<?xml version="1.0"?>
<Events>
 <Event xml:lang="en" id="2012/043F" href="http://www.nyartbeat.com/event/2012/043F">
  <Name>Monica Cook “Volley”</Name>
  <Venue href="http://www.nyartbeat.com/venue/10EF30FF">
    <Name>Postmasters Gallery</Name>
    <Type>Gallery</Type>
    <Address>459 W 19th St., New York, NY 10011</Address>
    <Phone>212-727-3323</Phone>
    <Fax></Fax>
    <Access>Between 9th and 10th Ave., Subway: A/C/E to 14th Street or L to 8th Avenue.</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[In her first solo show with Postmasters Monica Cook presents “Volley,” a stop-animation video, and a group of moveable sculptures and photographs. In “Volley” a series of intimate narrative vignettes takes place in a world of human-like cave dwelling monkeys. Tender, expressive, attractive and repulsive all at once they live, love, dream, and die. The video is hard to watch and at the same time impossible to stop watching.
 
Animation is a form of magic because movement is a sign of life. To endow a creature with the power of motion is to bring it, partially, imperfectly, to life. Monica Cook’s monkey-creatures are animated by some very wild magic. Cursed by their creator with deeply corrupted bodies, with scarred skin and secret interiors, with pustules and orifices and inconvenient fluids, these creatures are uncomfortably, undeniably alive. And in their imperfection, they are not only individual, they are beautiful. Volley is a love story, in a sense it is the Love Story, that grand tale which we never cease to applaud: The brutality of biological lust tempered by the delicate delusions of adoration. Cook’s beast-beings inhabit a world the colors of spun sugar and wedding mints,  where rutting lust and infinite tenderness are indivisible. A mutant monkey with too-human eyes strokes a contented wolf-puppy who dreams of devouring entrails. A perfect luminous monkey-goddess hovers unapproachably, bedecked in lewd sequins.  Idealized passions fuse with the violence of birth. Cook renders the sufferings and storms of biological life with loving, unflinching regard, inviting the viewer to both voyeurism and self-reflection.
 
“It's tempting to call the film sweet and captivating, except that it is simultaneously repulsive and disturbing. The monkeys are pockmarked with surreal, iridescent growths. We are confronted with bodily functions of fluid and flesh that accompany the typically romanticized themes of love and animal connection. Even more disconcerting is that these terrifying-looking monkeys move and act in a way that reminds us of ourselves. It's unsettling to think that our bodies have anything in common with these bodies”.
-Wyatt Williams
 
 
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/043F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/043F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/043F-170" width="170" />
  <Karma>1.21557</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-07</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-07" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.744756</Latitude>
  <Longitude>-74.004783</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/2700" href="http://www.nyartbeat.com/event/2012/2700">
  <Name>Ai Weiwei, Wang Xingwei, Ding Yi &quot;Persona 3&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/951E6DE5">
    <Name>Chambers Fine Art</Name>
    <Type>Gallery</Type>
    <Address>522 W 19th St., New York, NY 10011 </Address>
    <Phone>212-414-1169</Phone>
    <Fax>212-414-1169</Fax>
    <Access>Between 10th and 11th Aves. Subway: C/E and L to 14th Street/ 8th Avenue</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Chambers Fine Art presents Persona 3, a cooperative work by Ai Weiwei, Wang Xingwei and Ding Yi. First exhibited in Beijing in 2004, Persona 3 is an audacious experiment in which the three artists agreed temporarily to exchange artistic profiles in a demonstration of their mutual admiration for the Chinese art scholar Hans van Dijk who had died in 2002. Resident in China since 1986, van Dijk was actively involved in the documentation and promotion of contemporary Chinese art at a particularly important time in its development.

As described by Britta Erickson: “Mature artists with widely recognized signature styles, Ai Weiwei, Ding Yi, and Wang Xingwei resolved to turn the iconic nature of each unique body of work on its head. Each artist would produce works of art to be exhibited as the creations of the others. This exercise required serious stretching of both artistic imagination and technical skills, and it was brought off with great aplomb….. Each artist worked in great secrecy, revealing the works to one another only immediately prior to the installation of the exhibition. It was a challenge among the three artists, to fathom the depths of each other’s artistic approach, and then to capture that spirit in concrete form.”

For this exercise, Ai Weiwei produced Appearance of Crosses, a sculptural form in iron that is derived from Ding Yi’s series of paintings Series of Crosses on which he had been working since 1988. One of the very few abstract painters to have emerged with the remarkable growth of contemporary Chinese art in the 1990s, Ding Yi narrowed the focus of his investigations to the repetition of cross forms in endless variations and on a wide variety of supports including ready-made fabrics such as tartans. In deciding to perforate a sheet of iron with rows of crosses, Ai Weiwei produced a sculpture of the type that Ding Yi might have produced if he had ever decided to work in three dimensions.

