<?xml version="1.0"?>
<Events>
 <Event xml:lang="en" id="2011/06CD" href="http://www.nyartbeat.com/event/2011/06CD">
  <Name>&quot;Dubuffet and the Art Brut&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/D1A8B04A">
    <Name>Ricco/Maresca Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., 3 Fl., New York, NY 10011</Address>
    <Phone>212-627-4819</Phone>
    <Fax>212-627-5117</Fax>
    <Access>Between 10th Ave and West Side Hwy. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_20">Chelsea 20th</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: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Ricco/Maresca Gallery and Jennifer Pinto Safian present Dubuffet and the Art Brut. The exhibition presents the art of Jean Dubuffet (1901-1985) alongside works championed by Dubuffet and collected under the rubric of Art Brut. Between 1945 and his death in 1985, Dubuffet defined Art Brut, aggressively collecting, exhibiting and publishing the genre. His collection, now housed at the Collection de L'Art Brut, Lausanne, Switzerland, established the canon of recognized Art Brut artists. These artists, in turn, dramatically impacted Dubuffet’s personal artistic vision. The exhibition includes works by celebrated figures of the Art Brut circle - Alöise Corbaz, Janko Domsic, Madge Gill, Miguel Hernandez, Emile Josome Hodinos, Augustin Lesage, Scottie Wilson, Adolf Wölfli and Carlo Zinelli, along with works by abstract expressionist Alfonso Ossorio. Juxtaposed, we see Jean Dubuffet’s circle of influence.

In 1945, Dubuffet began to travel extensively throughout Europe to discover an art that “addresses itself to our spirit, not to our eyes,” an art that is pure, spontaneous, direct, and not influenced by fine art and mainstream culture. By 1948, Dubuffet and several leading Dadaists and Surrealists, including André Breton and Michel Tapié, had founded the Compagnie de l'Art Brut. Under Dubuffet's leadership, this organization defined and strictly enforced the criteria applied to the collecting of Art Brut. The most significant determinant was that the art was created by individuals who were not part of the conventional art scene. “Here, Art possesses a strength coming from desire, from magic…Isolated from society, they create their own feasts.”

Originally comprised of approximately 1200 works of art created by individuals secluded in mental hospitals or otherwise socially isolated, the Compagnie de l'Art Brut's collection was the first one of its kind to exist beyond the confines of a mental institution. With the 1949 exhibition of the collection at the Galerie René Drouin in Paris, Jean Dubuffet formally introduced Art Brut to an indifferent public. Due to philosophical differences among its founders, the Compagnie eventually dissolved in 1951. Forced to find a new home for the collection, Dubuffet shipped all the works to his friend and colleague, the abstract expressionist painter Alfonso Ossorio. Ossorio housed the collection at his Wainscott, New York estate for the next decade; in 1962, it was donated to the municipality of Lausanne, Switzerland and permanently installed in the Chateau de Beaulieu under the name Collection de L’Art Brut.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/06CD-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/06CD-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/06CD-170" width="170" />
  <Karma>1.78922</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746167</Latitude>
  <Longitude>-74.0062</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/2749" href="http://www.nyartbeat.com/event/2011/2749">
  <Name>&quot;Hybrid Thinking&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/6C7F9E5E">
    <Name>Jonathan LeVine Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., 9E, New York, NY 10011</Address>
    <Phone>212-243-3822</Phone>
    <Fax></Fax>
    <Access>Between 10th Ave and West Side Highway. Subway: A/C/E to 14th Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_20">Chelsea 20th</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>
  <Media>2D: Drawing</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Jonathan LeVine Gallery presents Hybrid Thinking, a group exhibition curated by Marc + Sara Schiller of Wooster Collective, in their first curatorial since the groundbreaking 11 Spring exhibition, in December 2006.

Hybrid Thinking brings together six preeminent emerging artists from around the world and for some it will mark their first exhibition in New York. The show features work by: Dal, from Beijing, China (now based in Cape Town, South Africa); Herakut, a duo based in Frankfurt, Germany; Hyuro, from Buenos Aires, Argentina, currently based in Valencia, Spain; Roa, based in Belgium; Sit, from the Netherlands; and Vinz, born and based in Valencia, Spain.

With a wide array of discipline, medium, style and cultural influence, work by the six artists in this exhibition is thematically cohesive in its related subject matter—through figurative pairings of human and animal elements, the artists explore concepts of instinct, identity and metamorphoses. In the curators’ words: “Hybrid Thinking refers to the current zeitgeist of our time: disparate cultures coming together to create something completely new. Though from distinctly different cultural backgrounds, these artists share an understanding of our cities, of the human condition and our complex relationship with nature.”    

ABOUT THE ARTISTS 
DAL was born in Beijing, China in 1984 and is currently based in Cape Town, South Africa. He studied sculpture at the Institute of Fine Arts. The tactile quality of his three-dimensional work is complimented by the gestural approach and ribbon-like structure of forms in his works on canvas.

Herakut is the collaboration between Hera and Akut, a duo based in Frankfurt, Germany. Their work, in itself, is a hybrid of two styles. Hera’s traditional art training combined with Akut’s years of graffiti experience results in an intriguing combination of organic line and form.

