charles H. Wright Museum of Afr ican American History\, Detroit\; Leeway Foundation\, Philadelphia\; and th e Caribbean Cultural Center African Diaspora Institute\, New York. Commissi ons include BET\, The Philadelphia Mural Arts Program\, Fusion\, and Coney Art Walls. Fazlalizadeh&rsquo\;s work can also be seen in Book of Jezeb el by Anna Holmes and Art for Obama: Designing Manifest Hope and t he Campaign for Change\, edited by Shepard Fairey and Jennifer Gross. Fazlalizadeh was born in Oklahoma and lives and works in Brooklyn.\n LOCATION:BRIC Arts | Media House\,647 Fulton Street \nBrooklyn\, NY 11217 SUMMARY:Not Going Anywhere\, Tatyana Fazlalizadeh END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:440634 DTSTART:20170322T190000 DTEND:20170322T210000 LOCATION:BRIC Arts | Media House\,647 Fulton Street \nBrooklyn\, NY 11217 SUMMARY:Not Going Anywhere END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:440635 DTSTART:20170323T000000 DTEND:20170507T000000 DESCRIPTION:
In the late 1960s\, visual art ists experimenting with the new medium of video saw the potential o f public access television to act as an open and uncensored platform for th e creation and dissemination of their work. This exhibition will p resent both key and lesser-known figures who worked in the public-access ar ena\, as well as contemporary artists experimenting with the democratic pot ential of new media platforms on the Internet. BRIC&rsquo\;s own public acc ess channels will be continuously aired in the gallery space\, and a stage in the center of the gallery will act as a set for the production of new pr ogramming by BRIC&rsquo\;s community producers.\n\n
Historic and recent programming by: \;Collaborativ
e Projects\, Jaime Davidovich\, \;Glenn O&rsquo\;Brien\, Nam June Paik\, Paper Tiger TV\, and Tony Ramos. Contempo
rary artist projects by: \;
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.\n\n
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.\n\n
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:20170501T064547Z 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:20170501T064547Z UID:440712 DTSTART:20170421T000000 DTEND:20170609T000000 DESCRIPTION:
ISCP has hosted an annual institution-in-residence since 201 1. This annual residency was initiated to support cultural exchange by brin ging an international perspective to a local context. This year\, ISCP has invited \;CCA Lagos\, an independent non-profit making visual art organ ization founded in December 2007 \;and based in Lagos\, Nigeria to be i n residence. CCA Lagos is in residence at ISCP through June 7th and will pr esent an exhibition and series of public programs during this time.\n\n
CCA Lagos provides a platform for the development\, presentation\, and d iscussion of contemporary visual art and culture. It seeks to create new au diences and to prioritize media such as photography\, film and video\, perf ormance and installation art which were traditionally under-represented in Nigeria. It supports\, and presents the intellectual and critical work of a rt and culture practitioners through exhibitions and public programs. In ad dition\, it encourages and promotes the professionalization of art producti on and curatorship in Nigeria and West Africa collaborating with artists\, curators\, writers\, theorists and national and international organizations .\n\n
CCA Lagos at ISCP centers around the exhibition \;Orí\; mé\;ta odú\;n mé \;ta ibì\;kan. Originally presented at CCA Lagos in 2016\, thi s exhibition is re-staged at ISCP and features selections from CCA Lagos&rs quo\;s archives as well as works in progress by three Nigerian artists&ndas h\;Kelani Abass\, Taiye Idahor and Abraham Oghobase. The exhibition conside rs the residency as an extension of the artist&rsquo\;s studio\, a space of experimentation\, of errors and counter errors\, as moments of freedom and possibilities. \;The works by all three artists come out of their obse rvations and experiences during their separate residencies at the Salzburg Summer Academy of Fine Arts in Austria. This is reflected in the title whic h translates as \;Three heads\, t hree years\, one place. Idahor&rsquo\;s collage installation is a se lf-portrait of her Salzburg studio&mdash\;rethought for New York City&mdash \;and made up of several pieces to make a mosaic on which she cuts\, layers \, and pastes bits and pieces that come from all three artists&rsquo\; time and experience of Salzburg. Stamping and a local Nigerian Ankara cloth for m the basis for Abass&rsquo\;s work\, while Oghobase experiments with litho graphy as it relates to photography.\n LOCATION:International Studio & Curatorial Program (ISCP)\,1040 Metropolita n Ave \nBrooklyn\, NY 11211 SUMMARY:Centre for Contemporary Art Lagos (CCA) at ISCP\, Kelani Abass\, Ta iye Idahor and Abraham Oghobase END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:440713 DTSTART:20170421T180000 DTEND:20170421T210000 LOCATION:International Studio & Curatorial Program (ISCP)\,1040 Metropolita n Ave \nBrooklyn\, NY 11211 SUMMARY:Centre for Contemporary Art Lagos (CCA) at ISCP END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:440777 DTSTART:20170406T000000 DTEND:20170513T000000 DESCRIPTION:
Margeaux Walter\n\n
Sign Language\n\n
April 6th &ndash\; May 13th\, 2017\n\n
Opening reception with the artist Thursday\, April 6th\, 6-8pm\n\n
Winston Wä\;chter Fine Art\, New York is excited to announce Sign Language\, the gallery&rsquo\;s fourth solo exhibiti on with photographer Margeaux Walter. Through staged environments\, studio lighting\, and saturated imagery\, Walter constructs colorful domestic scen es that explore the psychological effects of modern life.\n\n
These captivating compositions are photographed from the top dow n\, a perspective that visually abstracts the scene by eliminating depth. T he large-scale prints allow viewers to encounter varying levels of abstract ion and familiar details\, highlighting the interplay between the real and imagined. These stylized works reference modernist painting and the consume r culture revered in advertising. Primary\, for example\, is inspi red by a Mondrian painting. Others\, like Nova and Red Dot\, are derived from the rugs featured in the photographs themselves. All w orks are made up of noticeably mass-produced home dé\;cor that Walter herself consumes and interacts with by performing each of the characters i n the scenes she creates.\n\n
Walter&rsquo\;s compe lling works depict familiar settings within the home\, including quiet mome nts of respite as well as chaotic scenes involving spills\, children\, and chores. Walter evokes the anxiety and social isolation of domestic inhabita nts that are consumed and seemingly trapped by their environment. Indeed\, the figures themselves rarely interact\, and their faces are often obscured . Yet\, the colorful and ordered compositions somehow mask the vacancy of t he scene\, hinting at how we curate our external image and form our identit y in the digital age.\n\n
Margeaux Walter strong> was born in Seattle\, Washington and currently lives and works in N ew York City. She received her MFA from Hunter College in 2014 and her BFA from NYU&rsquo\;s Tisch School of the Arts in 2006. She has received multip le honors from the Magenta Foundation Flash Forward\, Photolucida\, Prix de la Photographie Paris\, International Photography Awards\, and other organ izations. In 2017\, Walter will participate in the MacDowell Colony Residen cy. In 2016\, she was selected for the New York Times Portfolio Review. She has participated in dozens of exhibitions at institutions such as MOCA in Los Angeles\, California\, Hunterdon Art Museum in Clinton\, New Jersey\, T he Center for Photography at Woodstock in Woodstock\, New York\, Montalvo A rts Center in Saratoga\, California\, Sonoma County Muesum in Santa Rosa\, California\, Tacoma Art Museum in Tacoma\, Washington\, and the Griffin Mus eum of Photography in Winchester\, Massachusetts. Her work has been feature d in publications including The New York Times\, New York Post\, Seattl e Times\, Boston Globe\, and Blouin Art Info.\n\n
 \;\n LOCATION:Winston Wachter Fine Art\,530 West 25th Street \nNew York\, NY 100 01 SUMMARY:Sign Language\, Margeaux Walter END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:440778 DTSTART:20170406T180000 DTEND:20170406T200000 LOCATION:Winston Wachter Fine Art\,530 West 25th Street \nNew York\, NY 100 01 SUMMARY:Sign Language END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:440823 DTSTART:20170309T000000 DTEND:20170506T000000 DESCRIPTION:
Tino (&ldquo\;Rosie&rdquo\;) Camanga (1910 -?) moved to Honolulu from his native Philippines sometime prior to World W ar II. He worked for a time as a photographer\, probably in one of the souv enir photo booths where one could have a picture taken against a painted ba ckdrop of a prototypical Hawaiian scene\;: grass shack\, Diamond Head\, etc.&mdash\;often accompanied by a &ldquo\;hula girl\,&rdquo\; complete wi th grass skirt\, provided by the photo operator. \;\n\n
After obs erving fellow Filipinos tattooing in the many shops in the downtown/Chinato wn area\, Rosie was granted a part-time job in 1944. He told the shop owner that the job was easy\, since the work was all done with stencils\; he&rsq uo\;d &ldquo\;sketched&rdquo\; his whole life and knew he could do it. The owner scoffed at this and said he&rsquo\;d pay him $50 if he could put on a credible tattoo. Rosie demonstrated his ability by putting a piece on his own leg and was given the job. In wartime Honolulu\, hundreds of thousands of military personnel swarmed through the downtown zone\, boosting business to incredible levels in the penny arcades\, bars\, dance halls\, governmen t-sanctioned whorehouses\, and tattoo shops that blanketed the area. After a couple of years\, Rosie had drawn about 400 sheets of flash and left to o pen his own shop. He tattooed continuously in a variety of locations around the Hotel Street (downtown) area until 1991. After a short hiatus\, he re- opened his final shop in a former shoeshine stand on the edge of Chinatown. As business was virtually non-existent for him at this point\, he retired for good but kept on drawing.\n\n
Sailor Jerry Collins introduced me to Rosie in 1968. At that time\, they had the only two tattoo shops on the island of Oahu\, situated about a block apart. Jerry realized Rosie&rsquo\; s tattoo ability was primitive\, to put it mildly\, but respected him for h is sobriety and industriousness. Rosie&rsquo\;s tiny shop was overlaid with his distinctive hand-drawn flash\, layer upon layer\, in a style unlike an ything I&rsquo\;d ever seen. My early amazement and condescension at his ra w version of classic tattoo design gradually gave way to unqualified admira tion. When he began selling off his shop contents in the early 1990s I boug ht much of his flash and brokered it for him at art galleries on the mainla nd.\n\n
Rosie was a complete original. Humorous and tough-minded\, he survived for decades in control of his own game in a volatile honky-tonk e nvironment. A sense of sly humor helped keep him afloat&mdash\;once he told a health inspector that the powdered charcoal used to apply stencils to th e skin came from the barbecue. Rosie&rsquo\;s flash\, from early examples ( none of his work is signed or dated\, but clues exist from dates or events depicted in the designs)\, segued from standardized versions of classic tat too designs to eccentric and mysterious scenarios that were his alone. The format of a sheet of flash\, crowded with multiple images\, or the notion t hat something might be appealing to someone to wear indelibly for life\, we re mere jumping-off points for the world he created. He often collaged shee ts with images he liked\, which he&rsquo\;d clipped from a magazine or asse mbled from previous designs\, which regularly depicted things and sentiment s never seen in any other tattoo context. He continued to draw after he sto pped tattooing\, using the flash format for ever-more unexpected forms. The phrases accompanying the pictures are rendered in the artist&rsquo\;s adop ted and imperfect English\, often resulting in a hilarious and mysterious p oetry of meaning. The overall effect is a wacky mixture of cartoon humor\, lofty emotions\, menace\, and smoldering sexuality.\n\n