Known for his ironic use of a naturalistic painting style to comment on a wide variety of social and cultural issues, Wang Xingwei chose to channel Ai Weiwei in his Long Ring Tea-Table, a rosewood painting table reconfigured as a round tea-table. Unlike Ai Weiwei who uses furniture and architectural members surviving from the Ching dynasty and later in his ongoing series of three-dimensional works in wood, Wang Xingwei designed a circular table that does not resemble earlier forms and the Shanghai-based carpenters who executed it used new wood.

For Morning in Shanghai, painted in oil on corrugated board in the style of Wang Xingwei, Ding Yi reverted to the representational style that he had abandoned with the emergence of his signature abstract style in 1988. As in his own works which are frequently characterized by their composite nature, Ding Yi juxtaposes four sections of board in his dramatic Shanghai cityscape in which the celebrated buildings on the Bund are dwarfed by new developments in Pudong.

Enriching the artistic dialog between these three old friends in their hybrid creations will be works by Wang Xingwei and Ding Yi on loan from the Uli Sigg collection as well as by Ai Weiwei in which the artists speak in their own voices.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/2700-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2700-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2700-170" width="170" />
  <Karma>2.53472</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.745361</Latitude>
  <Longitude>-74.006631</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/320E" href="http://www.nyartbeat.com/event/2012/320E">
  <Name>&quot;BRIGHT LIGHTS, BIG LOVE&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/4B957CD4">
    <Name>Underline Gallery</Name>
    <Type>Gallery</Type>
    <Address>238 W 14th St., New York, NY 10011</Address>
    <Phone>212-242-2427</Phone>
    <Fax></Fax>
    <Access>Between 7th and 8th Aves. Subway: A/C/E and L to 8th Avenue / 14th Street or 1/2/3 to 7th Avenue/14th Street.</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[BRIGHT LIGHTS, BIG LOVE, a group show exploring the subject of relationships through the formal properties of light and color, spotlights a variety of mediums – from light installations and sculpture to painting and photography. Through these ephemeral, subjective media, the works demonstrate, question, and complicate the fragility and uncertainty of intimacy against the backdrop of some of the coldest months of the year.

The underpinning narrative of the collection speaks to the creation and destruction of relationships. The curators at Underline have managed to cull alluring, new works that address a particularly relevant theme in the coldest months: The seasonal nature of love.]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2012/320E-170" width="170" />
  <Karma>1.21241</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-31</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:30:00" end="20:30:00">Opening Reception</Party>
 <DaysBeforeEnd>51</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.738928</Latitude>
  <Longitude>-74.000942</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/412A" href="http://www.nyartbeat.com/event/2012/412A">
  <Name>&quot;Heads&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/CA84DB52">
    <Name>Lori Bookstein Fine Art</Name>
    <Type>Gallery</Type>
    <Address>138 10th Ave., New York, NY 10011 </Address>
    <Phone>212-750-0949</Phone>
    <Fax>212-750-0947</Fax>
    <Access>Between 18th and 19th Sts.  Subway: L or A/C/E to 14th Street/ 8th Avenue </Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</Area>
    <OpeningHour>10:30:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[group show]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/412A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/412A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/412A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-31" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.744903</Latitude>
  <Longitude>-74.005998</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/4594" href="http://www.nyartbeat.com/event/2012/4594">
  <Name>Dan Graham and Corey McCorkle Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8801FFA3">
    <Name>Murray Guy</Name>
    <Type>Gallery</Type>
    <Address>453 W 17th St., 2 Fl., New York, NY 10011</Address>
    <Phone>212-463-7372</Phone>
    <Fax>212-463-7319</Fax>
    <Access>Between 9th and 10th Ave. Subway: A/C/E to 14th Street, L to 8th Avenue/14th Street or C/E to 23rd Street</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>July: Tuesday-Friday 10-6. August: by appointment only.</ScheduleNote>
  </Venue>
  <Media>3D: Architecture</Media>
  <Description><![CDATA[Murray Guy presents an exhibition with Dan Graham and Corey McCorkle, bringing together works that take up the design and architecture of gardens. Ranging from the folly-filled leisure grounds of an eighteenth century chateau to the &quot;corporate arcadias&quot; which occupy the atriums of many post-1960s office towers, both artists engage the histories of garden architecture and its attendant fantasies of nature, enlightenment, contemplation, antiquity, leisure, and utopia.