Hyuro, born in Buenos Aires, Argentina, in 1974, is currently based in Valencia, Spain. She has an art degree from Escuela Nacional Manuel Belgrano in Buenos Aires, and a Master degree from Politecnic University in Valencia. Her black and white imagery is striking in its poetic simplicity yet rich in existential concepts, the work translates gracefully from canvas to mural form.

Roa is based in Ghent, Belgium. His large-scale black and white murals of animals can be found in cities throughout Europe and the US. His gallery work is often painted on multiple panels or objects, echoing the effect and imaginative placement of his images painted on public architecture.

Sit, born in 1976, lives and works in Amsterdam. In his NOIR series, he examines the troubled relationship between mankind and the animal kingdom through a bold black and white palette. Sensual textures of fur and feathers are rendered in dark brush strokes in contrast with pale, soft skin tones of female nude figures and the rigid bone of animal skulls.

Vinz was born in 1979 in Valencia, Spain, where he is currently based. He paints animal heads on large-scale photographs of human figures, and applies the work using wheatpaste to city walls. Taking a similar approach to his studio work, the artist collages paper ephemera into a background texture which he prints figures onto, then paints heads and other details in enamel or gouache.

ABOUT WOOSTER COLLECTIVE
Wooster Collective, founded in 2001 by Sara + Marc Schiller, showcases and celebrates ephemeral art placed on streets in cities around the world. The collective’s mission is to discover and document authentic art experiences via salons, lectures, curating gallery shows, and online at: www.woostercollective.com. In 2006, they organized one of the most significant exhibitions of street art ever at an abandoned building in downtown New York. 11 Spring was chosen by the The New York Times  as one of the top art exhibitions of the year. The Schillers have published many books and in 2010, released Trespass: A History of Uncommissioned Urban Art with Taschen. They have been featured in The New York Times, Time Magazine, Good Magazine and many others. As a global voice for street art, the Schillers have spoken at the Tate Modern, Design Indaba and The New Museum. Marc is CEO and Founder of Electric Artists, a digital brand strategy and marketing firm. Sara operates their business, Meet at the Apartment, a creative meeting space in lower Manhattan. They live in downtown New York with their daughter, Samantha, and dog, Hudson.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/2749-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/2749-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/2749-170" width="170" />
  <Karma>1.01786</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-14</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-11" start="15:00:00" end="17:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746167</Latitude>
  <Longitude>-74.0062</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/39C1" href="http://www.nyartbeat.com/event/2011/39C1">
  <Name>Michael Snow &quot;In the Way&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/C5DBB9C9">
    <Name>Jack Shainman Gallery</Name>
    <Type>Gallery</Type>
    <Address>513 W 20th St., New York, NY 10011</Address>
    <Phone>212-645-1701</Phone>
    <Fax>212-645-8316</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street, A/C/E to 14th Street, L to 8th Avenue.</Access>
    <Area areaId="chelsea_20">Chelsea 20th</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: Photography</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Jack Shainman Gallery presents a solo exhibition of new work by Michael Snow. The show will examine the act of looking and the process of viewing though projections, holography and photo-based works.

The Viewing of Six New Works is a new seven-part projection which draws on Snow's oeuvre to examine the nature of perception and the physical relationship of the artwork to the viewer. The light projections simulate the varying ways a person might look at a rectangular wall-mounted artwork by digitally mimicking and essentializing the movement of the eyes. The gestures of viewing are revealed as the shifting focus of the spectator's gaze becomes fleetingly tangible and physically manifested through the piece. &quot;The work is an attempt to present only the movements of perception, not perception itself,&quot; explains Snow, &quot;the art of looking at art.&quot;

A second new work, In the Way, is a floor-projection of a trucking pan shot directly above varying terrains of Northern Canada. The work relates to Snow's seminal La Region Central (1971) and &lt;―&gt; (1969) in its pendulum motion and the use of the cinematic apparatus of both camera and projector as a stand-in for the artist and viewer's gaze. The work becomes a virtual extension that the observer is able to get &quot;in the way of&quot; by standing in the image and altering the piece. The ambiguity of the illusionary plane, which simultaneously contains and breaches the demarcated space, creates an opposition unsettling the viewer's own presence. 

Additionally, the show will feature earlier works which explore the act of seeing &quot;as framing and containment&quot; and draw out the continuous themes of conceptual play and self-referentiality which permeate Snow's body of work. Exchange, a hologram from 1985, confronts the observer through a staring spectral face. La Ferme (1998), a photo-based work spanning 23 feet is derived from 16mm film of a pastoral scene whose subject, grazing cows, observes the viewer and blurs the boundary of motion and stillness. Both of these works are a testament to Snow's ability to use a cross-section of media to investigate the tension between the &quot;here&quot; and &quot;there&quot; through technological displacement.

Michael Snow is a visual artist, filmmaker and musician. He first exhibited in New York in the 1960s and became internationally recognized for pioneering avant-garde cinema with the film Wavelength (1967). His work is represented in private and public collections worldwide including the Museum of Modern Art, New York; the Hirshhorn Museum, Washington, DC; the National Gallery of Canada, Ottawa; the Art Gallery of Ontario, Toronto; Museum Ludwig, Cologne; Centre Georges-Pompidou, Paris, and both the Montréal Museum of Fine Arts and the Musée d'Art Contemporain in Montréal. Michael Snow has represented Canada at the Venice Biennale and is a member of the Order of Canada and a Knight of the Order of Arts and Letters in France.

