<?xml version="1.0"?>
<Events>
 <Event xml:lang="en" id="2010/39CF" href="http://www.nyartbeat.com/event/2010/39CF">
  <Name>Beth Lipman &quot;De Rigueur&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/52DE621B">
    <Name>Heller Gallery</Name>
    <Type>Gallery</Type>
    <Address>420 W 14th St., New York, NY 10014</Address>
    <Phone>212-414-4014</Phone>
    <Fax>212-414-2636</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="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Heller Gallery presents an exhibition of new work by Beth Lipman titled de Rigueur.  

Two major installations will be the focus of the exhibition - the towering Bride and a pair of Whatnots, Victorian-inspired corner units.  In both works Lipman takes new ownership of the still-life genre combining social commentary with a personal narrative.

In the Bride Lipman presents the wedding as a fulcrum in a woman’s life in which the exquisite emblematically collides with the quotidian.  The piece is a 10-ft. tall 5-tier dessert stand filled with glass objects.  The top tier is set with an orderly crown of candles, which gives way to a tier of stemware.  The third layer contains a fuller arrangement of cups and bowls and below them is an opulent laid table-like installation. The lowest layer explodes with an overwhelming assemblage of all the parts from tiers above.  The Bride goes from order to chaos or chaos to order depending on which direction your eye travels – top to bottom or bottom to top.  Lipman uses the height and stratification of the piece to prevent us from seeing it in its entirety and therefore from actually or visually possessing it.  In doing so she reexamines her questions about the complex relationships between satisfaction, knowledge, ownership, and the human desire to possess. 

The Whatnots take their name from a piece of furniture popular in England in the 19th century, designed to contain various collectibles.  Lipman’s version consists of two wooden multi-shelf corner units, which hold a collection of souvenirs from her own life remade in black glass, a material synonymous with Victorian mourning jewelry.  Understanding the intimate connection between the souvenirs – many of them gifts to the artist from other artists – makes the pieces autobiographical.  Taken out of context they demonstrate the banality of our object-obsessed lifestyles. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/39CF-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/39CF-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/39CF-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-03-04</DateStart>
  <DateEnd>2010-03-27</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-03-04" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>12</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.741331</Latitude>
  <Longitude>-74.006311</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/45CC" href="http://www.nyartbeat.com/event/2010/45CC">
  <Name>Marlene Dumas &quot;Against the Wall&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 announces Against the Wall, the first solo exhibition by Marlene Dumas since the artist joined the gallery in 2008. The exhibition features new works from 2009 and 2010. Known for her unique approach to canvas and her thought-provoking subject matter, Marlene Dumas is widely considered one of today’s most important painters. Her work is characterized 
by a sensual and gestural technique that is also swift, dry, and minimal, as if under pressure to leave only what is necessary.  
While she lives and works in The Netherlands, the artist was  born and raised in South Africa, and her paintings have often drawn from her own experiences of living with apartheid. For over thirty years, Dumas has merged political discourse,  personal experience, and art historical references in a richly layered body of work. Her paintings integrate complex themes— ranging from segregation, eroticism, or, more generally, the politics of love and war—to explore how image-making is implicitly involved not only in the cultural processes of objectification, but also in the way in which events are documented  and collectively understood. Dumas’s practice is often based upon the translation of found imagery and explores the tension between the photographic documentation of reality and the constructed, imaginary space of painting. The works in this exhibition 
have evolved primarily from media imagery and newspaper clippings documenting Israel and Palestine. However, Dumas’s  representations acknowledge universal themes of instability, isolation, and the lack of communication, while moreover addressing the medium of painting as such. The titles of these works (among them Under Construction; Mindblocks; The Wall) not only describe the motifs depicted, but also refer to the artist’s struggle with the boundaries of her chosen medium: as she herself has noted, “A painting needs a wall to object to.” 
Dumas’s paintings often display a kind of ambiguity of meaning, employing visual “traps” to show how the mind is quick to assume what is being presented in a given image. Her latest works explore the (in)famous walls of this unstable region of the Middle East. 