Among the works on view is Corey McCorkle’s video Hermitage (2010), which takes as its subject the dormant grounds of an eighteenth century leisure garden that was a favorite of the Surrealists as well as George Bataille. Planned by the French aristocrat François Racine de Monville as a counterpart to the rationally organized gardens of nearby Ermenonville, the Désert de Retz held up to twenty pavilions (including faux Bedouin tents, ornamental Gothic priories and numerous grottos) before it closed during the French Revolution. McCorkle animates the landscape, producing a series of narratives, roles, and emotional states in response to a design that—characterized by fantasy and role-play—anticipates the amusement parks of the 20th century. Meanwhile in Tower of Shadows McCorkle brings to life Le Corbusier's &quot;Tower of Shadows&quot; in Chandigarh, India, an unfinished structure which was designed “brisesoleil”
to block as much sunlight as possible. Filmed from dawn to dusk on the shortest day of the year (the day on which the least possible amount of light would enter), McCorkle treats this folly as an allegorical ruin of a modernist, utopian dream of integrating architecture and nature.

Dan Graham’s photographs from the project Private &quot;Public&quot; Space: The New Corporate Atrium Garden show the landscaped interiors of office buildings that take up the dream of the &quot;earth as garden.” In these privately-owned yet “public” spaces, &quot;green-and-white metal openwork chairs and green lettering on shop windows connote a suburban arcadia in the midst of a city – an urban fantasy of the picturesque brought into the central city.&quot; In contrast, Two-Way Mirror Bridge and Triangular Pavilion to Existing Mill House for Domaine de Kerguéhennec (1987) is an insertion into the grounds of a Breton chateau originally landscaped in the French formal style and later redesigned as an English picturesque garden and then as a public park (with elements of all three schemes remaining today.) Converted to an art center in the 1980s as part of the French government's plan to decentralize cultural institutions, Graham responded to the triangular roof of a 19th century faux &quot;mill house,” proposing to build two triangular structures, one standing upright like a gazebo and the other sitting on its side to form a bridge across a nearby stream (with a base resembling a urban sidewalk grate.)

None of the works in this exhibition has been exhibited previously in New York, and they are presented here in a space just adjacent to the High Line, one of the most ambitious new models of the urban garden. 

The work of Corey McCorkle (b. 1969 La Crosse, Wisconsin) has been included in numerous institutions around the world including Centre Pompidou, Paris; Haus der Kunst, Munich; Louisiana Museum, Copenhagen; Kunst-Werke, Berlin; Kunsthalle Bern, Bern; and The Whitney Museum of American Art, New York. Recently McCorkle’s work has been presented at the MuHKA, Antwerp; ArtPace San Antonio; and at FRAC Ile de France, Paris and at FRAC Lorraine, Metz. A major monograph on McCorkle’s worth is forthcoming from Ludion Publishers.

Dan Graham (b. 1942 Urbana, Illinois) has exhibited widely and extensively since the mid-1960s. Among the numerous retrospectives of his work was Dan Graham: Beyond, on view in 2009 at The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis, and The Whitney Museum of American Art, New York. Graham has an exhibition opening February 2 with Robert Mangold at Galerie Nicolai Wallner, Copenhagen, and an exhibition around the theme of rock music opening on February 10 at Hauser &amp; Wirth, Zurich. Graham’s Alteration to a Suburban House (1978) is currently on view at The Museum of Modern Art, New York, and hewill give a talk at the museum on February 23.]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2012/4594-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-07</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.743439</Latitude>
  <Longitude>-74.005392</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/479E" href="http://www.nyartbeat.com/event/2012/479E">
  <Name>Guo Fengyi, Sava Sekulic, Charles Steffen Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/FB8D778C">
    <Name>Andrew Edlin Gallery</Name>
    <Type>Gallery</Type>
    <Address>134 10th Ave., New York, NY 10011 </Address>
    <Phone>212-206-9723</Phone>
    <Fax></Fax>
    <Access>Between 18th and 19th Sts.  Subway: L or A/C/E to 14th Street/ 8th Avenue</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[The self-taught artists Guo Fengyi (1942 - 2010), Sava Sekulic (1902 - 1989) and Charles Steffen (1927 - 1995) all created works that suggest metamorphosis, depicting the human form in an interim phase between a beginning and a future shape. These otherworldly, transfigured bodies reveal hidden organisms that appear to have been gestating inside their hosts.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/479E-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2012/479E-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-27</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.744786</Latitude>
  <Longitude>-74.006083</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/4D8E" href="http://www.nyartbeat.com/event/2012/4D8E">
  <Name>Zefrey Throwell &quot;Ocularpation: Wall Street&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/D205C3AE">
    <Name>Gasser Grunert Gallery</Name>
    <Type>Gallery</Type>
    <Address>524 W 19th St., New York, NY 10011</Address>
    <Phone>212-807-9494 </Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E/L to 14th Street or C/E to 23rd Street</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Klemens Gasser &amp; Tanja Grunert presents the exhibition Ocularpation: Wall Street by Zefrey Throwell, from January 6-February 11, 2012, featuring photographs, paintings, video, and sculpture. The exhibition centers around a large-scale continuous video projection of Ocularpation: Wall Street, created on August 1, 2011, in which 50 performers directed by Zefrey Throwell, gathered outdoors on Wall Street, stripped down to nothing, and began working in a call for transparency that caught fire and spread across the globe.