Snow recently had an exhibition Solo Snow at Le Fresnoy, France curated by Louise Déry. In 2012, he will have solo exhibitions at The Vienna Secession, a sculpture retrospective at the Art Gallery of Ontario and a solo show at the Philadelphia Museum of Art.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/39C1-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/39C1-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/39C1-170" width="170" />
  <Karma>1.52654</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>40.745961</Latitude>
  <Longitude>-74.005825</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/931F" href="http://www.nyartbeat.com/event/2011/931F">
  <Name>Theodoros Stamos &quot;Evidence of Wonder: A Survey 1940s -1990s&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/A7A0A636">
    <Name>ACA Galleries</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., 5 Fl., New York, NY 10011</Address>
    <Phone>212-206-8080</Phone>
    <Fax>212-206-8498</Fax>
    <Access>Between 10th Ave. and West Side Hwy. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_20">Chelsea 20th</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>June 20 - August 18, Tuesday through Friday, 10:30 - 6pm. The gallery will be closed from August 19 - September 4.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[ACA Galleries presents Theodoros Stamos: Evidence of Wonder - A Survey 1940s - 1990s. This survey features work from 1943 to 1992 and shows how the natural world was a source of inspiration and imagery throughout Stamos' career. This is the first solo exhibition of his work at the gallery since 1993. 

Theodoros Stamos (1922-1997), the youngest member of the first generation of Abstract Expressionists, was born in New York to Greek parents. In 1936 he won a scholarship to attend American Artists' School where he studied sculpture until 1939 when he left to focus on painting. Beginning in 1941 he ran a frame shop where he met Arshile Gorky. In 1943 he had his first solo exhibition at the Wakefield Gallery which was run by Betty Parsons. During this period he met Adolph Gottlieb and Barnett Newman. His work was included in the Whitney Annual in 1945 and the following year the Museum of Modern Art purchased a painting. His first solo museum show was at The Duncan Phillips Collection, Washington DC in 1950 and that year he also taught at Black Mountain College. From 1955 through 1977 he was an instructor at the Art Students League. Starting in 1970 he made yearly trips to the island of Lefkada in Greece. 

His work is in numerous museum collections including Albright-Knox Art Gallery, Buffalo, NY; Art Gallery of Ontario, Toronto, Canada; The Art Institute of Chicago, Chicago, IL, Bayerische Staatsgemaldesammlung, Staatsgalerie Moderner Kunst, Munich, Germany; The Corcoran Gallery of Art, Washington, DC; The Detroit Institute of Arts, Detroit, MI; Hirshhorn Museum and Sculpture Garden, Washington, DC; The Metropolitan Museum of Art, New York, NY; Museu d'Arte Moderno, Rio de Jenairo, Brazil; The Museum of Modern Art, New York, NY; Museum Modernor Kunst, Vienna, Austria; National Picture Gallery, Athens, Greece National Pinacotek, Athens, Greece, The Phillips Collection, Washington, DC, Solomon R. Guggenheim Museum, New York, NY; Tel Aviv Museum, Tel Aviv, Israel and Whitney Museum of Art, New York, NY, among others.

[Image: Theodoros Stamos &quot;Ascent for Ritual&quot; (1947) oil on masonite, 39 x 23 3/4 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/931F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/931F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/931F-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-10-29</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2011-10-29" start="14:00:00" end="17:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746139</Latitude>
  <Longitude>-74.006164</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/D18F" href="http://www.nyartbeat.com/event/2011/D18F">
  <Name>Natalia Fabia &quot;Punk Rock Rainbow Sparkle&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/6C7F9E5E">
    <Name>Jonathan LeVine Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., 9E, New York, NY 10011</Address>
    <Phone>212-243-3822</Phone>
    <Fax></Fax>
    <Access>Between 10th Ave and West Side Highway. Subway: A/C/E to 14th Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_20">Chelsea 20th</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[Jonathan LeVine Gallery presents Punk Rock Rainbow Sparkle, a new series of works by Los Angeles-based artist Natalia Fabia, in what will be her highly anticipated debut solo exhibition in New York.

For her first solo show on the East Coast, Fabia chose to use the location as creative direction for her paintings and spent three months exploring the region, doing research, gathering visual materials and staging photo shoots to serve as reference imagery for her new body of work. Particularly inspired by people and places with a raw, punk sensibility, she spent time in New York City (Manhattan and Brooklyn), Philadelphia, and Asbury Park in New Jersey.

In the artist’s words: “Punk rock is one of my true loves. Punk to me is an attitude, a lifestyle. Punk is a middle finger, punk is do-it-yourself, do what you want. It’s a kind of freedom. I’m attracted to my subjects for having that quality. This attitude is what I wanted to convey in this series. My models (many of which are friends) are all tough, independent, strong, fun, hard working, talented, tattooed and stylishly dressed. I look at punk rock as being dirty and rough, yet sparkly and enticing at the same time, and that’s the theme of my paintings.”