[Imaga: Marlene Dumas &quot;The Wall&quot; (2009) Oil on canvas, 70 7/8 x 118 1/8 in.]
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/45CC-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/45CC-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/45CC-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-03-18</DateStart>
  <DateEnd>2010-04-24</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-03-18" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>40</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.745461</Latitude>
  <Longitude>-74.006464</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/5766" href="http://www.nyartbeat.com/event/2010/5766">
  <Name>Helen Miranda Wilson &quot;Eight Paintings&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>2D: Painting</Media>
  <Description><![CDATA[The eight non-representational paintings that make up this show were done over the last three years. They represent an obvious progression from Helen Miranda Wilson's previous series, but are considerably more detailed, each panel being covered by a myriad of rectangles which blanket the surface in an unbroken array. Their plurality is reminiscent of the multiplicity which meets the eye whenever we are in nature, surrounded by its uncountable repetitions. Many years of painting landscape from life, as well as the artist's early exposure to the art of the Bauhaus movement have greatly influenced this most recent work. The profusion of color can also bring to mind the mosaic murals that the artist first saw in Ravenna, in the 1970s, which are made of millions of tiny, shimmering glass tiles.

The paint is applied meditatively, not gesturally or obsessively. Mistakes, when they occur, are allowed and left to be seen. No two colors are alike, and each one is chosen in a casual, unconscious way. Each one represents a journal of many hours, marked in a method that slowed time for the artist as she worked to cover the surface, painting it from top to bottom, one color after another.

Although Wilson no longer uses recognizable subject matter as she did for most if her career, these paintings are done with the same materials and techniques and in the same small format for which she has always been known. The surfaces are matte and yet have a velvety, open quality because the artist uses oil paint with no added medium and applies no final overcoat of varnish. The edges of the unframed panels retain the drips of primer, sanded smooth which are meant to be seen as part of the object. Wilson typically works wet-into-wet, blending the paint softly into itself with fan brushes. She has used this technique to blur the lines between one section of a painting and the next, since the early 1970s.

The artist has lived in Wellfleet, Massachusetts, the town she grew up in, for the last ten years. She keeps honeybees and chickens successfully and serves as a member of the local government. She paints full-time and teaches occasionally.

[Image: Helen Miranda Wilson &quot;Snow in Summer&quot; (2009) Oil paint on panel 12 x 12 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/5766-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/5766-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/5766-170" width="170" />
  <Karma>0.980008</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-17</DateStart>
  <DateEnd>2010-03-20</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>5</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.744903</Latitude>
  <Longitude>-74.005998</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/67B0" href="http://www.nyartbeat.com/event/2010/67B0">
  <Name>&quot;The Bible Illuminated: R. Crumb’s Book of Genesis &quot; 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>2D: Illustration</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[David Zwirner presents The Bible Illuminated: R. Crumb’s Book of Genesis, the artist’s second solo exhibition at the gallery. 
 
These drawings – 207 extraordinary individual works of pen and ink on paper – were produced for his now landmark The Book of Genesis Illustrated by R. Crumb (W.W. Norton), published in October 2009. Five years in the making and released to instant critical acclaim, the eagerly awaited book topped many bestseller lists, including #1 on the New York Times: Graphic Books list. 
From Creation to the death of Joseph, Crumb chronicles all fifty chapters of Genesis in an astonishing tapestry of masterly detail and storytelling, rendered frame by frame in meticulous comic book fashion. With a literal interpretation primarily assembled from translations of Robert Alter and the King James Bible, Crumb reintroduces us to the bountiful tree lined garden of Adam and Eve, the massive ark of Noah with beasts of every kind, the cities of Sodom and Gomorrah destroyed by brimstone and fire that rained from the heavens, and the Egypt of the Pharaoh, where Joseph’s embalmed body is carried in a coffin, in a scene as elegiac as any in Genesis. Using clues from the text and peeling away the theological and scholarly versions that have often obscured the Bible’s most dramatic stories, Crumb fleshes out a parade of Biblical originals: from the serpent in Eden, as a humanoid reptile; to Abraham’s wife Sarah, more fetching than most woman at 90; to God himself, patriarchal and white-bearded. 
 