The experience and documentation of Ocularpation informs the varied works in the exhibition. A series of oil paintings, using signature Wall Street blue trader jackets sewn together as the canvas, are collaged with photographs of the performances. Fifty sculptures of everyday objects, relating to the Wall Street professions (i.e. broom—janitorial, handcuffs—police, piggybank— banker, etc.), have been coated with a thin veneer of gold enamel, thereby transforming them into precious artworks. Zefrey, who used nudity so powerfully as a symbol of exposure and transparency in the Ocularpation performance and the recent strip poker game I’ll Raise you One… at Art in General, uses gold in this body of work in reference to the current American financial dream, sold as a glittering jewel, but in fact is a fantasy whose value is speculation.

Ocularpation: Wall Street continues Zefrey Throwell’s extensive body of investigative and interactive projects focused on the connecting points and underpinnings of social discourse. Projects shown at the MoMA, Whitney Museum, Performa, and Venice Biennials, as well as major media coverage of Ocularpation (including The New York Times, BBC, CNN, NBC and more) have provided the artist with a platform to ignite public discussion and an international call to action. The artist states, the inspiration for the Ocularpation performance and exhibition was personal: “When my mother lost all her savings and was forced to come out of retirement from the market crash of 2008, I knew we had to refocus attention on Wall Street, its actions, secrecy, and real repercussions on people’s lives.”

Artist Talk
A talk with Zefrey Throwell, Clark Winter (an internationally known investor and commentator on geopolitics and global financial markets) and more, will take place at the gallery. Date and additional participants TBA. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/4D8E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4D8E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4D8E-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-06</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-06" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.745372</Latitude>
  <Longitude>-74.006664</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/51A3" href="http://www.nyartbeat.com/event/2012/51A3">
  <Name>Willie Doherty &quot;One Place Twice Photo/Text/85/92&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/08D8FB4D">
    <Name>Alexander and Bonin</Name>
    <Type>Gallery</Type>
    <Address>132 10th Ave, New York, NY 10011</Address>
    <Phone>212-367-7474</Phone>
    <Fax>212-367-7337</Fax>
    <Access>Between 18th and 19th St.  Subway: A/C/E to 14th Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Open by appointment for the Summer.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[An exhibition of Willie Doherty’s photographs from 1985 - 1992 opens at Alexander and Bonin on January 27th. These black and white photographs with text have not previously been exhibited in North America.  The exhibition was organized in conjunction with Matt’s Gallery, London and a publication with an essay by Declan Long will be available.  In addition, a small group of works from his series OUT OF BODY, 2010 will be exhibited in the second floor space.
 
These early works developed conceptual and formal strategies that carried through Doherty’s practice over the next two decades. In particular, they foreshadow his distinctive use of voiceover in the body of the video works he has subsequently produced.
 
Doherty’s ongoing concerns with the complexities and contradictions of contested terrain were firmly established early on. These works probed the tensions and anxieties of what was visible and invisible, of what could be said and what could not. The works in the exhibition reveal something of the social and political conditions of the period which saw the entrance of the Irish Republican movement into the political process and into negotiations with the British government over the North of Ireland. They also bear traces of the artistic possibilities and debates at the time of production, which sought to politicize conceptual art practice. The specific content of these works – of boundary building and the pervasive nature of surveillance, the apparent incommensurability of polarized political factions and the scars these divisions leave on the landscape – remain relevant today.