  A skilled young oil painter, Fabia selects luminous subjects with an intriguing dichotomy—adult yet innocent, strong yet vulnerable. To view her work is a voyeuristic endeavor. Lingerie-wearing vixens lounge in intimate rooms with all the comforts of home, or gather in groups for after-hour parties at dimly-lit bars. Fabia’s playfully erotic female figures are adorned with alluring details—glimmering jewelry and intricate tattoos. These confident, empowered beauties evoke burlesque and pin-up traditions. A seductive mixture of glitter and grit, they pose provocatively in the artist’s carefully arranged compositions.

  Lush settings include environmental textures, elements of graffiti, iconic landmarks and other geographically specific architecture. Infused with Fabia’s signature style, vividly saturated candy color palette and dazzling spectrum of light, scenes in these paintings—like most of her work—are a combination of fantasy narratives and actual moments captured from the artist’s vibrant life, her passion for ornate fashion, nightlife and glamour with a punk rock edge.

ABOUT THE ARTIST 
Natalia Fabia is of Polish descent, born in 1983 in Burbank, California, and currently based in Los Angeles. In 2007, she graduated from Art Center College of Design in Pasadena. Inspired by light, color, punk rock music, hot chicks and sparkles, her work has been featured in numerous gallery exhibitions and publications.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/D18F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/D18F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/D18F-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-14</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="4" date="2012-02-11" start="15:00:00" end="17:00:00">Closing Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746167</Latitude>
  <Longitude>-74.0062</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0CEF" href="http://www.nyartbeat.com/event/2012/0CEF">
  <Name>&quot;New City&quot; Art Fair</Name>
  <Venue href="http://www.nyartbeat.com/venue/65007A7F">
    <Name>Hpgrp Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., 2W, New York, NY 10011</Address>
    <Phone>212-727-2491</Phone>
    <Fax>212-727-7030</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street Station</Access>
    <Area areaId="chelsea_20">Chelsea 20th</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="0" hol="1" />
    <ScheduleDetails>sundays openinghour 12:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[H.P. FRANCE NY, Inc presents the launch of the NEW CITY ART FAIR, the first art fair dedicated solely to contemporary Japanese art in New York.

Open from March 7-11, 2012—dates that coincide with SCOPE, VOLTA, ADAA, and The Armory Show - the event will include booths by eleven premiere galleries from Tokyo, Osaka, and Kyoto.

 The New City Art Fair will benefit the Japanese art world, which has been deeply affected by the traumas of the earthquake and tsunami that devastated the coastline in early 2011. Additionally, it will expose new Japanese art to a Western audience.

Exhibitors: Aisho Mura Arts, eitoeiko, FOIL GALLERY, GALLERY KOGURE, hpgrp GALLERY TOKYO, Shonandai MY Gallery, TEZUKAYAMA GALLERY, unseal contemporary, waitingroom, YOD Gallery, and YUMIKO CHIBA ASSOCIATES.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0CEF-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0CEF-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0CEF-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-03-07</DateStart>
  <DateEnd>2012-03-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-03-08" start="17:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>31</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746264</Latitude>
  <Longitude>-74.006225</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0D0D" href="http://www.nyartbeat.com/event/2012/0D0D">
  <Name>Sergej Jensen Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/DEB0F835">
    <Name>Anton Kern Gallery</Name>
    <Type>Gallery</Type>
    <Address>532 W 20th St., New York, NY 10011</Address>
    <Phone>212-367-9663</Phone>
    <Fax>212-367-8135</Fax>
    <Access>Between 10th Ave and West Side Highway. Subway: C/E to 23rd Street or A/C/E to 14th Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_20">Chelsea 20th</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[For his third solo show at Anton Kern Gallery, Danish artist Sergej Jensen will present a new body of paintings. 
 
Jensen’s work has been exhibited in numerous one-person shows at galleries in Berlin, New York, London, Sao Paulo and Brussels, as well as in museums such as MoMA PS1 (2011); Portikus, Frankfurt; the Aspen Art Museum (both 2010); Kunstwerke, Berlin (2009); Pinakothek der Moderne, Munich; Kunsthalle Bergen, Norway (both 2008); Douglas Hyde Gallery, Dublin (2007); and the Kunstverein Braunschweig (2003). His work was prominently featured in All of This and Nothing, Hammer Museum, Los Angeles; Precarious Worlds: Contemporary Art From Germany, Kemper Art Museum, St. Louis (both 2011); Made in Germany, Sprengel Museum, Hannover (2007); Of Mice and Men, the 4th Berlin Biennale (2006); Down By Law during the Whitney Biennial, New York (2006); Modern Art. Formalism Today, Kunstverein Hamburg (2005); the Sao Paulo Biennale (2004); and deutschemalereizweitausendrei (German-painting-two-thousand-three), Frankfurter Kunstverein (2003).