Robert Crumb (born 1943, Philadelphia) began drawing comics as a young boy.  In the late 1960s he emerged as the leading figure in the underground comic movement. Since then, his influence has been immeasurable, from the first issue of Zap Comix in 1968; to his most recognized comic, Keep on Truckin’, which became a widely distributed fixture of pop culture in the late 1970s; from the adventures of his notorious characters Devil Girl, Fritz the Cat, and Mr. Natural; to being the subject of Terry Zwigoff’s 1995 documentary, Crumb. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/67B0-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/67B0-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/67B0-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-03-04</DateStart>
  <DateEnd>2010-04-17</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>33</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.745461</Latitude>
  <Longitude>-74.006464</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/812E" href="http://www.nyartbeat.com/event/2010/812E">
  <Name>Antonakos &quot;Whites&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>2D: Painting</Media>
  <Description><![CDATA[Lori Bookstein Fine Art presents Antonakos: Whites, an exhibition of the artist’s white work in various media and different scales, focusing on the interaction of light with particular surfaces and edges. Drawn from the last 30 years, the examples embody the formalist engagement with physical and spatial relationships that has defined the work since the mid-1960s. Consistently non-referential, his geometric abstractions are, in his own words, “real things in real space.”

The interdependence of light and space, and the concern for specific architectural context and scale, that this exhibition seeks to exemplify, were powerfully evident in the 1960s in successive one-person exhibitions in New York and throughout the country. These included shows at the Fischbach Gallery, New York City; Neon Sculpture at the Fort Worth Art Center, and The Magic Theatre at the Nelson Atkins Gallery, Kansas City, among others.

Through the 1970s, many series of smaller, succinct “incomplete” neon forms in indoor installations were exhibited in dozens of personal and group shows here and throughout the United States and Europe. These crucially-placed linear forms referred to whole circles, squares, and other geometric shapes that might be completed in much larger scale in the mind’s eye. Antonakos dealt with these forms at the same time with a great range of invention in his drawings. These continue to be steadily produced, as shown in the group of recent “Crumples” – sheets of paper and Tyvek which the artist has quickly, firmly manipulated by hand.

Like the “Crumples” and all the artist’s works on paper and vellum, the earliest works here, the “Cuts” (1978, 1980), were created with Antonakos’s characteristic “plan/no plan.” Decisions are made regarding materials, scale, and general approach. Then there is an almost complete abandonment of conscious intention, and the hand leads the process. Both the “Crumples” and the “Cuts” offer a subtle invitation to the third dimension. This imaginative aspect is indicative of a temperament “so often concerned not with what is visible but with what is implied or concealed or incomplete.”

The specific motifs in the three wood Reliefs sprang from a series of Artist’s Books produced by hand in the 1980s. Their various jam-packed and spare compositions have been noted as relating to Constructivism. They reveal perhaps a harder, more rigorous aspect of the art.

Antonakos’s geometric Panels began in the early 1980s. Along with the public commissions, these are probably his best-known works. The segmented Panels (begun in the early 1990s) are deeply engaged with composition, proportion, the relationships between the elements within a work, and those between the work as a whole and the architecture and space around them. The chromatic glows of neon from behind their edges – and sometimes between the planes – affect both the wall and the space that we occupy as viewers.

Through the 1980s and 90s, aside from the circles and an occasionally slanted left or right side, the Panels remained structured orthogonally. “Voyage” (1999) is a stately major example. At the end of 2007, Antonakos introduced the first Panels with diagonal elements. “Departure” (2007) clearly shows the transition, with its bold arm signaling out from the side. With “Arrival” (2008) we see not a segmented plane, but a structure of three separate dynamic rectangles around a triangle of white light – a new concept. This direction continues with the fourth, still untitled, Panel in the show, dated 2010.