OUT OF BODY, 2010 is a series of nine color c-prints of blue skies and lead grey water interrupted by white texts. These words and short phrases have been developed from Doherty’s recent video work, UNFINISHED, 2010. The phrase ‘out of body’ refers to a space outside of, or beyond, the physical limitations of the body of the hostage.  This is the first time since the early 1990s that Doherty has used language in his two dimensional work.
Willie Doherty was born 1959 in Derry, Northern Ireland where he continues to live and work.  His work in both photography and video has been shown internationally in institutions since the 1980s. In 2011 his work was the subject of one-person exhibitions at the Speed Art Museum in Louisville and Dublin City Gallery, The Hugh Lane. The artist is currently completing a new video projection to be included in dOCUMENTA (13), Kassel in 2012. In 2013, his video work will be the subject of a survey exhibition at the Museo de Arte of the Universidad Nacional de Colombia in Bogotá.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/51A3-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2012/51A3-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-28</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-27" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
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 </Event>

 <Event xml:lang="en" id="2012/5982" href="http://www.nyartbeat.com/event/2012/5982">
  <Name>Doug Wheeler Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/4E0C8908">
    <Name>David Zwirner</Name>
    <Type>Gallery</Type>
    <Address>525 W 19th St., New York, NY 10011</Address>
    <Phone>212-727-2070</Phone>
    <Fax>212-727-2072</Fax>
    <Access>Between 10th Ave. and West Side Expressway. C/E to 23rd Street or A/C/E to 14th Street or L to 8th Avenue.</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[David Zwirner presents an ambitious new work by American artist Doug Wheeler (b. 1939), whose large-scale installations have rarely been seen in the United States. Built within the gallery’s 519 West 19th Street space, Wheeler’s SA MI 75 DZ NY 12 (2012) explores the materiality of light while emphasizing the viewer’s physical experience of infinite space. The exhibition marks the first presentation of an “infinity environment” by the artist in New York.

As a pioneer of the so-called “Light and Space” movement that flourished in Southern California in the 1960s and 1970s, Wheeler’s prolific and ground-breaking body of work encompasses drawing, painting, and installations that are characterized by a singular experimentation with the perception and experience of space, volume, and light. Raised in the high desert of Arizona, Wheeler began his career as a painter in the early 1960s while studying at the Chouinard Art Institute (now the California Institute of the Arts) in Los Angeles.

Wheeler’s early white canvases incorporated abstract imagery that created a spatial dynamic and activated the central void of the painting’s field. His practice quickly developed into the environmental aesthetic for which he is presently best known. In 1965, the artist made a transitional work in which he over-sprayed a canvas with subtle variations of white and installed neon tubes inside the back of the frame. Installed with a white floor, the painting appeared to float on the wall. Wheeler subsequently abandoned canvas altogether with a body of innovative, radiant works known as “fabricated light paintings” in which he applied lacquer to Plexiglas boxes that were illuminated from within by neon tubing. These “paintings” were followed by his “light encasements,” which consist of large squares of painted vacuum-formed plastic with neon light embedded along the inside edges. Intended to be installed in a pristine white room with coved angles, these works dematerialize and create an immersive and spatially ambiguous environment that absorbs the viewer in the subtle construction of pure space. According to critic and curator John Coplans, who organized Wheeler’s first solo exhibition at the Pasadena Art Museum in 1968, Wheeler’s “primary aim as [an artist] is to reshape or change the spectator’s perception of the seen world. In short, [his] medium is not light or new materials or technology, but perception.”1

In 1969, at the Stedelijk Museum in both Amsterdam and Eindhoven, Wheeler realized his first environmental installation outside of his studio—a “light wall”—using a single row of daylight neon light embedded inside a viewing aperture that encompassed the entire dimension of the gallery wall within an enclosed space. He stretched a nylon scrim to create a luminous “ceiling” that captured and reflected light and appeared to float above the room. Of this type of work, Wheeler has said, “I wanted to effect a dematerialization so that I could deal with the dynamics of the particular space. It was a real space—not illusory—it was a cloud of light in constant flux. That molecular mist is the most important thing I do. It comes out of my way of seeing from living in Arizona—and the constant awareness of the landscape and the clouds.”2

In subsequent exhibitions, Wheeler continued to explore similar effects by manipulating architecture with neon and fluorescent lighting, creating entire luminous rooms in which the viewer experienced the sensation of entering an infinite void. In 1975, for a solo exhibition at the Salvatore Ala Gallery, Milan, Wheeler executed the first of his “infinity environments” by creating an expansive all-white room that simulated dawn, day, and dusk in a continual succession. Wheeler created similar environments at only two other venues: the Museum of Contemporary Art, Los Angeles (1983), and the Guggenheim Museum Bilbao (2000). As the fourth of the artist’s “infinity environments,” the installation at David Zwirner will similarly replicate the transition from day to night.