[Image: Sergej Jensen &quot;Untitled&quot; (2011) Oil on jute fibre, 23.6 x 15.7 in.]
 ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0D0D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0D0D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0D0D-170" width="170" />
  <Karma>1.91176</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746222</Latitude>
  <Longitude>-74.006233</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/1036" href="http://www.nyartbeat.com/event/2012/1036">
  <Name>&quot;Detonate: Chaos and Consumerism&quot; Exhibiton</Name>
  <Venue href="http://www.nyartbeat.com/venue/91E1B154">
    <Name>Denise Bibro Fine Art</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., 4 Fl., New York, NY 10011</Address>
    <Phone>212-647-7030</Phone>
    <Fax>212-647-7031</Fax>
    <Access>Between 10th Ave. and West Side Highway. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_20">Chelsea 20th</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: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Denise Bibro Fine Art presents Detonate: Chaos and Consumerism. The exhibition features artists Nancy Baker, Carol Es, Bill Gusky, Leslie Kneisel, Tim Ripley and Oriane Stender. Economic and cultural turmoil are the impetus of each artist's works, creating unique dialogues in various mediums and styles, sparking conversations that seem inescapable.

Nancy Baker's works explode and swirl with objects of industry, as though an eruption has just occurred resulting in disjointed chaos. Baker's works include glitter and pop culture iconography as well as fetishized grenades. Full of angst and energy, Baker's work is anything but introverted.

Having grown up in what the artist describes as the sweatshops of the Los Angeles apparel industry; Carol Es' work evokes a dialogue between the overtly commercial and the deeply personal. Her textured works weave dysfunctional family values with industrial objects, accented by her inclusion of embroidery.

Bill Gusky projects TV cartoons from the 1960's and 1970's, reworks the images, re-appropriating these nostalgic objects to create a new dialogue or history, finding new meaning in the present. Commenting on the &quot;technology will save us&quot; mentality of that era, Gusky's work makes us wonder, in our present technological culture, what now?

Leslie Kneisel's otherworldly images move from past to present to future, taken of retro-looking rides in a visit to Disneyland. These alien-like images tempt us far away from everyday life, looking for an escape from reality.

Tim Ripley's icons are specific, particular and deftly painted. These isolated objects are oddly familiar, evoking the starkness of certain commercial advertisements.

In a nod to minimalism, Oriane Stender's painted dollar bills break down the complex. Her elegant works diverge from the explosive, the excess of consumerism, and meditate on the singular, pared down object; reminding us of the downsizing that many have had to accept.

[Images clockwise from top left: Nancy Baker, Bill Gusky, Oriane Stender, Carol Es, Leslie Kneisel, Tim Ripley]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/1036-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1036-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1036-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746167</Latitude>
  <Longitude>-74.0062</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/68D1" href="http://www.nyartbeat.com/event/2012/68D1">
  <Name>Eric Wesley &quot;2 new works&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/A6550E82">
    <Name>Bortolami</Name>
    <Type>Gallery</Type>
    <Address>520 W 20th St. New York, NY 10011 </Address>
    <Phone>212-727-2050</Phone>
    <Fax>212-727-2060</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_20">Chelsea 20th</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: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Bortolami gallery presents Eric Wesley's third solo show at the gallery.
 
The first work, &quot;The Improbability of Intentionally Creating Shock&quot;, is comprised of four individually presented elements constituting an elaborate machine. The artist confronts issues of success and failure, and initiates a conversation about the nature of &quot;shock&quot; by literally attempting to &quot;shock&quot; the audience. The primal intent of the work involves one person, the artist, touching another, the viewer: an electrical and biological exchange of energy. The first element is an exaggerated rubber band acting as power supply and storage of energy. Then there is the anchoring system that fixes the machine to a stable point within the space. The center piece of the apparatus is a 200-pound solid-steel chrome-plated square wheel. The final element is the point at which static electricity interacts with the observer, creating a tickling mild zap, or simply the sense of anticipation. The shock is merely implied and not made explicit, derived from physical form and phenomenon, or lack thereof.
 
Presented in the smaller gallery, the second work is a temporary room which demonstrates a paradox of time and space. A three-by-five foot representation of the continent of Europe floats in the room. The likeness of the EU is rendered in great detail according to multiple sources of information. The artist trusted established topological maps, images from space (NASA, ESA), as well as instinct and memory. The viewer walks into this room in New York City from 10am to 6pm to encounter the waning of daylight into darkness of Europe, designed to accurately portray the present reality on the other side of the Atlantic.
 
Eric Wesley was born in Los Angeles, California in 1973, where he continues to live and work. Wesley has held solo exhibitions in galleries internationally as well as at the Museum of Contemporary Art, Los Angeles and Foundation Morra Greco, Naples, Italy. Wesley has participated in group shows at the Hammer Museum in Los Angeles; Musée d'Art Contemporain, Bordeaux, France; Fundación/Colección, Jumex, Mexico; Museo d'Arte, Benevento, Italy; The Prague Biennial in 2007; Institute of Contemporary Art, London; P.S.1, New York; and the Studio Museum in Harlem. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/68D1-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/68D1-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/68D1-170" width="170" />
  <Karma>1.09848</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.745964</Latitude>
  <Longitude>-74.006244</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6B5B" href="http://www.nyartbeat.com/event/2012/6B5B">
  <Name>&quot;Optimismo Radical, 2&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/3897570B">
    <Name>Josee Bienvenu Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., New York, NY 10011</Address>
    <Phone>212-206-7990</Phone>
    <Fax>212-206-8494</Fax>
    <Access>Between 10th Ave. and West Side Highway. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_20">Chelsea 20th</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: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Josée Bienvenu Gallery presents Optimismo Radical, 2. Bringing together nine international artists, the title assembles two words that don’t ﬁt well. As a result, a high indeﬁnition that functions in a number of languages -Spanish, English, Portuguese, French- without being clearly understandable in any of them. Two redundant or contradictory words? Is radical optimism the opposite of moderate optimism? Or the opposite of conservative pessimism? The intention is to create a precise confusion, a label out of focus. In 2012, the gallery will inaugurate a series of individual project room exhibitions under the same title.