Rosie&rsquo\; s art anticipates today&rsquo\;s stretching of the boundaries in the canon of tattoo themes. But much &ldquo\;art flash&rdquo\; or actual tattoos by y ounger artists are often loaded with self-conscious irony and rampant caree rism\, retro-fishing from a world they never experienced. Rosie was the rea l thing: immensely prolific\, completely sincere\, and driven by a passion for drawing that ultimately sought to satisfy only himself. Yet\, making hi s works available to a global audience\, far beyond his tiny Chinatown shop \, will realize a phrase found in one of his sheets of flash: &ldquo\;I fly from Honolulu to eternity.&rdquo\;\n\n
©\; \;Don Ed Hardy\n\n
 \;< /p>\n\n
 \;\n LOCATION:Ricco/Maresca Gallery\,529 West 20th Street 3rd Floor\nNew York\, NY 10011 SUMMARY:ROSE TATTOO\, Rosie Camanga (1910-?) END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064547Z UID:440824 DTSTART:20170309T180000 DTEND:20170309T200000 LOCATION:Ricco/Maresca Gallery\,529 West 20th Street 3rd Floor\nNew York\, NY 10011 SUMMARY:Rose Tattoo END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064548Z UID:440987 DTSTART:20170327T000000 DTEND:20170527T000000 DESCRIPTION: LOCATION:Rowan Art Gallery\,301 High Street West \nGlassboro\, NJ 08028US SUMMARY:How Food Moves: Edible Logistics\, Candice Smith with Freedom Arts\ , Otabenga Jones & Associates\, Amber Art & Design\, Brian Holmes\, Cynthia Main\, Claire Pentecost\, Ryan Griffis & Sarah Ross\, Stephanie Rothenberg \, Philly Stake\, Kristen Neville Taylor END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064548Z UID:440988 DTSTART:20170228T180000 DTEND:20170228T200000 LOCATION:Rowan Art Gallery\,301 High Street West \nGlassboro\, NJ 08028US SUMMARY:How Food Moves: Edible Logistics END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064548Z UID:440989 DTSTART:20170327T000000 DTEND:20170527T000000 DESCRIPTION:
Rowan University\n\n
Art Gallery\n\n
Artists expl ore how food moves from farm to plate in\n\n
How Food Moves: Eligible Logistics\n\n
 \;\n \n
GLASSBORO\, NJ &nda sh\; Artists explore the US food supply chain and its complex patterns of d istribution in between the point of origin (the farm) and its point of cons umption (the plate) in\n\n
How Food Moves: Edible Logistic s\, March 27 &ndash \; May 27\, 2017 at Rowan University Art Gallery\,\n\n
301 High Street. An opening re ception and public program takes place on Thursday\, March 30 from < /p>\n\n
6:00 &ndash\; 8:30 p.m. The participating artist include: Amber Art &\; Design/Ryan Gr iffis &\; Sarah Ross/Brian Holmes/Otabenga Jones &\; Associates/Cynth ia Main/Claire Pentecost/Philly Stake/Stephanie Rothenberg/Candice Smith wi th Freedom Arts/Kristen Neville Taylor.\n\n
The public program begin s at 6:00 pm\, led by guest curator Daniel Tucker\, Graduate Program Direct or in Social and Studio Practices at Moore College of Art and Design\, with Professor Megan Bucknum Ferrigno from Rowan University&rsquo\;s School of Geography and Environment. They will be in dialogue on art\, geography and agricultural planning along with the exhibiting artists.\n\n
& nbsp\;\n\n
The exh ibition aims to highlight the work of contemporary artists grappling with t he complexity of this movement through multi-media\, research-based\, and p articipatory practices that focus a lens on the social and industrial impac ts of migrant workers\, food justice movements\, immigration\, multicultura lism\, and economic disparities. This project builds upon Tucker&rsquo\;s e vent series\, Moving Units: Where Food &\; Economy Converge em>. https://mo veunits.wordpress.com/\n\n
A booklet produced in collaboration with faculty from Rowan&rsquo\;s School of Geography and Environment combines t he artists&rsquo\; project narratives with research and texts on the US foo d supply chain. Professor Megan Bucknum Ferrigno is lead researcher with co ntributions from Professors Jennifer Kitson and Charles McGlynn.\n\n
With Corner Store\, Amber Art &\; Design &ndash\; a team of Philadelphia-based artists that work on public art within marginalized communities that have l ittle or no access to art - explores the contemporary sociological and psyc hological intersection between pan-ethnic Black and Asian communities in Ph iladelphia and how relationships are shaped based on which side of the coun ter we stand.\n\n
Illinois-based artists Ryan Griffis and Sarah Ross
are represented by Between the Bottomlands and the World
\, a video (combining phot
ographs\, narrative writing\, and moving images) exploring the rural Midwes
tern town of Beardstown\, IL\, a place of global exchange and international
mobility\, inscribed by post-NAFTA (North American Free Trade Agreement) r
Brian Holmes\, an art and cultural critic with a Ph.D. in Romance Languages has a long-standing interest in neoliberal globalizat ion and a taste for on-the-ground intervention. His online atlas\, Living R ivers\, is devoted to the Mississippi and Great Lakes watersheds and shows these fluid ecosystems as they are inhabited by a multitude of creatures an d radically altered by human enterprise.\n\n
Otabenga Jones &\; A ssociates\, a Houston-based educational art organization\, documents a coll aborative art project and public health program addressing the ongoing cris is of obesity and its related risks with &ldquo\;The People&rsquo\;s Plate. &rdquo\; Inspired by the Black Panther Free Breakfast for School Children P rogram\, this art project includes a public mural in Houston and programs t o kick off a year-long commitment to health education.\n\n
&nb sp\;\n\n
Cynthia M ain\, a multidisciplinary artist from Missouri focuses on relating to the l and as part of an integral view of a more sustainable society. She shares h er hand-made buckets and barrels created using traditional techniques to re address storage as one of the current dilemmas of localizing production.\n\n
Chicago&rsquo\;s Claire Pentecost uses photography to show how ind ustrial agriculture is only partly about supplying food and how it is struc tured to meet the problem of expense and excess capital accumulation when c onsidering the cost of complex machinery\, brand name chemical herbicides\, pesticides\, fungicides\, fertilizers\, and patented seeds.\n\n
Phi lly Stake is a locally-sourced\, recurring dinner that raises funds for cre ative and relevant community engaged projects that contributes to the well- being of Philadelphia'\;s neighborhoods through community arts\, urban a griculture\, social services\, and activist work.\n\n
 \;< /p>\n\n
Stephanie Roth enberg&rsquo\;s Reversal of Fortune: The Garden of Virtual Kinsh ip is a garden in t he form of a global map that explores the question of what it means to be c haritable through the click of a button and examines the cultural phenomena of online crowdfunded charity and how the flow of money impacts the projec t\, positively and negatively.\n\n
Candice Smith runs Freedom Arts\, an afterschool collaborative art program at Camden&rsquo\;s Freedom Prep M iddle School\, which is creating an installation responding to the idea tha t Camden is a &ldquo\;food desert&rdquo\; and examining the movement of foo d at their school and in their community.\n\n
Philadelphia-based Kr isten Neville Taylor&rsquo\;s installation - a globe depicting routes of or anges and actual oranges outfitted with a QR code that links to music\, art icles\, folk tales\, and art - was inspired by a lyric from Leonard Cohen&r squo\;s "\;Suzanne"\; (&ldquo\;and she feeds you tea and oranges th at come all the way from China"\;) which she associated with the market place and the movement of food but also romance and exotic foreign culture s.\n\n
The gallery is located at 301 High Street. Admission to the g allery and reception is free and open to the public. Regular gallery hours are Monday - Wednesday\, 10 a.m. to 5 p.m.\; Thursday - Saturday\, 10 a.m. to 7 p.m. Directions and parking information can be found on the gallery we bsite. For more information\, call 856-256-4521 or visit www.rowan.edu/artg allery.\n\n
Support for programming at Rowan University Art Gallerie s has been made possible in part by funds from the New Jersey State Council on the Arts.\n\n
 \;\n LOCATION:Rowan Art Gallery\,301 High Street West \nGlassboro\, NJ 08028US SUMMARY:How Food Moves: Edible Logistics\, Candice Smith with Freedom Arts\ , Otabenga Jones & Associates\, Amber Art & Design\, Brian Holmes\, Cynthia Main\, Claire Pentecost\, Ryan Griffis & Sarah Ross\, Stephanie Rothenberg \, Philly Stake\, Kristen Neville Taylor END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064548Z UID:440990 DTSTART:20170330T060000 DTEND:20170330T083000 LOCATION:Rowan Art Gallery\,301 High Street West \nGlassboro\, NJ 08028US SUMMARY:How Food Moves: Edible Logistics END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064548Z UID:440991 DTSTART:20170327T000000 DTEND:20170527T000000 DESCRIPTION:
Rowan University\n\n
Art Gallery\n\n
MOVING FOOD\n\n
Artists explore how food moves from farm to plate in\n\n
How Food Moves: Eligible Logistics\n\n
GLASSBORO\, NJ &ndash\; Artists explore the US food supply chain and its complex patterns of distribution in between the point of origin (the farm) and its point of consumption (the plate) in\n\n
How Food Moves: Edible Logistics\, March 27 &ndash\; May 27\, 2017 at Rowan Univers ity Art Gallery\,\n\n
301 High Street. An opening reception and public program takes place on Thursday\, March 30 from\n\n
6:00 &ndash\; 8:30 p.m. The participating artis t include: Amber Art &\; Design/Ryan Griffis &\; Sarah Ross/Brian Hol mes/Otabenga Jones &\; Associates/Cynthia Main/Claire Pentecost/Philly S take/Stephanie Rothenberg/Candice Smith with Freedom Arts/Kristen Neville T aylor.\n\n
The public program begins at 6:00 pm\, led by guest curator Daniel Tucker\, Graduate Program Director in Social and Studio Practices at Moore College of Art and Design\, with Professor Megan Bucknum Ferrigno from Rowan Univer sity&rsquo\;s School of Geography and Environment. They will be in dialogue on art\, geography and agricultural planning along with the exhibiting art ists.\n\n
T he exhibition aims to highlight the work of contemporary artists grappling with the complexity of this movement through multi-media\, research-based\, and participatory practices that focus a lens on the social and industrial impacts of migrant workers\, food justice movements\, immigration\, multic ulturalism\, and economic disparities. This project builds upon Tucker&rsqu o\;s event series\, Moving Units: Where Food &\; Economy Conv erge. htt ps://moveunits.wordpress.com/\n\n
A booklet produced in collaboration with faculty fr om Rowan&rsquo\;s School of Geography and Environment combines the artists& rsquo\; project narratives with research and texts on the US food supply ch ain. Professor Megan Bucknum Ferrigno is lead researcher with contributions from Professors Jennifer Kitson and Charles McGlynn.\n\n
&nbs p\;\n\n
With Corner Store\ , Amber Art &\; Design &ndash\; a team of Philadelphia-based artists tha t work on public art within marginalized communities that have little or no access to art - explores the contemporary sociological and psychological i ntersection between pan-ethnic Black and Asian communities in Philadelphia and how relationships are shaped based on which side of the counter we stan d.\n\n