Wheeler’s first solo exhibitions were held at the Pasadena Art Museum (1968), Ace gallery, Venice, California (1969), and Galerie Schmela, Düsseldorf (1970). His work was included in a number of important exhibitions in the 1970s and 1980s, including Larry Bell, Robert Irwin, Doug Wheeler (Tate Gallery, London, 1970); Rooms (PS1, New York, 1976); Ambiente Arte (Venice Biennale, 1976); and Individuals: A Selected History of Contemporary Art, 1945-1986 (Museum of Contemporary Art, Los Angeles, 1986), among others. More recently, Wheeler’s work was presented in Selections from the Collection of Helga and Walther Lauffs (Zwirner &amp; Wirth/David Zwirner, 2008); Time &amp; Place: Los Angeles 1957-1968 (Moderna Museet, Stockholm, 2008-2009); and Primary Atmospheres: Works from California 1960-1970 (David Zwirner, 2010). In 2008, Wheeler created an ice environment as part of his overall design for “Upside Down:” les Arctiques, an exhibition of Eskimo and Inuit art at Musée du Quai Branly, Paris. He is currently featured in the exhibition Phenomenal: California Light, Space, Surface at the Museum of Contemporary Art, San Diego, as part of the Getty Research Institute’s Pacific Standard Time initiative. Work by the artist is held in major museum collections, including the Stedelijk Museum, Amsterdam; Museum of Contemporary Art, Los Angeles; Solomon R. Guggenheim Museum, New York; Los Angeles County Museum of Art; Hirshhorn Museum and Sculpture Garden, Washington D.C.; and the Museum of Contemporary Art, San Diego. Wheeler lives and works in Santa Fe, New Mexico, and Los Angeles.

On the occasion of the exhibition, David Zwirner will publish the first extensive monograph devoted to the artist’s work in collaboration with Steidl, Göttingen. The publication will contain rare archival documentation as well as new scholarship on the artist by Germano Celant.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5982-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5982-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5982-170" width="170" />
  <Karma>6.75272</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-14</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
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  <Latitude>40.745461</Latitude>
  <Longitude>-74.006464</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6133" href="http://www.nyartbeat.com/event/2012/6133">
  <Name>Simone Leigh &quot;You Don’t Know Where Her Mouth Has Been&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/1D3ACD3B">
    <Name>The Kitchen</Name>
    <Type>Other</Type>
    <Address>512 W 19th St., 2 Fl., New York, NY 10011</Address>
    <Phone>212-255-5793</Phone>
    <Fax></Fax>
    <Access>Between 10th Ave and West Side Hwy. Subway: A/C/E to 14th Street or C/E to 23rd Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 11:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[The Kitchen presents the New York premiere of You Don’t Know Where Her Mouth Has Been, a solo exhibition by sculptor and video-maker Simone Leigh. The exhibition, curated by Rashida Bumbray, features Leigh’s most recent explorations of materiality, women’s work, and Afro-futurism in sculpture, video, and site-specific installation.

Known for her archaic anthropomorphic sculptural forms in porcelain, terracotta, tobacco, glass, and steel, in addition to video and media-based works, Leigh’s practice often interrogates the notion of art—especially craftwork and sculpture—as merely decorative. She investigates the processes and cultural histories of constructing objects, bringing handmade ceramic vessels together with re-purposed found objects in order to put forth a dialogue between the aesthetically beautiful and brutally utilitarian. 
Leigh’s practice employs early African ceramic techniques to evoke contemporary parallels and underlying social and economic conditions. For You Don’t Know Where Her Mouth Has Been, the artist draws from the symbolic and political traditions of a diversity of influences—from early African-American face jugs and the manifesto of Africobra to Star Trek and Gilbert and Sullivan—in order to explore the slippages among multifarious cultural, political, and colonial histories that have laid claim to marginalized bodies. You Don’t Know Where Her Mouth Has Been will include three new bodies of work: sculptural chandelier installations, bust sculptures, and a video collaboration with artist Chitra Ganesh, featuring a musical score created and performed by Kaoru Watanabe. Leigh’s work was previously exhibited at The Kitchen as part of The Future As Disruption, a group exhibition that took place in Summer 2008. ]]></Description>
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  <Karma>1.25095</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-18</DateStart>
  <DateEnd>2012-03-11</DateEnd>
  <ScheduleNote>A free performance event on Monday, February 13, 7:00 P.M.</ScheduleNote>
 <Party type="1" date="2012-01-18" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>31</DaysBeforeEnd>
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  <Longitude>-74.006186</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/7B9B" href="http://www.nyartbeat.com/event/2012/7B9B">
  <Name>Motoyuki Daifu &quot;Lovesdy&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/AD9ABBF6">
    <Name>Lombard-Freid Projects</Name>
    <Type>Gallery</Type>
    <Address>518 W 19th St., New York, NY 10011</Address>
    <Phone>212-967-8040</Phone>
    <Fax>212-967-0669</Fax>
    <Access>Between 10th and 11th Avenue. Subway: C/E to 23rd Street or A/C/E, or L to 14th Street/ 8th Avenue</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 11:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Lombard Freid Projects presents Lovsody, Motoyuki Daifu’s first solo show with the gallery. The young Japanese photographer, based in Tokyo, uses photography to document the highly personal chaos of domestic life with his family and loved ones. Motoyuki’s portraits of people, rooms and objects are filled with energy and color, all of which intermix to generate a natural narrative that feel simultaneously honest and unlikely. Motoyuki’s subjects are unfazed by the continuous presence of his camera, offering up their most intimate moments for documentation and presentation to the outside world.
 