Ricardo Alcaide was born in 1967 in Caracas, Venezuela. He currently lives and works  in Sao Paolo, Brazil. Hinged between the poetic and the political, his juxtapositions of images and objects question how people cope with economic and social exclusion in different environments. He has been interested in the Latin American Modernist Movement’s often un-acknowledged debt to vernacular world architecture. His ongoing series of paintings “A Place to Hide”, based on photographs of temporary structures built by homeless people, investigates the notion of shelter. Recent exhibitions include:  A Place To Hide,  Baró Galería, Sao Paulo (2011); Horizonte Vasado, Artistas Latinoamericanos en el ﬁlo, Instituto Cervantes, Sao Paulo, Brazil (2010). 

Benjamin Appel was born in 1978 in Augsburg, Germany, he lives and works in Karlsruhe, Germany. He graduated from the Karlsruhe Art Academy where he studied under Gerd van Dülmen, Thomas Zipp and Daniel Roth. At the interface between painting, sculpture and everyday object while pocking fun at them, Benjamin Appel is committed to the unspectacular and the fragile. sculptural installation of art povera materials such as concrete, earth, soil and elements of furniture coexist with abstract compositions on canvas.  Recent exhibitions include: Das Zimmer des Eremiten, NADA Miami, Weingruell gallery, Die Schwelle des Hauses, Studiokontrolle, Karlsruhe (2010);  Wie Der Vogel in seinem Nest, Kunstahalle Mannheim, Germany (2009).

Johanna Calle was born in Bogota, Colombia in 1965 where she lives and works. She received her MFA from the Chelsea College of Art at the London Institute, London UK in 1993. For the last ten years, she has been focusing exclusively on the medium of drawing. Her work consists of a non-narrative, critical and analytical approach to social and cultural issues in Colombia, speciﬁcally matters relating to women and children, social structures, urbanism and language. Her work was recently featured at the 12th Istanbul Biennial in Turkey, and is currently on view in The Air We Breathe at the San Francisco Museum of Art and in  Submergentes: a drawing approach on masculinities, Museum of Latin American Art (MOLAA), Long Beach, California.  Since 2006 she has had several solo exhibitions with Galeria Casa Riegner in Bogota. She is now preparing for a solo show at Galeria Marilia Radzuk in Sao Paulo, Brazil.

Born in Buenos Aires in 1961,  Alejandro Corujeira moved to Madrid in 1991. His meditative paintings and drawings refer to American Minimalism from Agnes Martin to Brice Marden, and to the Latin American abstract geometric tradition. A past resident of the Josef and Annie Albers Foundation, he has exhibited extensively in Europe and South America with solo exhibitions at the Museo Reina Soﬁa in Madrid and at the IVAM in Valencia. Recent and upcoming exhibitions include: Dan Galeria, Sao Paolo, Brazil (2012); El Comienzo, Marlborough gallery, Madrid, Spain; Lo accessible, vestido de sales, Marlborough Gallery, New York (2009).

Dario Escobar was born in Guatemala City in 1971 where he lives and works. He is known for his sculptural re-contextualization of everyday objects exploring concepts of sculptural, cultural, a n d  h i s t o r i c a l  h y b r i d i t y. I n  2 0 0 9 ,  h e  r e p r e s e n t e d  Gu a t ema l a  a t  t h e  5 3 r d   Ve n i c e Biennale. Upcoming and recent exhibitions include: Singular-Plural, a traveling solo exhibition at Savannah College of Art and Design (SCAD),  Atlanta, GA  (2012). Selections from the Jumex collection, at the Instituto Cultural Cabañas, Guadalajara, México (2011); Video otra vez, Museo de Arte Contemporáneo de Fortaleza, Brazil (2011); From the Recent Past: New Acquisitions, The Museum of Contemporary Art (MOCA), Los Angeles, CA (2011). His ﬁrst monograph will be published by Harvard University Press this year.

Miguel Mitlag was born in Buenos Aires, Argentina in 1969 and currently lives in Turin, Italy. He studied ﬁlm making in Buenos Aires in the 1990’s where he became a member of the experimental art group, ‘Art Destroy’. Minilab, Color Tests, Tropical Experiment: Miguel Mitlag’s photographs seem to document the lab of some mad scientist, they blur the boundaries between science and ﬁction. Ordinary and nearly abstract objects are carefully arranged in spaces ﬁlled with light and super bright colors in a ‘70’s Povera’ aesthetics that recalls Pedro Almodovar’s early ﬁlm sets. Recent exhibitions include:  Como Hacer Un Experimento, Galería Braga Menéndez, Buenos Aires, Argentina (2010);  Anunciamos una repetición....Espacio Telefónica, Buenos Aires, Argentina (2010).