Illinois-based artists Ryan Griffis and Sarah Ross are repres ented by Between the Bottomlands and the World\, a video (combining photographs\, n arrative writing\, and moving images) exploring the rural Midwestern town o f Beardstown\, IL\, a place of global exchange and international mobility\, inscribed by post-NAFTA (North American Free Trade Agreement) realities. span>\n\n
Brian Holmes\, an art and cultural critic with a Ph.D. in Romance Languages has a long-standing interest in neoliberal globalization and a t aste for on-the-ground intervention. His online atlas\, Living Rivers\, is devoted to the Mississippi and Great Lakes watersheds and shows these fluid ecosystems as they are inhabited by a multitude of creatures and radically altered by human enterprise.\n\n
Otabenga Jones &\; Associates\, a Houston-based educational art organization\, documents a collaborative a rt project and public health program addressing the ongoing crisis of obesi ty and its related risks with &ldquo\;The People&rsquo\;s Plate.&rdquo\; In spired by the Black Panther Free Breakfast for School Children Program\, th is art project includes a public mural in Houston and programs to kick off a year-long commitment to health education.\n\n
 \;\n\ n
Cynthia Main\, a mul tidisciplinary artist from Missouri focuses on relating to the land as part of an integral view of a more sustainable society. She shares her hand-mad e buckets and barrels created using traditional techniques to readdress sto rage as one of the current dilemmas of localizing production.\n\ n
Ch icago&rsquo\;s Claire Pentecost uses photography to show how industrial agr iculture is only partly about supplying food and how it is structured to me et the problem of expense and excess capital accumulation when considering the cost of complex machinery\, brand name chemical herbicides\, pesticides \, fungicides\, fertilizers\, and patented seeds.\n\n
 \;< /p>\n\n
Philly Stake i s a locally-sourced\, recurring dinner that raises funds for creative and r elevant community engaged projects that contributes to the well-being of Ph iladelphia'\;s neighborhoods through community arts\, urban agriculture\ , social services\, and activist work.\n\n
span style="font-family:calibri\; font-size:11pt">Stephanie Rothenberg&rsqu
o\;s Reversal of Fortune: The Garden of Virtual Kinship
Candice Smith runs Freedom Arts\, an aftersc hool collaborative art program at Camden&rsquo\;s Freedom Prep Middle Schoo l\, which is creating an installation responding to the idea that Camden is a &ldquo\;food desert&rdquo\; and examining the movement of food at their school and in their community.\n\n
Philadelphia-based Kristen Nevil le Taylor&rsquo\;s installation - a globe depicting routes of oranges and a ctual oranges outfitted with a QR code that links to music\, articles\, fol k tales\, and art - was inspired by a lyric from Leonard Cohen&rsquo\;s &qu ot\;Suzanne"\; (&ldquo\;and she feeds you tea and oranges that come all the way from China"\;) which she associated with the market place and the movement of food but also romance and exotic foreign cultures. p>\n\n
The gallery is located at 301 High Street. Admission to the gallery and reception is free and open to the public. Regular gallery hours are Monday - Wednesday\, 10 a.m. to 5 p.m.\; Thursday - Saturday\, 10 a.m. to 7 p.m. D irections and parking information can be found on the gallery website. For more information\, call 856-256-4521 or visit www.rowan.edu/artgallery.\n\n
Support for programming at Rowan University Art Galleries has been made possible in part by funds from the New Jersey State Council on the Art s.\n\n
 \;\n LOCATION:Rowan Art Gallery\,301 High Street West \nGlassboro\, NJ 08028US SUMMARY:How Food Moves: Eligible Logistics\, Candice Smith with Freedom Art s\, Otabenga Jones & Associates\, Amber Art & Design\, Brian Holmes\, Cynth ia Main\, Claire Pentecost\, Ryan Griffis & Sarah Ross\, Stephanie Rothenbe rg\, Philly Stake\, Kristen Neville Taylor END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064548Z UID:440992 DTSTART:20170330T180000 DTEND:20170330T203000 LOCATION:Rowan Art Gallery\,301 High Street West \nGlassboro\, NJ 08028US SUMMARY:How Food Moves: Eligible Logistics END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064548Z UID:441051 DTSTART:20170325T000000 DTEND:20170506T000000 DESCRIPTION:
Art in General presents a newly c ommissioned installation by Postcommodity\, marking the collective&rsquo\;s first solo exhibition in New York. Composed of artists Raven Chacon\, Cris tó\;bal Martí\;nez\, and Kade L. Twist\, Postcommodity&rsquo\;s multidisciplinary practice reveals and examines Indigenous cultural narrat ives and their relationships to broader social\, political\, and economic d ialogues and actions. For the exhibition \;Coyotaje\, Postcomm odity continues its several years-long investigation of the military and ec onomic life of the US-Mexico borderlands\, highlighting the complex dynamic s between US Border Patrol\, the communities living in the San Pedro River Valley region\, and individuals moving across the border. The exhibition is made possible through Art in General&rsquo\;s New Commissions Program\, an d is included in a season-long exploration of the politics related to geogr aphic boundaries and the histories\, possession\, and accessibility of land .\n\n
As part of the project\, Postcommodi ty engaged the US Border Patrol in a dialogue on the role of decoys in its offensive and defensive operations. Decoys are sometimes used by Border Pat rol agents to apprehend individuals trying to cross the border\, to push pa ssage in specific directions\, and to discourage illegal crossing into the United States. Given that many individuals encounter decoys in darkness\, t hey have become shrouded in mythology\, taking on auras and personas drawn from local folklore and oral traditions. \;Coyotaje \;will feature large-scale sculpture inspired by these conversations and Postcomm odity&rsquo\;s intimate knowledge of the Douglas/Agua Prieta landscape\, as well as a multi-channel sound work that references sonic decoys used by bo rder agents. Conceived as potentially functional decoys\, the works highlig ht the peculiar nature of these forms\, as they represent both the tactical needs of agents and the cultural manifestations of those who encounter the m.\n\n
Moving the conversation on border s ecurity beyond simplistic\, mass-oriented appeals\, \;Coyotaje  \;instead examines the real-life experiences of those living and movin g near and around the border. Postcommodity&rsquo\;s work breaks down some of the arbitrary and falsely-created barriers among peoples of this region\ , and looks to establish new constructs that speak more readily to the soci al\, geographic\, and cultural histories of these borderlands.\n LOCATION:Art in General\,145 Plymouth Street \nBrooklyn\, NY 11201 SUMMARY:Coyotaje\, Postcommodity END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064548Z UID:441052 DTSTART:20170324T180000 DTEND:20170324T200000 LOCATION:Art in General\,145 Plymouth Street \nBrooklyn\, NY 11201 SUMMARY:Coyotaje END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064548Z UID:441283 DTSTART:20170314T000000 DTEND:20170820T000000 DESCRIPTION:
This survey\, the first museum exhibition on Carlo Zinelli (1916&ndash\;1974) in the United States\, coin cides with the one-hundredth anniversary of the birth of this revered and d istinctive Italian artist&mdash\;a canonical art brut figure included in Je an Dubuffet&rsquo\;s collection from the 1960s. The show highlights four di stinct phases in Zinelli&rsquo\;s oeuvre and new scholarship\, through a se lection of fifty-five paintings (many displayed double-sided)\, audio recor dings of Zinelli\, a film\, and images by Life magazine photograph er John Phillips. The exhibition brings together artworks from the American Folk Art Museum and other private and public collections from the United S tates and abroad\, notably the Collection de l&rsquo\;Art Brut\, Lausanne\, the Fondazione Culturale Carlo Zinelli\, Verona\, and the collection of Au drey B. Heckler\, New York.\n\n
Curated by Valé\;rie Rousseau\, PhD\, Curator\, Self-Taught Art and Art Brut .\n\n
An exhibition brochure is availab le.\n LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SUMMARY:Carlo Zinelli (1916–1974)\, Carlo Zinelli END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064548Z UID:441284 DTSTART:20170314T103000 DTEND:20170314T173000 LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SUMMARY:Carlo Zinelli (1916–1974) END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064548Z UID:441285 DTSTART:20170314T000000 DTEND:20170820T000000 DESCRIPTION:
Throughout his life\, Eugen Ga britschevsky displayed a precocious passion for the natural sciences\, part icularly entomology. Born in Russia\, he completed advanced degrees in biol ogy and genetics in Moscow\, before pursuing postdoctoral studies in 1925 a t Columbia University. Soon after he joined the Pasteur Institute in Paris in 1927\, his successful career was cut short by the deterioration \;of his mental health\, leading to his admission into a psychiatric hospital i n Germany in 1931. There\, and for the rest of his life\, Gabritschevsky el aborated a prolific\, refined\, and heterogeneous body of work&mdash\;gouac hes\, drawings\, and watercolors on paper&mdash\;imbued with his early scie ntific interests\, observation skills\, and a propensity for experimentatio n. This first in-depth exhibition of Gabritschevsky&rsquo\;s relatively unk nown artistic contribution is composed of more than eighty artworks\, a fil m\, publications\, and archival documents.\n\n
The exhibition is organized in collaboration with the Collection de l&rsquo\;Art Brut\, Lausanne\, and La maison rouge\, Paris. The New York p resentation is curated by Valé\;rie Rousseau\, PhD\, Curator\, Self-T aught Art and Art Brut.\n\n
A 192-page catalog\, Eugen Gabritschevsky\, 1893&ndash\;1979 (Snoeck\, 2016)\ , is available.\n LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SUMMARY:Theater of the Imperceptible\, Eugen Gabritschevsky END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064548Z UID:441286 DTSTART:20170314T103000 DTEND:20170314T193000 LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SUMMARY:Theater of the Imperceptible END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064548Z UID:441293 DTSTART:20170420T000000 DTEND:20170617T000000 DESCRIPTION: LOCATION:Benrubi Gallery\,521 West 26th Street 2nd floor\nNew York\, NY 100 01 SUMMARY:Disturbed Coastal Systems\, Massimo Vitali END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064548Z UID:441294 DTSTART:20170420T180000 DTEND:20170420T200000 LOCATION:Benrubi Gallery\,521 West 26th Street 2nd floor\nNew York\, NY 100 01 SUMMARY:Disturbed Coastal Systems END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064548Z UID:441498 DTSTART:20170309T000000 DTEND:20170506T000000 DESCRIPTION:
&ldquo\;&hellip\; the best rea son to make art\;\;&ndash\;to reach others\, and sometimes to conne ct with yourself\, decades later.&rdquo\;\n\n
Bruce Silverstein is pleased to present Keith A. Smith: The Postcards\, 1965-Present\, the firs t exhibition dedicated to the artist&rsquo\;s hand-made cards created over the last five decades. Following Book by Book (2011)\, and The Fabric Works 1964 - 1980 (2015)\, this exhibition is the third presentation of this acc laimed artist&rsquo\;s work to be held at the gallery.\n\n
World-renowne d for his innovative book making practice and lifelong interest in experime nting with new materials and processes\, Smith has been thoughtfully creati ng these personalized cards as a way of remaining in touch ever since he wa s in school. These multi-layered works\, rendered in small-scale are often created on postcard stock\, using photographic negatives and prints\, incor porating delicately-applied postage stamps and hand-sewn envelopes. Coming directly out of his archive\, these intimate objects were meticulously craf ted employing the various techniques used throughout Smith&rsquo\;s work&nd ash\;collage\, hand coloring\, and machine sewing. Many also revisit images from his prints\, photographs and the pages of his books. Yet unlike the a rtist&rsquo\;s hand-bound books or works on fabric\, these postcards were m ade as a special means of conveying and maintaining friendship. Sending suc h hand-made cards is his way of staying connected - through a few words and a picture\, much as an e-mail today.\n\n