Lombard Freid premiered Motoyuki’s work in the US as part of last year’s critically acclaimed group show Minor Cropping May Occur. His 2009 Family series, made of lovingly shot portraits of Motoyuki’s cramped and hectic life in the Tokyo apartment with his parents and five siblings, was highlighted in the New York Times, The New Yorker, Art Review and ID Online. Lovesdy is an intimate follow up that looks to the more romantic and mournful side of personal relationships.

I met her when she was only twenty years old.
She already had a two-year-old boy and was pregnant again.
I fell in love with her at first sight.
A girl - and a mother.
She had two characters in herself.
I had never met a girl like her- a girl full of motherly love.
This is our six month lovesody.
- Motoyuki Daifu

Lovesody (a portmanteau of love and rhapsody) documents Motoyuki’s brief and potent relationship with a single young mother and her two children. In this series, Motoyuki steps away from the comfort of his family, and presents his own volatile coming of age tale. The resulting narrative is suffused with joy and melancholy, capturing all the intimacies of young love. The frenetic quality seen in his previous work continues to create a fully tactile experience where nothing is concealed; the children’s snot and grime and their mothers’ exhaustion carry the viewer though Motoyuki’s reality where chaos and imbalance reign. The young girl and her small children are portrayed through a loving lens while the viewer looks on aware that the affair ended after only six months. The brevity of the relationship adds to the intimacy of the series with the narrative exposing a series of kinetic emotions that burnt out faster then they could be realized. 
 
Following the photo diary tradition within Japanese photography, a clear timeframe and narrative is presented even as Motoyuki’s gaze repeatedly shifts from amorous admirer, to protective father, and to the child within himself. The order, structure, and stoicism often associated with contemporary Japan are absent, marking Motoyuki as an accurate recorder of a new, uncertain time where generations are shifting and values changing on a daily basis. Added to this, in a country with a staggering age imbalance and birth rates at a critical low, Motoyuki’s Lovesody is a pure anomaly.
 
The exhibition coincides with the release of a limited edition publication of the same name. Published by Little Big Man, 300 copies of Lovesody, along with 10 special editions with a hand-numbered photographic print, will be released on January 25th.]]></Description>
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  <Karma>9.5393</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
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 </Event>

 <Event xml:lang="en" id="2012/8652" href="http://www.nyartbeat.com/event/2012/8652">
  <Name>On Kawara &quot;Date Painting(s)&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/4E0C8908">
    <Name>David Zwirner</Name>
    <Type>Gallery</Type>
    <Address>525 W 19th St., New York, NY 10011</Address>
    <Phone>212-727-2070</Phone>
    <Fax>212-727-2072</Fax>
    <Access>Between 10th Ave. and West Side Expressway. C/E to 23rd Street or A/C/E to 14th Street or L to 8th Avenue.</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[David Zwirner presents the exhibition On Kawara: Date Painting(s) in New York and 136 Other Cities, on view at the gallery’s 525 and 533 West 19th Street spaces. The exhibition will feature over 150 works selected by the artist, comprising a seminal presentation of his renowned date paintings from 1966 to the present (known collectively as the Today series).

Spanning both of the gallery’s exhibition spaces at 525 and 533 West 19th Street, the exhibition will address the temporal and geographical scope of the artist’s continuing practice, which is characterized by its meditative approach to concepts of time, space, and consciousness. Date paintings from each year since the inception of the Today series will be brought together in an expansive, evocative installation: a comprehensive selection of works painted in New York will be displayed in one gallery, while the second exhibition space will be devoted to the presentation of works painted in almost all other cities ever visited by the artist.

For over four decades, On Kawara has created paintings, drawings, books, and recordings that examine chronological time and its function as a measure of human existence. The artist began making his now signature date paintings in 1966 in New York City, and continues to make them in different parts of the world. Following the same basic procedure and format, each of these works is carefully executed by hand with the date documented in the language and grammatical conventions of the country in which it is made (Esperanto is used when the first language of a given country does not use the Roman alphabet). The artist has created a version of the sans serif typeface, which he uses to meticulously paint the letters and numbers in white on a monochrome surface. Each painting, when not on display, is encased in a cardboard box handmade by the artist. On certain days, a newspaper clipping from the city in which the painting is executed is selected and used to line the interior of the box.