Philomene Pirecki was born in the Channel Islands, UK in 1972, she lives and works in London. She received her MA from The Royal College of Art, London in 1996. At the core of her work is an ongoing enquiry into notions of deﬁnitive representations. Using a  range of media from painting, photography, drawing and sculpture, Pirecki employs slight gestures to modify ﬁxed points of experience in time, history and visual memory.  Recent and upcoming exhibitions include:  Aukje Koks and Philomene Pirecki, MOT International, Brussels, Belgium (2012); Clockwork Gallery, Berlin, Germany (2012); Laure Guenillard, London (2011) ; Aftermath, Chelsea space, London (2011). She also runs the project space Occasionals in London.

Marco Rountree was born in Mexico DF in 1982. He started his career as a grafﬁti artist in  the streets of Mexico, where he still lives. Lately, he has been creating installations of altered books, questioning the access to knowledge in countries where the lower income population doesn’t gain access to education. Recent exhibitions include: Group Show, Museo de arte Moderno, Mexico DF (2011);  Art Positions, Art Basel Miami Beach, Travesía Cuatro, Madrid (2011); Commissioned project curated by Patrick Charpenel for the Coppel collection, Culiacan Sinaloa, Mexico (2011); Nothingless and the being, Coleccion Jumex, Mexico DF, Curated by Shamim Momin (2009).

Fidel Sclavo was born in 1960 in Uruguay. He lives and works in Montevideo and Buenos Aires. As an acclaimed graphic designer, he has published many illustrations and  became reknown for his poster designs. His current work involves fragmenting language in many ways, creating abstract alphabets, micro-pop watercolors and minimal installations. Recent exhibitions include: Cartas no leídas, Tiempos Modernos, Madrid, Spain (2011); Recent work, Centro Cultural de España, Montevideo, Uruguay (2011);  Canvas and papers, Galería Jorge Mara-La Ruche, Buenos Aires, Argentina (2010).

[Image: Miguel Mitlag &quot;2010, Your black pill, Sr., (detail)&quot; (2010) Lambda C-Print, Edition 2 of 5, 29.5 x 29.5 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6B5B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6B5B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6B5B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746167</Latitude>
  <Longitude>-74.0062</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/70EC" href="http://www.nyartbeat.com/event/2012/70EC">
  <Name>Tadaaki Kuwayama Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/CB6D328A">
    <Name>Gary Snyder Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., Fl. 10, New York, NY 10011</Address>
    <Phone>212-929-1351</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Aves. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_20">Chelsea 20th</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: Sculpture</Media>
  <Description><![CDATA[Gary Snyder Gallery announces Tadaaki Kuwayama, an exhibition of four site-specific works in titanium, aluminum, Mylar and Bakelite at 529 West 20th Street, opening on January 19, 2012. The main gallery will be configured to contain two distinct installations: Untitled (1992/2012), a horizontal line of twenty-two red aluminum elements that wrap around a corner, and Untitled (2012), eight pink titanium panels standing vertically on the floor at alternating angles. This is the first work Kuwayama has made in this material. The south gallery will feature Untitled (1996/2012), a set of six Mylar sheets bisected by a thin line of red and blue graphite, and Untitled (1992/2012), eight panels of finely grooved, pale pink and yellow Bakelite.

This exhibition follows acclaimed museum shows of Kuwayama’s work in Japan and the United States. His retrospective, Out of Silence, held at the Nagoya City Art Museum in 2010, presented work ranging from early 1960s monochrome canvases to a recent floor-installation of alternating silver and gold aluminum cylinders. In 2011, Untitled – Tadaaki Kuwayama, his solo show at the 21st Century Museum of Contemporary Art, Kanazawa, consisted of five site-specific installations, including a ring of nine-foot-tall anodized aluminum panels in one of the museum’s interior courtyards. The following June, the National Museum of Art in Osaka presented White, for which the artist installed sixty works, including three series of white paintings on handcrafted washi paper. In 2009, Kuwayama’s Untitled (1962) was included in The Third Mind: American Artists Contemplate Asia, 1860–1989, and is currently on display in Surface, Support, Process: The 1960s Monochrome in the Guggenheim Collection. In November this year, Kuwayama will have a solo exhibition at the Museum of Modern Art, Hayama, Japan, and in early 2013 he will show at the Daegu Art Museum, Daegu, South Korea.

Born in Nagoya in 1932, Tadaaki Kuwayama studied nihonga painting at the Tokyo National University of Art. Dissatisfied with the constraints of traditional practice, he and his wife, the artist Rakuko Naito, moved to New York City in 1958. He soon developed a minimalist aesthetic, which at first consisted of two vivid colors juxtaposed in horizontal and vertical compositions, as well as monochromatic panels divided by thin strips of chrome. In 1961 and 1962, he had solo exhibitions at the famed Green Gallery, which showcased other influential artists of the day, including Ralph Humphrey, Dan Flavin, and Robert Morris. Kuwayama’s work attained broad recognition, and was featured in the Guggenheim Museum’s legendary Systemic Painting exhibition in 1966.