Though presenting only 16 works, the exhibition attempts to suggest the breadth and some of the essential qualities of the artist’s work. Like the “incomplete” geometry of his motifs, the selection may recall Beckett’s phrase, “complete, but with missing parts.”

Complementing this exhibition is a major new Panel with neon permanently installed in the Olympic Tower Atrium, 645 Fifth Avenue. Commissioned by the Alexander S. Onassis Public Benefit Foundation, “The Road to Mistra” is surfaced with gold and aluminum leaf, an homage to the Byzantine site in the Peloponnese.

Antonakos was born in Greece in 1926 and has always lived and worked in New York. He began exhibiting in the late 1950s and began working with neon, his signature medium, in 1960. There have been over 100 one-person shows, including a recent 50-year Retrospective in Athens, and over 200 group shows. His work is in many important museum and private collections throughout the US, Europe, and Japan. Over 50 permanent Public Works have been installed internationally. In addition to the kinds of work represented in Whites, Antonakos designs Chapels and Meditation Spaces and makes neon Walls, Artist’s Books, and collages.

[Image: Antonakos &quot;Departure&quot; (2007) White paint on Versacel with neon, 61 x 53 x 5 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/812E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/812E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/812E-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-17</DateStart>
  <DateEnd>2010-03-20</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>5</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.744903</Latitude>
  <Longitude>-74.005998</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/9781" href="http://www.nyartbeat.com/event/2010/9781">
  <Name>John Guerrero &quot;Respira&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/807BC854">
    <Name>Milk Gallery</Name>
    <Type>Gallery</Type>
    <Address>450 W 15th St., New York, NY 10011</Address>
    <Phone>212-645-2797</Phone>
    <Fax>212-645-2743</Fax>
    <Access>Between 9th and 10th Avenue. 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="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/9781-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/9781-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/9781-170" width="170" />
  <Karma>3.27209</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-22</DateStart>
  <DateEnd>2010-03-16</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="4" date="2010-03-16" start="19:00:00" end="22:00:00">Closing Reception</Party>
 <DaysBeforeEnd>1</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.742283</Latitude>
  <Longitude>-74.006311</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/BCEB" href="http://www.nyartbeat.com/event/2010/BCEB">
  <Name>Amy Granat &quot;The Sheltering Sky&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>Screen: Film</Media>
  <Description><![CDATA[New York-based artist Amy Granat draws from the legacy of experimental and abstract filmmaking to create new approaches in 16mm film and video at the limits of personal and narrative cinema. Using Paul Bowles’ novel The Sheltering Sky as a point of departure for this exhibition, she creates an immersive environment of projected images, which substitute the narrative thrust of literary fiction with a more subtle exploration of character and place through landscape, light, and gesture.

Curated by Matthew Lyons

[Image: Photo by Amy Granat]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/BCEB-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/BCEB-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/BCEB-170" width="170" />
  <Karma>0.886906</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-01-29</DateStart>
  <DateEnd>2010-03-20</DateEnd>
  <ScheduleNote>Granat's single-channel, feature-length film using the same footage, will be screened in The Kitchen's theater on Saturday, February 6 at 7pm + Q&amp;A with the artist. </ScheduleNote>
 <Party type="1" date="2010-01-29" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>5</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.745308</Latitude>
  <Longitude>-74.006186</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/F10B" href="http://www.nyartbeat.com/event/2010/F10B">
  <Name>Steve Mumford Exhibition</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>212-229-2829</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: Painting</Media>
  <Description><![CDATA[Postmasters Gallery announces an exhibition of new paintings by Steve Mumford. 

This will be Mumford’s fifth exhibition at Postmasters presenting two distinct groups of paintings: large scale heroic figurative ones and grafitti based text works.

In his new paintings Mumford continues to investigate the war in Iraq, based on his experiences there and the understanding he gleaned from civilians and combatants. Sometimes from the perspective of the American soldiers, sometimes from the insurgents’ point of view, these paintings explore peoples’ motivations in war, the ties that bind as well as fracture.