The particular syntax with which any given date is recorded evokes specific locations and subtly reflects the regional differences that exist despite the universality of time. With works on display from over a hundred cities in more than thirty countries, the grammar of the paintings emerges as a code to be deciphered. The global dimension of the Today series is further evidenced by the local newspapers accompanying many of the works, whose headlines add to the virtually endless events encompassed by the given date recorded by Kawara (presentation binders with facsimiles of the newspapers clippings will be accessible for visitors to read).

New York occupies a central importance within the Today series as the city where the first date painting was made (JAN. 4, 1966) and where the majority of the works have been executed. It also marks the location of three significant paintings produced on the days surrounding the first manned moon landing in July 1969 (JULY 16, 1969; JULY 20, 1969; and JULY 21, 1969); each presents the largest canvas size Kawara has used for the date paintings (61 x 89 inches). The actual newspaper clippings accompanying these works are exhibited alongside the paintings and offer a narrative component, with the headline of one reading “MAN WALKS ON MOON.”

Also on view will be one-hundred-year calendars: one from the twentieth century and another from the twenty-first. Starting with the date of his birth, Kawara systematically marks each day of his life with a yellow dot on the calendars, and registers a completed date painting with a green dot (red dots signify that more than one painting was completed on that given day).

Japanese writer Lei Yamabe notes in the catalogue accompanying the exhibition that each date painting “is like a letter whose delivery has been delayed, or one might say that each work resembles a star.” Conversely, for each day in which a date painting is not produced, “Kawara is shut in the closed room of time, simultaneously alive and dead...[T]he flickering between life and death, existence and non-existence, is transferred intact to the entire Today series made up of date paintings. This is because the series will be complete when Kawara’s body ceases to exist—when superposition finally collapses completely and Kawara has entered the irreversible phase of ‘death.’ Or conversely, because until that moment the series itself is a superposition of existence and non-existence.”1

On Kawara: Date Painting(s) in New York and 136 Other Cities will be accompanied by an eponymous, fully illustrated catalogue published by Ludion. Since 1999, Kawara’s work has been represented by David Zwirner, and On Kawara: Date Painting(s) in New York and 136 Other Cities marks his fifth solo exhibition at the gallery.

On Kawara is a prominent figure in contemporary art, and his work has been included in numerous conceptual art surveys from the seminal Information show at The Museum of Modern Art, New York, in 1970 to 1965-1975: Reconsidering the Object of Art at the Museum of Contemporary Art, Los Angeles, in 1995-96. The artist’s work has been the subject of recent solo exhibitions at prominent institutions worldwide, including the Dallas Museum of Art in 2008. On Kawara: Consciousness. Meditation. Watcher on the Hills was a major solo exhibition, which traveled to a dozen international venues between 2002 and 2006, including the Ikon Gallery, Birmingham, England; Le Consortium, Dijon, France; Kunstverein Braunschweig, Germany; Institute of Contemporary Arts, Singapore; and The Power Plant, Toronto. A long-term installation of the artist’s date paintings is currently on view at Dia:Beacon in Beacon, New York.]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2012/8652-170" width="170" />
  <Karma>15.6481</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-06</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
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  <Latitude>40.745461</Latitude>
  <Longitude>-74.006464</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/B73A" href="http://www.nyartbeat.com/event/2012/B73A">
  <Name>Bruce Gagnier &quot;Moses Striking the Rock: A Commission&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/CA84DB52">
    <Name>Lori Bookstein Fine Art</Name>
    <Type>Gallery</Type>
    <Address>138 10th Ave., New York, NY 10011 </Address>
    <Phone>212-750-0949</Phone>
    <Fax>212-750-0947</Fax>
    <Access>Between 18th and 19th Sts.  Subway: L or A/C/E to 14th Street/ 8th Avenue </Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</Area>
    <OpeningHour>10:30:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Lori Bookstein Fine Art presents a fountain commission by Bruce Gagnier. The life-size bronze depicts the Old Testament scene in Numbers 20:11: &quot;And Moses lifted up his hand, and smote the rock with his rod twice: and water came forth abundantly, and the congregation drank, and their cattle.&quot; The newly-completed Moses Striking the Rock will be on view through February 18 before going to its permanent home, a private residence on the Long Island Sound.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B73A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B73A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B73A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-31" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.744903</Latitude>
  <Longitude>-74.005998</Longitude>
 </Event>

</Events>