Since his days in university\, Smith opted to make these postcards typic ally 5 x 7 inches\, approximately the size of his own hand\, as he saw them as a way of touching people.  \;\n\n
For over 50 years\, I have made postcards of text\, of pictures\, and text with pictures. Tradi tional prints can say some things\, books can speak through movement\, and postcards have their unique abilities to reach people as well. I don&rsquo\ ;t think of any of these as &ldquo\;art&rdquo\; but as my voice.\n \n
- Keith A. Smith\, 2017\n\n
Smi th&rsquo\;s life-long pursuit of hand-crafting and sending his postcards ou t into the world shares a sensibility with the tradition of mail art exempl ified by groundbreaking Pop artist Ray Johnson. Johnson championed mail art as a viable form of artistic expression\, merging his identity with his co mmunity by producing and disseminating art through mail. With similar inten t as Smith\, Aaron Siskind was also known to send small mounted gelatin sil ver prints every holiday season to friends and family.  \;While postcar ds may have become a lost form of communication for many in the digital age \, for Smith\, there is something quite special weaved through these precio us pieces\, something worth sharing and reflecting upon\, several decades l ater.\n\n
Keith A. Smith&rsquo\;s work is in the collections of leading international public and private collectio ns\, including the Art Institute of Chicago\; Metropolitan Museum of Art\, New York\; The Morgan Library\, New York\; Museum of Fine Arts\, Houston\; Museum of Modern Art\, New York\; The New York Public Library\; The J. Paul Getty Museum\, Los Angeles\; and the Victoria and Albert Museum\, London.< /p>\n
 \; Lehmann M aupin is pleased to announce Fire (America)\, an exhibition of new works by Teresita Ferná\;ndez. The exhibition will debut a 16-foot glazed ceramic wall panel depicting a nocturnal landscape e ngulfed in flames\, as well as a new series of abstract landscapes made fro m burned paper. In addition\, Ferná\;ndez will create an immersive\, 100-foot panoramic drawing on site comprised of built-up\, dimensional laye rs of solid charcoal applied directly to the gallery&rsquo\;s walls. Titled Charred Landscape (America)\, the installation will circumnavigat e the gallery\, surrounding visitors\, and dissolving into the white walls. The gallery will host an opening reception for the artist on March 17\, from 6-8 PM.\n\n
Fern&aa cute\;ndez is best known for her immersive installations and public project s that explore the various historical and psychological implications of the genre of landscape. In the Fire (America) series\, Ferná\;n dez uses images of fire to refer to contemporary American violence\, as wel l as the technique of slash and burn used by indigenous people throughout t he Americas to shape and cultivate the land. Contrary to the common fictiti ous narrative that the New World was a wilderness at the time of European c ontact\, the technique of slash and burn evidences the sophisticated\, deli berate ways that indigenous people had altered the land to their benefit fo r thousands of years. Ferná\;ndez seeks to revise our notion of the & ldquo\;American landscape&rdquo\; and who gets to define it\, as well as ho w notions of violence are defined. She is interested in visualizing erased\ , warped\, and invisible narratives that are often omitted or deliberately obscured in our perception of what we think of as &ldquo\;American.&rdquo\;\n\n
In Charred Landscape (America) \, pieces of raw\, sculptural charcoal are affixed to the gallery wall s to create the illusion of a 360-degree horizon. A dramatic charcoal drawi ng emerges from the horizon line and travels across the walls of the galler y to suggest an abstracted landscape scene shrouded in smoke.\n\n
Ferná\;ndez elaborates:\n\n
For me\, landscape is about the history of people in places and how we position ourselves within those spaces. This new body of work seeks to redefine &ldquo\;landscape&rdquo\; as being far more than a fixed\, framed vista in front of your eyes\, by also considering what ha s happened on and to the land itself. I&rsquo\;m constructing an image of a n invented landscape using real\, physical components taken from the earth. The materials in these works&mdash\;fired clay\, burned paper\, and lump c harcoal&mdash\;are literally components extracted from existing places whic h I use to create \; new landscape images. In this way\, the pieces bec ome an assembly of stacked landscapes\, suggesting that we are always in mo re than one place simultaneously. By doing this\, I&rsquo\;m acknowledging and physically weaving together their undeniable\, intertwining histories.< /em>\n\n
In both of these new works\, F erná\;ndez continues to carefully merge the material and the conceptu al. The glazed clay&mdash\;earth&mdash\;is baked at a high temperature&mdas h\;fire&mdash\;to create the image of the earth ablaze in vitreous saturate d colors set against a black night\; extremes of darkness and light that be come physical\, material\, and tactile\, as well as metaphorical and poetic . Just as fire is used as a material component during the firing of the cer amic panel\, charcoal&mdash\;burned wood&mdash\;becomes a self-referential material from which the landscape drawing is rendered. This beautiful and s eamless unity of materiality and narrative is essential for Ferná\;nd ez\, whose practice is based in an understanding and reinterpretation of th e relationships between nature\, identity\, history\, and economy. The powe r of Ferná\;ndez&rsquo\;s work is to reveal to viewers their own conn ection to the space they occupy when standing in front of her work\, as wel l as their place in the greater world.\n\n
About the Artist
\nTeresita Ferná\;ndez (b. 1968\, Miami\, FL\; lives in Brooklyn\, NY) received her MFA from Virginia Commonwealth University and her BFA from Florida International University. She is a 2005 MacArthur Foundation Fellow and the recipient of many presti gious awards\, including a Guggenheim Fellowship\, a National Endowment for the Arts Artist&rsquo\;s Grant\, an American Academy in Rome Affiliated Fe llowship\, and a Louis Comfort Tiffany Biennial Award. Appointed by Preside nt Obama\, Ferná\;ndez served from 2011 to 2014 on the U.S. Commissio n of Fine Arts\, a federal panel that advises the president\, Congress\, an d governmental agencies on national matters of design and aesthetics. Fern& aacute\;ndez&rsquo\;s commissions include large site-specific installations at the Benesse Art Site\, Naoshima\, Japan\; Seattle Art Museum for the Ol ympic Sculpture Park\; Madison Square Park\, NY\; Grace Farms Foundation\, New Canaan\, CT\; and Louis Vuitton\, Shanghai\, and Paris. Ferná\;nd ez&rsquo\;s works are included in many prominent collections and have been exhibited extensively both nationally and internationally at The Museum of Modern Art\, New York\; San Francisco Museum of Modern Art\; The Museum of Fine Arts\, Boston\; The Modern Art Museum of Fort Worth\, TX\; MASS MoCA\, North Adams\, MA\; Castello di Rivoli\, Turin\, Italy\; Centro de Arte Con temporá\;neo\, Spain\; Institute of Contemporary Art\, Philadelphia\; and the Blanton Museum of Art\, University of Texas\, Austin. \;
For more information on Teresita Fern&aa cute\;ndez or other Lehmann Maupin artists\, please contact Marta de Movell an or Kathryn McKinney at +1 212 255 2923\, or visit lehmannmaupin.com.\n
Lehmann Maupin is pleased
to announce \;Ethics demonstrated in geometrical order\,
\;an exhibition of new One Minute Sculptures by Erwin Wurm
. This year marks the 20th anniversary of these audience-activated
sculptures\, which will also be the focus of Wurm&rsquo\;s installation fo
r the Austrian pavilion in the 57th Venice Biennial. Wurm&rsquo\;s One
Minute Sculptures have influenced a generation of artists by redefinin
g what a sculpture is and how the public engages with the medium. \;
The basic premise of a One Minute Sculpture remains uniform.
For each work\, using a drawing or specific text\, Wurm directs participant
s to pose with an object\, which have ranged from cleaning products and sne
akers to furniture and fruit. The viewer enacts the proposed sculpture on a
low plinth\, manipulating their body and the predetermined prop in a pose
held for a short time. Wurm reiterates that the success of these ephemeral
pieces is determined by the exactness with which the directions are execute
d\, stating\, &ldquo\;The One Minute Sculptures only come into exi
stence if the public follows precisely the instructions of the artist and f
ree will has a low priority."\;
\n \;
For the One Minute Sculptures featured in this exh
ibition\, Wurm employs mid-century modern furniture as props. Participants
will navigate these iconic 20th-century furnishing designs\, often to unusu
al effect. By asking for the audience&rsquo\;s participation in a way that
could make them feel uncomfortable\, One Minute Sculptures offer a
moment of visceral introspection as a means of provoking an examination of
one&rsquo\;s own insecurities\, thus turning them into subversive &ldquo\;
thinking sculptures.&rdquo\; Much of Wurm&rsquo\;s work\, though disturbing
\, offers an underlying social critique of contemporary culture\, particula
rly in response to the capitalist influences and resulting societal pressur
es that the artist sees as contrary to our internal ideals.
\n \;< /p>\n\n
The necessity for explicit mimicry of Wurm&rsquo\;s directives is reflected in the artist&rsquo\;s title choic e\, Ethics demonstrated in geometrical order\, evoking the 17th-ce ntury Dutch philosopher Baruch de Spinoza. Considered a pioneer of the Enli ghtenment era\, Spinoza&rsquo\;s magnum opus\, Ethics (1677)\, pre mised the uncertainty of free will. Wurm suggests contemporary scientific m anifestations of Spinoza&rsquo\;s thoughts could be applied to the common t heory among neuroscientists that our thoughts\, judgments\, and subsequent actions are strongly influenced by predeterminations and conditioning.\ n\n
Throughout the Renaissance\, an ongoing debate about the specific virtues of sculpture\, painting\, and poetry ali gned sculpture with the physical entity it summons into being\, a perceptio n that dates back to Ovid&rsquo\;s Metamorphoses (8 AD). One M inute Sculptures reconsider this early interpretation of sculpture as a stand-in for the human form by using an actual human body as a replacemen t for its representation in durable form. By reducing the duration of the p iece to a single minute\, Wurm questions the timelessness often attributed to sculpture. The resulting works thus collapse the distinction between scu lpture and other art mediums\, such as painting and poetry\, into a complet e corporal\, temporal\, and narrative form.\n\n
\nIn addition to the One Minute Sculptures\, Wurm w ill present five new sculptural works in cast bronze and mixed media\, incl uding Equitable (2016) and Flat Iron (2016)\, recreations of two iconic New York buildings that appear to be melting\, and Bad T houghts (2016)\, created by casting deformed bags of clay. These works are reminiscent of his Fat House (2003) and Fat Car (200 1-present) series\, where he gave swollen anatomical form to these structur es. Together with One Minute Sculptures\, this latest body of work reasserts Wurm&rsquo\;s continued engagement with everyday objects and fam iliar forms as a catalyst for challenging and confounding perceptions of sp ace\, volume\, form\, and materiality.