Iraqi prostitutes at a Western hotel; rifts between foreign jihadis and Iraqi nationalists; tender farewells of a suicide bomber; languid afternoons of a US platoon; Koranic exhortations to jihad; the mythos and the reality of American military power: all these are facets in Mumford’s version of the hard, glittering stone of war.

Mumford has made 6 trips to Iraq between 2003 and 2008, emailing his drawings to artnet.com as a visual record of his experiences, and subsequently exhibiting them in numerous shows worldwide.

He published many of the drawings in Baghdad Journal, An Artist in Occupied Iraq, Drawn &amp; Quarterly, 2005.  A selection of his drawings is included in The Storyteller, an exhibition curated by Claire Glman and Margaret Sundell for ICI now on view at the Art Gallery of Parsons The New School for Design in New York.

]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/F10B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/F10B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/F10B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-20</DateStart>
  <DateEnd>2010-03-27</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-02-20" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>12</DaysBeforeEnd>
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 </Event>

 <Event xml:lang="en" id="2010/F67E" href="http://www.nyartbeat.com/event/2010/F67E">
  <Name>Paul Jacobsen &quot;Paintings &amp; Drawings&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/3F314AD3">
    <Name>Klemens Gasser &amp; Tanja Grunert, Inc.</Name>
    <Type>Gallery</Type>
    <Address>524 W 19th St., New York, NY 10011</Address>
    <Phone>212-807-9494</Phone>
    <Fax>212-807-6494</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: Drawing</Media>
  <Description><![CDATA[Klemens Gasser and Tanja Grunert present an exhibition of paintings by Paul Jacobsen. This is the first exhibition at Gasser Grunert Gallery’s new 19th Street location.

Jacobsen paints his interpretations of our civilization’s demise as a pastoral, post agricultural, future primitive fantasyland, post-industrial collapse. His paintings and imagery hang in the balance of hypocrisy and honesty, using the language and cues of pornography, Photoshop and a highly fabricated vision of a faultless society.

Slickly painted in a lush, candy colored palate, overly sexed nudes exist in an “Eden-esque” romantic landscape. The naked women interact innocuously with woodland creatures; two black bears wrestle and a doe is comfortably bedded down behind a lusty soft core nude, idly indulging in fruit. Tasteful centerfolds lounge in flowered fields with eco-cottages, horses and yurts in the distance. In Jacobsen’s utopia, social cues have vanquished; leisure time and renewed sensuality abound as well as a reinstated reverence with the natural world. Jacobsen questions our societal norms and investigates what would happen if pre-established codes were eliminated. There is a sense of sweetness here, confounded close behind with discomfort, as vestiges of our abolished society mar the landscape. Familiar refuse piles of cars, planes, metal scraps and consumer detritus exist as monumental remnants of the end of our mediated experience.

Within his work, Jacobsen presents complicated satirical layers of interpretation, as he masterfully exists in the paradox of condemning and exploiting consumer and commercial images. He uses the visual cues of photo retouching, or the loaded vernacular of pornography, all the while implementing them as the formal and contextual language of the painting itself. As readings of the paintings become ambiguous and conflict with one another, the utopian images he depicts become fractured and flawed, reflecting the futile and vain climb out of our corrupt social grid. Jacobsen reinforces the cultural ideals that cause him to recoil by using their vernacular in ironic content and form. In doing so, he reclaims and takes ownership of his paintings, which are by nature, subject to luxury culture and lifestyle. Jacobsen said, “my paintings encourage a future with no place for them.”
Jacobsen’s paintings acknowledge the seemingly immutable societal cues and rigid standards present in our culture; he paints a utopian dystopia through the lens of our current social and consumer driven forward march to self-destruction.
Paul Jacobsen (born 1976, Denver, Colorado) attended Lorenzo De Medici Institutto D’Arte, Florence, Italy 1997-98) He lives and works in Brooklyn, New York.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/F67E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/F67E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/F67E-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-03-04</DateStart>
  <DateEnd>2010-04-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-03-04" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>19</DaysBeforeEnd>
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  <Latitude>40.745372</Latitude>
  <Longitude>-74.006664</Longitude>
 </Event>

</Events>