Erwin Wurm (b. 1954 Bruck an der Mur/Styria\, Austria\; lives and works in Vienna) graduated from University Graz\, Austria in 1977\, and Gestaltu ngslehre University of Applied Art and Academy of Fine Art\, Vienna in 1982 . Solo exhibitions of his work have been organized at Museum Kü\;ppersm ü\;hle fü\;r Moderne Kunst\, Duisburg\, Germany (2017\, forthcoming )\; Leopold Museum\, Vienna\, Austria (2017\, forthcoming)\; Centro Cultura l Banco do Brasil\, Sã\;o Paulo\, Brazil (2017)\; Berlinische Galerie \, Berlin (2016)\; Schindler House\, MAK Center for Art and Architecture\, West Hollywood\, CA (2016)\; Bangkok Art and Culture Center\, Thailand (201 6)\; Indianapolis Museum of Art\, IL (2015)\; Museum of Contemporary Art in Krakó\;w\, Poland (2013)\; Centro de Arte Contemporá\;neo de M á\;laga\, Spain (2012)\; Dallas Contemporary\, TX (2012)\; Bass Museu m of Art\, Miami (2011)\; Middelheimmuseum\, Antwerpen\, Belgium (2011)\; K unstmuseum Bonn\, Germany (2010)\; and Ullens Center for Contemporary Art\, Beijing (2010). Select group exhibitions of his work include Performing fo r the Camera\, Tate Modern\, London (2016)\; Precarious Balance\, Centre of Contemporary Art\, Christchurch\, New Zealand (2016)\; Desire for Freedom\ , Museum of Contemporary Art in Krakó\;w\, Poland (2013)\; Heimsuchun g: Uncanny Spaces in Contemporary Art\, Kunstmuseum Bonn\, Germany (2013)\; The Original Copy: Photography of Sculpture\, 1839 to Today\, Kunsthaus Zu ̈rich\, Switzerland\, traveled to The Museum of Modern Art\, New York (2011 )\; and Temporary Structures: Performing Architecture in Contemporary Art\, deCordova Sculpture Park and Museum\, Lincoln\, MA (2011). Wurm&rsquo\;s w ork is in numerous international public and private collections\, including Albertina\, Vienna\; Albright Knox Art Gallery\, Buffalo\, NY\; Centro de Arte Contemporá\;neo de Má\;laga\, Spain\; Centre Georges Pompi dou\, Musé\;e National d&rsquo\;Art Moderne\, Paris\; Kunsthaus Z&uum l\;rich\, Switzerland\; Kunstmuseum Bonn\, Germany\; Museo d&rsquo\;Arte Mo derna di Bologna\, Italy\; The Museum of Modern Art\, New York\; Solomon R. Guggenheim Museum\, New York\; Vancouver Art Gallery\, Canada\; and Walker Art Center\, Minneapolis\, MN.\n\n
For more information on Erwin Wurm or other Lehmann Maupin artists\, please co ntact Marta de Movellan or Kathryn McKinney at +1 212 255 2923\, or visit l ehmannmaupin.com.\n
with history in a room filled with people with funny names 4\n\n
< strong>Korakrit Arunanondchai\n\n
with object s by Tipyavarna Nitibhon\n\n
Performance with boychild on April 15\, 2017\n\n
 \;Korakrit Arunanondchai (1986 in Bangkok\, Thaila nd) lives and works in New York and Bangkok. In 2017 he will have a solo ex hibition at Kiasma\, in Helsinki\, FI. Recent solo exhibitions include Muse ion\, Bolzano\, IT\; Bangkok CityCity Gallery\, TH\; Palais de Tokyo\, Pari s\, FR\; Ullens Center for Contemporary Art\, Beijing\, CN\; Lodos Gallery\ , Mexico City\; and MoMA PS1\, New York\, USA. Korakrit Arunanondchai&rsquo \;s work belongs to the collections of The Whitney Museum of American Art\, New York\, USA\; SMAK\, Ghent\, BE\; Museion\, Bolzano\, IT\; Fondation Lo uis Vuitton\, Paris\, FR\; K11\, Hong Kong/Shanghai/Beijing\, CN\; Fondazio ne Sandretto Re Rebaudengo\, Turin\, IT\; Aishti Foundation\, Beirut\, LB\; Rubell Family Collection\, Miami\, USA.\n\n
Indigo may be the color for our uncertain time&mdash\;doleful\, elusi ve blue. Its history is a freight\;ed one: The plant from which the dye is derived is entangled with colonialism\, slave labor\, and the formation of global markets. The crop may be confused with its proxy: a similar dye can be drawn from the less lovely named woad\, a weed. Even the constitutio n of the hue is slippery: Though Isaac Newton assigned it base color status \, the subjective experi\;ence of the hue rarely separates it from blue or violet and scientists dispute its location on the optical spectrum. (I\ , for one\, never understood BIV.) Of course\, indigo colors denim&mdash\; that textile found the world over that signals democracy and resilience in uneasy conflict with its production\, largely in China and India\, under ex ploitative labor practices.\n\n
Denim i s everywhere in Korakrit Arunanondchai&rsquo\;s work\, but you&rsquo\;ll li kely miss the indigo in his exhibition &ldquo\;with history in a room fille d with people with funny names 4.&rdquo\; A video and a gallery-spanning ga rden installation elaborate the cosmology the artist has developed in previ ous projects\, wading into such themes as global capitalism\, versioning\, the reign of the optic\, animism\, and yet-incalculable expressions of our material world. Indigo pow\;der&mdash\;from a plant grown in Isan\, Tha iland and given to the artist by a friend who ferments the organism to prod uce dye&mdash\;is steeped in water that courses through the totemic in\ ;stallation\, as is a scant trace of dirt on which the late King of Thailan d walked. Like most elements in the exhibition\, both tinctures serve as mn emonic distillations of the artist&rsquo\;s relationships with his friends and family\, his native country and the one in which he lives\, technology and his past work. Here\, they are part of an admixture whose components se em vast and unknowable to the viewer. Its effect\, though\, resonates with a familiar mel\;ancholy that attends moments in which our subjectivity dilates to the extent that we lose ourselves.\n\n
&ldquo\;Will you find beauty in this sea of data?&rdquo\; Arunan ondchai asks\, in Thai\, in the video\, &ldquo\;we left it behind just for you.&rdquo\; In keeping with the previous three videos in his series &ldquo \;Painting with history in a room filled with people with funny names\,&rdq uo\; the artist engages a hypnotic epistolary exchange with the drone spiri t Chantri\, voiced in French by his mother\, a lan\;guage teacher. Thes e missives pay homage to Chris Marker&rsquo\;s cine-essay Sans Soleil < /em>(1983) but also to the tribute of Marker&rsquo\;s film\, Alfred Hitchco ck&rsquo\;s Vertigo (1958). Both simi\;larly center on the urg e to recreate\, relive\, revisit&mdash\;to find intimacy with that which ev ades and\, in so doing\, holds power over us. We&rsquo\;ve seen this impuls e in Arunanondchai&rsquo\;s past works: His body\, or that of his twin\, is pressed against images in an attempt to mark or affect them the way they m ark or affect the body. He attempts to forge a non-unidirectional engagemen t with the spectacle. But here\, in a fractured cinematic space of speculat ion and documentary\, the artist faces down the mercurial force of memory. Specifically\, he addresses the seeming contradiction between the fluid sub jectivity required to contextual\;ize the images that comprise memory\, and the technology we have designed to care for it. What happens to memori es when they are sloughed off into machines\, he seems to ask. Might they r ecombine to form new paradigmatic presents based on some alienated ver\ ;sion of our past? Will they forget us\, and can they survive us?\n\n
Of course\, the human body itself rewires me mories\; it obfuscates them or ceases their production. The video component of the new work opens with a close crop of the hands of the artist&rsquo\; s grandmother\, who is slipping into dementia. She perfunctorily performs a ritual with a slipper\, a toy block\, a stack of magazines. She touches th ese objects\, weigh\;ing them\, prompting the viewer to reconsider the function and texture of each anew. She opens the quotidian things up\, unwr aps them\, as one does to a word when it is repeated such that its meaning decomposes into unfamiliar sound.\n\n
& ldquo\;The present stopped existing for me.&rdquo\; Though the line describ es Arunanondchai&rsquo\;s grand\;mother&rsquo\;s amnesic mind\, it like wise reflects an atemporal space in which his work often re\;sides. Her e are past and future\, originals and copies\, ancestors and spirits. In th e video&rsquo\;s dreamscape\, the artist is at times accompanied by a post- apocalypse rat who has\, along with the digital world\, outlived humans and grown fat on that which destroyed them. (This rat was the subject of the a rtist&rsquo\;s previous video.) Arunanondchai enters the constructed parall el universe of a safari in South Africa\, staring down an elephant\, watchi ng apes fuck\, but also noticing the grass underfoot. He visits the spectac ularly suspect Dhammakaya Wat\, Thailand&rsquo\;s largest Buddhist temple\, whose leader has been accused of embezzle\;ment and heresy\, believes that Steve Jobs was reincarnated\, and is known to intone &ldquo\;Be rich\, be rich\, be rich!&rdquo\; He also summons the Naga&mdash\;a serpent spiri t who represents for the artist that which cannot be subsumed by code or su bjected to state power&mdash\;or the Oarfish\, its earthly manifestation. I n the videos\, these spaces and elements contribute to an unmoored temporal ity that works against the idealized\, monolithic now of real time: that et ernal present sought by financialized and surveilled data streams. They off er other flows\, other bandwidths\, each contoured by other logics and powe rs.\n\n
&ldquo\;with history in a room filled with people with funny names 4&rdquo\; squares on the reality that\, on November 8\, the present violently cut a new shape. Many of us then fel t the stinging betrayal of technology. We felt the dissolution of our const ruction of the social world\, or at least the trajectory to which we believ ed&mdash\;and were led to believe&mdash\;it would cleave. Throughout the vi deo are clips of protests in the United States: White roses are raised in f oggy New York streets\, Maxwell belts a Kate Bush ballad to women marching in DC. But then the masses we see are those gathering with candles in darkn ess\, to mourn the death of the King of Thailand&mdash\;another rupture a w orld away. In these moments of extremity\, we tend to return to our bodies\ , to the urgent experience of the present. Arunanondchai brings us there\, too&mdash\;his video is textured with the sound of heavy\, calculated breat hing\, whether it voices a quelled panic or the focus of meditation we are unsure.\n\n
Embedded in the sprawling r oot-like forms of the installation are interiorly lit blown-glass pods\, th emselves indexes of breath\, but also indexes of moments in which the body and technology are simply aligned in intention. In the video\, we see Aruna nondchai&rsquo\;s grand\;mother stroke these forms\, for which she coul d have no context\, and of which no memory will likely be created. &ldquo\; Someone explained the idea of reincarnation to me once\,&rdquo\; the artist muses\, &ldquo\;the universe is made up of one big river of spirits\, both yours and mine and every\;thing else that exits. The spirits are const antly reincarnating on a timeline that is neither the future\, the past\, n or the present. So Chantri\, in this sense\, you could be my grand\;mot her.&rdquo\; In a sense\, he means\, this drone\, this technological spirit \, could be kin. Indeed\, the material reality of the digital world mirrors that of our entropic physical one&mdash\;in it\, all of us can be reduced to binary code\, just as all of our fleshy bodies will someday be reduced t o soil. Perhaps there is comfort in this\, in its certainty. Donna Haraway recently wrote that we must &ldquo\;make possible partial and robust biolog ical-cultural-political-technological recu\;peration and recomposition\ , which must include mourning irreversible losses\,&rdquo\; in order to liv e and die well. Arunanondchai&rsquo\;s newest contribution to his ever-prol iferating project mourns a constellation of irreversible losses&mdash\;fami lial\, political\, cultural. It marks a reckon\;ing with the turbulence of indigo.\n\n
- Annie Godfrey Lar mon\n LOCATION:C L E A R I N G Brooklyn\,396 Johnson Avenue \nBrooklyn\, NY 11237 SUMMARY:with history in a room filled with people with funny names 4\, Kora krit Arunanondchai END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064548Z UID:441924 DTSTART:20170208T000000 DTEND:20170512T000000 DESCRIPTION: LOCATION:The Miriam and Ira D. Wallach Art Gallery - Columbia University\,1 190 Amsterdam Ave \nNew York\, NY 10027US SUMMARY:The Edifice of Memory\, Eva Nikolova END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064548Z UID:441952 DTSTART:20170406T000000 DTEND:20170506T000000 DESCRIPTION:
There is a horror and a fascin
ation in something as apparently permanent as a building\, something that o
ne expects to last many a human span\, meeting an untimely end.
\n&mda sh\; Robert Bevan\, The Destruction of Memory: Architecture at War
Gathered together and displayed to potent effect at 532 Gallery Thomas Ja
eckel\, Piers Secunda&rsquo\;s ISIS Bullet Hole Paintings are the latest it
eration of an ongoing project in which casts of bullet holes gathered from
war torn or heavily militarized places are arranged into compositions that
serve as both an indexical record of real world damage and a haunting remin
der of the threat that contemporary armed conflict presents to our collecti
ve history. These works were created through a painstaking and sometimes ri
sky process.
\nIn late 2015 while under the protection of Peshmerga (K urdish) soldiers\, Secunda visited Iraqi villages recently liberated from I SIS and made direct casts of the damage inflicted on walls and other struct ures by gunfire. On returning to the studio\, he arranged these within flat molds derived from ancient Greek and Assyrian artworks\, poured in white i ndustrial floor paint\, and left it to set. The resulting objects are stark and compelling evocations of the barbaric violation of cultural heritage t hat is all too common in contemporary wartime. The violent erasure of noble classical imagery&mdash\;gods\, kings\, elegant warhorses&mdash\;beneath S ecunda&rsquo\;s constellations of bullet-hole disfigurement elicits an acut e feeling of loss and decay. In Assyrian Horse and a relief from the Pergam on:
Temple of Zeus (both 2016)\, th e annihilation unfolds as a sequence of discrete moments frozen in time\, w ith\n\n
each succeeding panel rendered more fragmentary than the last until there is little to nothing of the orig inal image discernable. Temple of Zeus is particularly pointed\, for its us e of a slick and absurdly faultless nineteenth-century restoration of the P ergamon Altar seems to hint at the futility of the age-old human desire to reverse the course of time in search of Eden.\n\n
Despite the obvious sculptural quality of these works\, Secunda considers them to be a natural outgrowth of his continuing evolution as a p ainter\, and has sometimes described them in terms that evoke the centuries -old tradition of arresting time&rsquo\;s passage in paint and freezing fle eting moments before they&rsquo\;re gone forever.\n\n
Although the ISIS Bullet Hole Paintings were not conceived a s political statements per se\, their emergence from his desire to capture the texture of geopolitics in paint has resulted in a body of works that su cceeds as both a record of the ravages of time&mdash\;aided in this case by much human brutality&mdash\;and as a meditation on how fleeting and fragil e even our greatest cultural achievements really are.\n\n
Recent exhibitions:
\n&ldquo\;Pergamon Alterations& rdquo\; New York University Institute of Fine Arts\, New York 2016. &ldquo\ ;Perfectionism III&rdquo\;
\nGriffin Gallery\, London 2016. &ldquo\;Pi ers Secunda\, Circling Skies&rdquo\; Art Bermondsey Project Space\, London 2016.
\n&ldquo\;The Missing: Rebuilding The Past&rdquo\; John Jay Coll ege CUNY\, New York 2016.
\n&ldquo\;The Missing: Rebuilding ThePast&rd quo\; Jessica Carlisle Gallery\, London 2016.
\n&ldquo\;Raw: Word And Image&rdquo\; Space 776\, Brooklyn 2015.
\n&ldquo\;Community Hospital& rdquo\; WhyWhyArt\, Shanghai 2015.
Media Inquiries\n\n
Nadine Johnson &
\; Associates Inc.
\n+1 212 228 5555
Gia Kuan
Anna Lund
Wild Noise/Ruido Salvaje em> \;is \;an exploration of contemporary Cuban art from the 1970s to the present that looks at how Cuban artists both on the island and abroa d have grappled with issues of identity\, community\, and the urban experie nce. Bringing together over 60 works by more than 30 artists from the Bronx Museum collection and other U.S. institutions and private collections\, th e exhibition will feature many artworks that will be publicly exhibited for the first time\, including a newly commissioned sculpture and performance by Humberto Dí\;az as the culmination of a three-month residency at t he Bronx Museum.\n\n
Humberto Dí\ ;az participated in an artist residency at the Bronx Museum in the fall of 2015 as part of the Wild Noise/Ruido Salvaje collaboration\, and i s returning for a second residency at the Bronx Museum from February to Mar ch 2017. On Sunday\, March 5\, Dí\;az will debut a new commissioned w ork and performance at the Museum as part of the exhibition. \;Dí \;az will also host an open studio - check our event page for details.  \;\n\n
Wild Noise/Ruido Salvaje \;is \;organized by the Bronx Museum and by Corina Matamoros and Aylet Ojeda Jequí\;n\, Curators of Contemporary Cuban Art at El Museo Nacional de Bellas Artes (MNBA) in Havana\, as part of a multi-year collab oration between the Bronx Museum and the MNBA to foster artistic and cultur al exchange between Cuba and the United States. The partnership was launche d in 2015 with Wild Noise: Artwork from The Bronx Museum of the A rts and El Museo Nacional de Bellas Artes (MNBA)\, a groundbreakin g exhibition of works from the Bronx Museum&rsquo\;s collection presented a t MNBA in Havana.\n\n
The exhibition includes works by Alexandre A rrechea\, Belkis Ayó\;n\, Abel Barroso\, José\; Bedia\,  \; Alejandro Campins\, Marí\;a Magdalena Campos-pons\, Marí\;a Mar tinez-Cañ\;as\,  \;Los Carpinteros\, Alberto Casado\, Javier Cast ro\, Sandro Ceballos\, Arturo Cuenca\, Humberto Dí\;az\, Felipe Dulza ides\, Diana Fonseca\, Jose Manuel Fors \, René\; Francisco\, Carlos Garaicoa\, Marí\;a Elena Gonzá\;lez\, Aimeé\; Garcí \;a\, Rocí\;o Garcí\;a\, Luis Gó\;mez\,  \;Quisqueya Henriquez\,  \;Glenda Leó\;n\, Kcho (Alexis Leyva Machado)\, Ra&u acute\;l Martí\;nez \, Ana Mendieta\, Reynier Leyva Novo\, Pedro Pabl o Oliva\, René\; Peñ\;a\, Douglas Pé\;rez\, Eduardo Ponju á\;n\, Wilfredo Prieto\, Ernesto Pujol\, Diana Fonseca Quiñ\;on es\, Sandra Ramos\, Alberto Rey\, René\; Francisco Rodrí\;guez\ , Esterio Segura\, Ezequiel Suá\;rez\, Meira Marrero and José\; Angel Toirac\, José\; Á\;ngel Vincench\, and others.\n\n
LOCATION:Bronx Museum of the Arts\,1040 Grand Concourse at 165th Street\nBr
onx\, NY 10456
SUMMARY:Wild Noise / Ruido Salvaje\, Alexandre Arrechea\, Belkis Ayón\, Abe
l Barroso\, José Bedia\, Alejandro Campins\, Maria Magdalena Campos-Pons\,
Los Carpinteros\, Alberto Casado\, Javier Castro\, Sandro Ceballos\, Arturo
Cuenca\, Humberto Díaz\, Felipe Dulzaides\, Diana Fonseca\, Jose Manuel Fo
rs\, René Francisco\, Carlos Garaicoa\, Aimee Garcia\, Rocío García\, Luis
Gomez\, Maria Elena Gonzalez\, Quisqueya Henriquez\, Glenda Léon\, Kcho Ale
xis Leyva Machado\, Meira Marrero\, Raul Martinez\, Maria Martinez-Cañas\,
Ana Mendieta\, Reynier Leyva Novo\, Pedro Pablo Oliva\, René Peña\, Douglas
Perez\, Eduardo Ponjuan\, Wilfredo Prieto\, Ernesto Pujol\, Diana Fonseca
Quiñones\, Sandra Ramos\, Alberto Rey\, René Francisco Rodríguez\, Esterio
Segura\, Ezequiel Suarez\, José ángel Toirac\, José Angel Vincench
\nWild Noise/Ruido Salvaje is supported by the Ford Foundation and the Robert Sterling Clark Foundation\ , with additional funding from Bespoke Travel\, Blake Grossman &\; Miche lle Richards\, Bronx-Lebanon Hospital Center\, Charina Endowment Fund\, The Evelyn Toll Family Foundation\, Fundació\;n Amistad\, Laura Blanco a nd Robert F. Shainheit\, The Liman Foundation\, May and Samuel Rudin Family Foundation\, Milton and Sally Avery Arts Foundation\, Pierre and Tana Mati sse Foundation\, RLA Conservation of Art &\; Architecture\, The Schley F amily Charitable Fund\, The Shelley &\; Donald Rubin Foundation\, Terra Foundation for American Art\, Toby Devan Lewis\, and individuals\, with spe cial thanks to Lindsey Frank\, Esq.\, of Rabinowitz\, Boudin\, Standard\, K rinsky &\; Lieberman\, P.C.
At the Bronx Museum&rsquo\;s T errace\, Arlene Slavin will present a group of sculptures from Intersec tions\, a series that plays off the principle of the sundial. In these works\, Slavin employs crisscrossed\, translucent colored webs which remai n stable\, while the shadow created by the works is in perpetual change. On bright days\, the colors are vibrant\, while on cloudier days\, the colors are muted. At noon\, the shadows are short and squat\, but as the hours pa ss\, the image lengthens as the sun moves across the arc of the sky. In add ition to the works on the Terrace\, Slavin will also create a site-specific installation with colored films on the windows in the Museum&rsquo\;s Seco nd Floor\, producing a modern riff on stained glass.\n\n
\nArlene Slavin is a sculptor\, painter\, and print maker who creates large-scale public art commissions throughout the United States. She earned a BFA from Cooper Union and an MFA from Pratt Institute. She has been a visiting critic at University of Pennsylvania Graduate Art School\, Syracuse University\, the Pratt Institute\, and Skowhegan Art Scho ol. She received a National Endowment Grant in Printmaking. Her work has be en exhibited in the Whitney Museum Biennial and many other museums and gall eries throughout the country for over 50 years\, in addition to being featu red in numerous corporate and public collections including the Metropolitan Museum of Art\, Fogg Art Museum\, Brooklyn Museum of Art\, Cincinnati Art Museum\, Orlando Art Museum\, and Guild Hall Museum in East Hampton. Slavin lives and works in New York City and Wainscott\, New York.
Arlene Slavin: Intersections is made poss ible\, in part\, by the Director&rsquo\;s Circle\, a leading Bronx Museum s upport group.\n LOCATION:Bronx Museum of the Arts\,1040 Grand Concourse at 165th Street\nBr onx\, NY 10456 SUMMARY:Intersections\, Arlene Slavin END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064548Z UID:441968 DTSTART:20170301T000000 DTEND:20170703T000000 DESCRIPTION:
Over the past 40 years\, Bronx native and resident Daniel Hauben has focused hi s attention on the changing urban landscape of our cities\, creating painti ngs of streets and parks from the perspective of windows and rooftops. His first attempts to capture the unique sprawl of homes\, sidewalks\, and gree nery began at the age of nine as a child growing up in Kingsbridge Heights. That early impetus has been a source of inspiration throughout his career both in Boston and in New York City.\n\n
The seven-part painting Reflecting on the Familiar is Hauben&rsq uo\;s attempt at capturing the sense of envelopment\, enormity\, and often\ , of the incomprehension that comes with living in the congested urban envi ronment of The Bronx. Rather than depicting just a small portion of his exp ansive view\, Hauben enlarges the scale to create a multi-faceted vision of the world around him.\n\n
Daniel Haube n received a degree in Fine Arts from the School of Visual Arts in New York and is an eight-time recipient of the BRIO Award from the Bronx Council on the Arts. \; He has been awarded artist residencies in Spain\, Germany \, Costa Rica\, Virginia\, Connecticut and California\, and has had over th irty national and international solo exhibitions\, including at The Bronx M useum of the Arts and the American Embassy in Berlin. \; His public art project The El commissioned by the New York MTA&rsquo\;s Arts for Transit program was acknowledged in 2008 as one of 40 notable works of public art n ationwide by Americans for the Arts. In 2012\, Hauben completed a portrait of The Bronx in 22 paintings commissioned for the new library on the campus of the Bronx Community College. His work is also in corporate and public c ollections including at the Museum of the City of New York\, the New-York H istorical Society\, the Library of Congress\, the White House\, Harvard Uni versity\, and the New York Public Library. He has taught at the Pastel Soci ety of America\, the Art Students League and the CUNY Graduate Center\, and currently teaches drawing at CCNY Spitzer School of Architecture.\n\n LOCATION:Bronx Museum of the Arts\,1040 Grand Concourse at 165th Street\nBr onx\, NY 10456 SUMMARY:Reflecting on the Familiar\, Daniel Hauben END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064548Z UID:441969 DTSTART:20170301T000000 DTEND:20170611T000000 DESCRIPTION:
Love Thy Neighbor is
the third and final part of The Neighbors\, an exhibition series g
uest curated by Sofí\;a Herná\;ndez Chong Cuy for The Bronx Mus
eum of the Arts. In this third iteration of the series\, &ldquo\;the neighb
or&rdquo\; is characterized as the figure of the &ldquo\;Other\,&rdquo\; th
at is\, an entity viewed as distinctly foreign from the community\, but who
ultimately plays a role in the group. By centering on the representation o
f cultural difference\, Love Thy Neighbor is meant to be an occasi
on for considering alterity\, for how diversity sensibly builds society. Th
e exhibition features new work by visual artists Firelei Baez\, Ignacio Gon
zá\;lez-Lang\, and Irvin Morazan\, with the intent of exploring the c
ultural processes of &ldquo\;othering.&rdquo\; The exhibition will also inc
lude a new performance\, &ldquo\;Volver\, Volver\,&rdquo\; by Morazan\, to
be presented during the exhibition opening on Sunday\, March 5\, 2017 at 3
\nFirelei Baez&rsquo\;s new paintings on paper for Lov e Thy Neighbor are a continuation of her longstanding investigations s urrounding cultural points of encounter\, specifically the ways in which Ca ribbean narratives shape bodies\, myths\, and histories. With an interest i n addressing the blending of species\, her new work is inspired by the comp osition of becoming self and other at once\, not only uniquely individual\, but also singularly indistinguishable. In creating the work in Love Th y Neighbor\, the artist was particularly inspired by a fable of pollin ation between a wasp and an orchid\, which French philosophers Gilles Deleu ze and Fé\;lix Guattari used to establish identity as a dynamic proce ss of encounter and difference. Portraying human figures made from flora an d fauna\, Baez creates her own fable\, with her visual explorations fusing body and pleasure.
\nSince 2004\, Ignacio Gonzá\;lez-Lan g has been exploring the inter-related practices of profiling and surveilla nce\, with an interest in working with print and digital media and biometri cs. The artist has collected police drawings of criminal suspects from loca l newspapers for over a decade\, which are regularly published in dailies t o crowd-source information related to police investigations. For Antisocial \, created especially for Love Thy Neighbor\, the artist employs t his archive to develop a photo-based installation that wraps around the gal lery space. The installation consists of more than one hundred discrete pho to-composites printed on ceramic plates\, each combining a press clipping o f a police sketch and an image drawn from the popular social-media app Inst agram (using the hash tag #NewYorkCity). The result is a collection of indi vidual portraits of New York City dwellers with common settings as their ba ckground.
\nIrvin Morazan&rsquo\;s work for Love Thy Neigh bor examines the geography of the Americas. The artist reproduces maps from the sixteenth-century manuscript Historia Tolteca Chichimeca\, origin ally written in Nahuatl in Mexico. The manuscript presents a diagrammatic c artography of routes and passages of markets\, dwellings\, and displacement s of an indigenous community colonized by Spain. On these maps\, Morazan tr aces imaginary immigration routes\, sketches made by undocumented immigrant s in the United States\, as well as illustrations inspired by a Salvadoran game called Tripa Chuca\, a pastime which consists of creating a map betwee n two people through the use of lines and inter-connected numbers. As a chi ld\, Morazan immigrated alone to the United States from his native El Salva dor. These drawings\, then\, document the history of his displacement and c ultural exchanges. The figure of el coyote&mdash\;or border-crossing agent\ , who led Morazan through Central America\, Mexico\, and into the United St ates&mdash\;is also a protagonist in these illustrations\, as well as in hi s sculptures in the exhibition.
&nb sp\;\n\n
The writings of philosophers M ichael Hardt and Antoni Negri ultimately play a pertinent role to The N eighbors exhibition series as a whole. In their book Commonwealth from 2011\, Michael Hardt and Antonio Negri interpret the enduring mandate of & ldquo\;Love thy Neighbor&rdquo\; as a proposal to love the &ldquo\;Other\,& rdquo\; such as a stranger or those furthest away. At the same time\, they also explore the ways of corrupted love when the neighbor becomes\, instead \, those considered most approximate or communities who resemble one anothe r. \; Love Thy Neighbor intends to explore\, and hopefully cha llenge\, the ways in which art explores and expresses these experiences. It does so to examine what &ldquo\;makes&rdquo\; a neighbor\, more so than wh o is the neighbor. In short\, Love Thy Neighbor proposes comprehen sion rather than allegiance.\n\n
LOCATION:Bronx Museum of the Arts\,1040 Grand Concourse at 165th Street\nBr
onx\, NY 10456
SUMMARY:The Neighbors\, part three: Love Thy Neighbor\, Firelei Baez\, Igna
cio Gonzalez-Lang\, Irvin Morazan
LOCATION:Eleven Rivington (Chrystie Street)\,195 Chrystie Street \nNew York
SUMMARY:Solo Exhibition\, Jackie Saccoccio
\nCentral to The Neighbors exhibition series is an investigation of the multiple ways in which artists explore identity po litics today\, an issue tackled less as a personal exploration of ethnicity alone than as an examination of the ways in which social classes are const ructed and their divisions purportedly manifested. As the title may suggest \, the series explores\, on the one hand\, shared yet defined territories\, while on the other hand\, highlighting the fact that the participating art ists in the exhibition are in close proximity to&mdash\;closely related\, a lthough not exactly inhabiting or native of&mdash\;the communities that the y are working with or representing in their work. The artists&rsquo\; works result from artistic investigations taking place in their studio environme nts\, as well as in domestic realms\, the public sphere\, archives\, and so cial media.
\nThe first exhibition of The Neighbors w as Caza\, featuring artworks by Rochele Gomez\, Margaret Lee\, and Alejandr a Seeber\; it took place from July 13 to September 25\, 2016. The second it eration of this exhibition series took place from October 12\, 2016 to Febr uary 12\, 2017\, and consisted of two concurrent solo-shows meant to be see n in dialogue: Sanctuary\, featuring artworks by Andrea Bowers\, a nd Home\, presenting photography by Andrea Aragó\;n. The thi rd and final exhibition in the series\, Love Thy Neighbor\, will b e on view from March 1 to June 11\, 2017.
Foley Ga llery is pleased to present Particle Paradise\, a solo ex hibition featuring works by Joseph Desler Costa. This will be the artist 9\;s second exhibition with the gallery.\n\n
Particle Paradise \;borrows its name from a downloadable video game \;modification that enables users to hack a c ustomized gaming experience via a modified code embedded within the existin g code. A mod alters game content to operate in a manner different from the original by augmenting or completely changing it into a new and p reviously unrealized version.\n\n
The photographs present an aestheticized and often oppressive pres ent where objects\, gestures\, and products overlap and collide. While real ity used to be something that could be challenged\, it is now simply unreco gnizable. The ability to acquire and maintain meaningful perceptions in an apparently chaotic world is increasingly difficult as our own self-organizi ng awareness collapses under the weight of any number of alternate possibil ities and realities. \;A modified present\, informed by desire and circ umstance\, curates a future we knowingly ingest. What remains is a fluid an d workable image revolving as an unfixed entity in an unfixed reality.\ n\n
Using multiple exposure\, layering\, in-camera editing\, screens\, and cut paper constructions\, the images in \;Particle Paradise \;reach out of a photograph ed &ldquo\;fixed moment&rdquo\; as they undercut the psychology of percepti on. \; As Costa moves his camera through bodies\, objects\, and shapes\ , he not only learns what they are made of but also how they can be altered to represent a more malleable version of themselves.\n\n
A particle paradise is a search for a perf ect paradise\; a faster\, sleeker\, shinier abyss driven by constant consum ption that unfastens the reality it replaces. It is a desire for what lies ahead\, always just out of reach. \;\n\n
Joseph Desler Costa lives and works in Brooklyn\, NY an d Pisa\, Italy. His works have been featured at the Baxter St. Camera Club of New York\, Arsenal Di Venezia\, Newspace Center for Photography\, Mana C ontemporary and the Lianzhou Foto Festival in China. He has had solo exhibi tions at the International Center of Photography and Book Dummy Project Spa ce.\n LOCATION:Foley Gallery\,59 Orchard Street \nNew York\, NY 10002 SUMMARY:Particle Paradise\, Joseph Desler Costa END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064548Z UID:441981 DTSTART:20170322T180000 DTEND:20170322T200000 LOCATION:Foley Gallery\,59 Orchard Street \nNew York\, NY 10002 SUMMARY:Particle Paradise END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064548Z UID:442023 DTSTART:20170331T000000 DTEND:20170513T000000 DESCRIPTION:
Sick Time\, Sleepy Ti me\, Crip Time: Against Capitalism'\;s Temporal Bullying f ocuses on how the body is articulated in various discourses oriented around health. It proposes that better incorporation of the states of debility\, disability\, and rest into society (particularly their temporalities) could be resistive to forms of oppression and provide possibilities for rethinki ng collectivity. Dragging on\, circling back\, with no regard for the stric ture of the work week or compulsory ablebodiness\, the time that this multi -prong curatorial project investigates is non-compliant. It refuses a fanta sy of normalcy measured by either-in-or-out thresholds and demands care tha t exceeds that which the nuclear family unit can provide.\n\n
We are all united by the fact that we will experience f luctuating states of debility throughout the course of our lives whether we currently identify as sick or not. Furthermore\, many of us are exhausted from living and working in a capitalist system as insufficient infrastructu res for care have further deteriorated. Considering the fact that the failu res of public health and biomedicine are felt by some disproportionately du e to race\, class\, gender\, sexuality\, etc.\, this project provides a pla tform to explore collective forms of healing to deal with structural proces ses of exclusion and the way in which trauma is held in the body. To this e nd\, artworks dealing with care\, illness\, fitness\, sleep\, somatic susta inability\, labor\, alternative temporalities\, and wellness culture will b e shown at EFA\, with an exhibition on life/work balance providing a locus for ongoing conversations about transitional architectures for relief and p otential repair.  \;\n LOCATION:EFA Project Space\,323 West 39th Street\, 2nd Floor \nNew York\, N Y 10018 SUMMARY:Sick Time\, Sleepy Time\, Crip Time: Against Capitalism's Temporal Bullying \, Fia Backstrom\, Jesse Cohen and Carolyn Lazard with Canaries\, Danilo Correale\, Jen Liu\, Zavé Martohardjono\, Sondra Perry\, Carrie Schn eider\, Cassie Thornton\, and Constantina Zavitsanos END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064548Z UID:442024 DTSTART:20170331T180000 DTEND:20170331T200000 LOCATION:EFA Project Space\,323 West 39th Street\, 2nd Floor \nNew York\, N Y 10018 SUMMARY:Sick Time\, Sleepy Time\, Crip Time: Against Capitalism's Temporal Bullying END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064548Z UID:442044 DTSTART:20170407T000000 DTEND:20170509T000000 DESCRIPTION:
June Kelly Gallery is pleased to announce the opening of Dreams &\; Refle ctions by Julio Valdez on view from April 7 through May 9. \; A nat ive of the Dominican Republic\, his work reflects both moment and timeless vagueness. \; A hybrid visual language between figurative and abstracti on is created in these recent trancelike paintings.\n\n
&ldquo\;My paintings explore this oceanic la ndscape that is both illusory and dreamlike. I have been examining images o f water beyond its physical characteristics\, as a metaphor for consciousne ss and the creative process. \; My recent work reflects my interest in creating a spatial uncertainty\, a sense of time not yet defined.&rdquo\; font>\n\n
Valdez&rsquo\;s paintings of the natural world&rsquo\;s beauty\, purity and truth evolve as autonomous pictorial language simplified by his concer n with location\, atmosphere as well as the vagaries of time. \; In Skaneateles Grey Abstraction\, the attendant effects of light and chiar oscuro illumination with extensive mark-making effect a composition where w ithin incalculable spatial volume\; planes appear to melt away as transpare ncies or into shadow.\n\n
Valdez&rsquo\;s paintings continue to impress as aquatic theaters reflecting a view of the sea that radiates back to the vi ewer as dreamlike\, if not\, hypnotic.\n\n
Paintings often generate respon se in the mind and the intuitive system of the viewer. \; Through a for m of kinesthesia empathy (sensation of movement) the rhythmic articulation or ruffling of the sea water in Las Terrenas Abstractions\, can be felt.&nb sp\; In the overall image Valdez creates a closeness of tone between hues o f greens\, blues and whites that resonates like a composite sound\, a chord \, with the ripples forming a visual cadence.\n\n
For Valdez\, the sea is a world where nature and consciousness meet\, where water\, as well as the intensity of the light\, are both his focus and constant symbols of a Domi nican&rsquo\;s devotion to his island.\n\n
This new series\, says Valdez\, has been inspired by diverse places such as the Reserva de la Biosfera Ria Celestú\;n\, a large coastal wetland reserve and wildlife refuge in the Yucatá\;n Peninsula of Mexico\, Las Terrenas and Cayo Arenas\, bo th in the Dominican Republic\, as well as Skaneateles Lake\, the smallest o f the Finger Lakes in upstate New York. \; These places allow me to exp erience a communion with nature and its cycles\, which I have found are an inviting entry point to my own inner explorations.\n\n
Valdez was born in Santo Domingo and studied at Altos de Chavόn School of Design in La Romana\ , which is associated with Parsons School of Design\, New York. \; He a lso studied at the National School of Fine Arts in Santo Domingo\, and work ed with printmakers Robert Blackburn and Kathy Caraccio in New York. He liv es and works in New York City.\n\n
Valdez&rsquo\;s paintings have been sho wn in many one-person and group exhibitions in the United States\, the Cari bbean\, Canada\, and Europe. \; He is represented in numerous public\, corporate and private collections\, including El Museo del Barrio\, New Yor k\; Los Angeles County Museum of Art\; Museum of Latin American Art\, Long Beach\, CA.\; Jane Voorhees Zimmerli Art Museum\, Rutgers University\, New Jersey\; Musé\;e Grimaldi\, Cagnes-Sur-Mer\, France\; Museo de Arte C ontemporaneo\, San Juan\, Puerto Rico\; Museum of Modern Art\, Santo Doming o\, Dominican Republic\; Omar Rayo Museum\, Roldanillo\, Colombia\; the Lib rary of Congress and The World Bank\, Washington\, DC.\n LOCATION:June Kelly Gallery\,166 Mercer Street \nNew York\, NY 10012 SUMMARY:Dreams & Reflections\, Julio Valdez END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064548Z UID:442046 DTSTART:20170413T000000 DTEND:20170520T000000 DESCRIPTION:
Koenig &\; Clinton is pleas ed to announce Peter Dreher&rsquo\;s second solo exhibition with the galler y\, Behind the Mirror\, a presentation of historical works on paper and paintings that span seven decades (1947&ndash\;2017) of the artist&rsqu o\;s career. Beginning with anatomical drawings that mark the start of the artist&rsquo\;s formal training\, the exhibition focuses exclusively on the subject of the skull as it reappears and transmutes over time.\n\n
In his initial studies\, Dreher renders the st andard academic motif\, in this case a toothy skull\, from multiple angles. He learns to form the illusion of volume through the studied application o f shading\, highlighting\, and color. The turning over of the examined obje ct will remain constant over the years as the artist&rsquo\;s thinking abou t perception will continue to change. \;\n\n
In a series of small-scale paintings\, a single skull is extracte d from its traditional still life table arrangement. Both the dramatic colo rs of earthly excess\, as well as the moral weight of vanitas are to ned down drastically\, so that the artist might isolate the sobering weight of mortality.\n\n
By the mid-2000s\, a new type of anatomical investigation commences\, as Dreher inverts his tra ditional palette to see more clearly. It&rsquo\;s as though the artist has granted the viewer a new X-ray vision. We can now peer inside the skull\, a s our eyes trace the nacreous arches that emerge from the inky ground. Duri ng these same years\, the artist drew a parallel series of pale skulls on a white ground. In this accompanying set of close up drawings\, the artist s paringly delineates the hollows that threaten to sink back into the ground of the page.\n\n
At a certain point\, r epetition gives way to accumulation. Like spring petals drifting on the sur face of some deep pool\, several ghostly skulls now collect over the surfac e of a dark void. Compositions are more or less populated\, but regardless of quantity\, the inevitability of the dark cosmos is now shared.\n\n
Behind the Mirror will complete the e xhibition programming for the gallery&rsquo\;s 459 West 19th Street locatio n. The gallery will open at 1329 Willoughby Avenue in June.\n\n
Peter Dreher (b. 1932\, Mannheim\, Germany) stu died at the State Academy of Fine Arts at Karlsruhe from 1950 to 1956\, and was professor of painting at the State Academy\, Karlsruhe\, from 1968 to 1997. During his professorship\, he taught and influenced a number of accla imed artists. Dreher&rsquo\;s Tag um Tag Guter Tag series is current ly the subject of a solo exhibition at The Mayor Gallery\, London and was r ecently part of the Accrochage group exhibition curated by Caroline Bourgeois at Punta dell Dogana. Solo exhibitions of his work have be en presented at institutions internationally including Milton Keynes Museum \, Great Britain (2013)\; Landesvertretung Baden-Wü\;rttemberg (2012)\; Musé\;e d&rsquo\;art moderne et contemporain\, Geneva\, (2011)\, Mus eum Erfurt\, Germany (2008)\; Athens Biennale (2007) and Staatliche Kunstha lle Baden-Baden\, Germany (1977). The artist lives and works in Wittnau\, G ermany.\n\n
For further information please contact firstname.lastname@example.com or call (212) 334-9255. Hours of operation are Tuesday&ndash\;Saturday\, 11AM&ndash\;6PM and by appointment.\n LOCATION:Koenig & Clinton\,459 West 19th St. \nNew York\, NY 10011 SUMMARY:Behind The Mirror\, Peter Dreher END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064548Z UID:442047 DTSTART:20170413T180000 DTEND:20170413T200000 LOCATION:Koenig & Clinton\,459 West 19th St. \nNew York\, NY 10011 SUMMARY:Behind The Mirror END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064548Z UID:442048 DTSTART:20170331T000000 DTEND:20170507T000000 DESCRIPTION:
LMAKgallery is pleased to  \;announce the opening of Jane Benson&rsquo\;s solo exhibition Song for Sebald. The exhibition features a\, ten-panel\, series of works on pa per each with an individual component of sound.\n\n
In Song for Sebald\, Jane Benson \;explo res the themes of separation and belonging through a radical encounter with the writer W.G. Sebald&rsquo\;s novel\, The Rings of Saturn. Bens on begins with the physical text of the novel and a knife. By carefully exc ising every part of the text except the syllables of the musical scale &nda sh\; do\, re\, mi\, fa\, so\, la\, ti &ndash\; she uncovers what w e might call the &ldquo\;potential music&rdquo\; of Sebald&rsquo\;s prose: a set of notes with a full tonal range hovering both inside and outside of the novel\, untethered from the original \;text and radically disjointe d within itself.\n\n
From that point of radical excision and destruction\, Benson moves to the process of re-creat ion. Benson actualizes the novel&rsquo\;s potential music through a process that links together author\, artist\, composer\, and performer. Each of th e novel&rsquo\;s ten chapters produces a separate movement created collabor atively by composer Matthew Schickele\; in each\, the pace of the music is guided by the spaces between the excavated syllables (the spaces Benson has cut) and its emotive lyric determined by a set of improvisations guided by elements of Sebald&rsquo\;s prose. Each chapter/movement has its own mood\ , dynamics\, and process of creation\, depending on the characters and them es of the original novel\, and on interactive processes determined by Benso n and Schickele. The collaged recordings of each movement are encountered b y viewers in sound pods equipped with headphones that are presented alongsi de each chapter of incised text\, with the entire score played in the galle ry daily at noon.\n\n
Sebald&rsquo\;s e xperimental fiction and essays demonstrate a preoccupation with displacemen t\, foreignness\, and extraterritoriality\, reflecting his own experience o f self-imposed exile from his native. Both thematically and formally\, Seba ld&rsquo\;s prose reflects its author&rsquo\;s experience of radical disloc ation\; his narrators often seem to stand apart from their physical and tex tual surroundings\, the stories they tell &ndash\; at once personal and imp ersonal &ndash\; reflect the creative potential of estrangement and disorie ntation.\n\n
Benson&rsquo\;s work explo res and expands this same creative potential\; her elaborate and multi-stag e process creates gaps and absences in order to stitch them together over t ime and across media\, in a process of collaboration that links together na tionalities\, disciplines\, genders\, and fields of creative work. In this\ , Song for Sebald not only gestures toward the work of a single au thor\, but also speaks with urgency to our present international moment\, i n which the plight &ndash\; and the promise &ndash\; of displaced persons h as become more important than ever before.\n\n
Song For Sebald will travel to the Contemporary Arts Cente r\, \;Cincinnati\, Ohio to be exhibited in Benson&rsquo\;s first survey exhibit\, opening in the Summer of 2017.\n\n
Jane Benson would like to thank the composer Matt Schickele\, me zzo-soprano Hai-Ting Chinn\, and the vocal performers Tomas Cruz and Joe Ch appel without whom this project would not have been possible.\n LOCATION:LMAKgallery\,298 Grand Street \nNew York\, NY SUMMARY:Song for Sebald\, Jane Benson END:VEVENT BEGIN:VEVENT DTSTAMP:20170501T064548Z UID:442049 DTSTART:20170331T180000 DTEND:20170331T200000 LOCATION:LMAKgallery\,298 Grand Street \nNew York\, NY SUMMARY:Song for Sebald END:VEVENT END:VCALENDAR