Since the 1960s, Kuwayama has had solo exhibitions at many prestigious and influential galleries, including: Green Gallery (1961, 1962, New York), Tokyo Gallery (1967, Tokyo), Galerie Bischofberger (1967, 1968, Zürich), Gallery Yamaguchi (1985, 1989, 1993, 1997, 2001, 2005, 2010, Osaka), Nagoya City Art Museum (1990, Nagoya), Satani Gallery (1990, 1992, 1996, Tokyo), and GARY SNYDER Project Space (2008, New York). During this period his work was also featured in numerous landmark museum exhibitions, such as Vormen van de Kleur (1966–1967, Stedelijk Museum, Amsterdam), Kunst wird Material (1982, Nationalgalerie Berlin), Japanese Art After 1945: Scream Against the Sky (1994, Solomon R. Guggenheim Museum), Monochromes: From Malevich to the Present (2004, Museo Nacional Centro de Arte, Reina Sofía, Madrid), and The Third Mind: American Artists Contemplate Asia, 1860–1989 (2009, Solomon R. Guggenheim Museum). In 1985, the Kitakyushu Municipal Museum of Art held his first retrospective in Japan.

Kuwayama’s work is featured in the collections of over forty major museums, including: the Albright-Knox Art Gallery, Buffalo; the Hara Museum of Contemporary Art, Tokyo; the Hiroshima City Museum of Art; the Indianapolis Museum of Art; the Kawamura Memorial Museum of Art, Chiba; the Museum of Contemporary Art, Tokyo; the Museum of Modern Art, New York; the Nagoya City Art Museum; the Nationalgalerie, Berlin; the National Museum of Art, Osaka; the National Museum of Modern Art, Tokyo; the Solomon R. Guggenheim Museum, New York; the Staatsgalerie, Stuttgart; the Stiftung für Konstructive und Konkrete Kunst, Zürich; and the 21st Century Museum of Contemporary Art, Kanazawa.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/70EC-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/70EC-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/70EC-170" width="170" />
  <Karma>3.72093</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-17</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-19" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746264</Latitude>
  <Longitude>-74.006225</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/8D14" href="http://www.nyartbeat.com/event/2012/8D14">
  <Name>Louis Renzoni &quot;The Darker the Shadow The Brighter the Light&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/D62ACC27">
    <Name>Kim Foster Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., New York, NY 10011</Address>
    <Phone>212-229-0044</Phone>
    <Fax>212-229-0044</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_20">Chelsea 20th</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: Painting</Media>
  <Description><![CDATA[The Darker the Shadow, The Brighter the Light is a show of recent figurative paintings by Louis Renzoni.

Using a color palette of dark blue, soft yellow, pink and white , Renzoni creates a noir atmosphere of women caught in a moment of transition. Ordinary routines appear slightly sinister. Small areas of light don't illuminate but seem on the verge of being completely overwhelmed by darkness. Major characters, rather than being accented by shadows, are in and hidden by them. The paintings convey a specific mood, usually a kind of disturbing quiet. He calls it a flicker between the romantic and the ordinary.

In the largest paintings, the portraits are imbued with the glamour of old fashion movie heroines. The women appear doll-like with radiant cheeks and cherry lips. In several smaller works, faces are turned away and we are left to view shadows that become visual silhouettes. The closer one gets to the painting, the more blurred the imagery.

Renzoni's preference for oblique lines, and the constant opposition of light and dark, creates the compositional tension that radiate from these paintings. Adding to the tension is Renzoni's technique of painting in layers, sanding down, then repainting, a process that obliterates certain details but leaves smoky shadows in the background.

Louis Renzoni is a New York based, Canadian born artist who has been widely exhibited nationally and internationally. He is in numerous private and public collections. His artwork has been reviewed in ARTnews, Art in America, among other publications.

[Image: Louis Renzoni &quot;Lost Necklace&quot; (2011) Oil on canvas, 70 x 70 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8D14-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8D14-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8D14-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746167</Latitude>
  <Longitude>-74.0062</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9037" href="http://www.nyartbeat.com/event/2012/9037">
  <Name>&quot;Other Bodies: A Collection of Vernacular Photography&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/A1F09EF4">
    <Name>ZieherSmith</Name>
    <Type>Gallery</Type>
    <Address>516 W 20th St., New York, NY 10010</Address>
    <Phone>212-229-1088</Phone>
    <Fax>212-229-1260</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street .</Access>
    <Area areaId="chelsea_20">Chelsea 20th</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: Photography</Media>
  <Description><![CDATA[ZieherSmith proudly presents 65 found photographs spanning the American 20th century, celebrating its conspicuous beauty and encapsulating a lifestyle of exquisite hubris, baffling habits and poetic leisure. Focusing on the eerie and bizarre found in everyday life, including odd family units, perverse couplings of awkward figures in vaguely familiar places, and solo views of predominantly male figures, the patina of the vintage prints are often enhanced by blurring caused by misfired flash-bulbs, over and double exposures, crude processing and care-worn edges.  This singular grouping invites the viewer to see a crooked world through straight and narrow eyes and 65 ostensibly unrelated (and virtually untraceable) sources reinvented as a new, fleeting narrative.

Factual names, dates and whereabouts in these pictures remain as mysterious and enticing as the random, cumulative effect of each image’s unconscious formal accomplishment, but a lack of facts also enhances their allure. Artfully off-handed and off-kilter compositions, such as abrupt, spare body parts at oddly foreshortened angles, are unwittingly finessed by way of heirloom Brownies and endless Kodak mementoes. 

While sometimes resembling canonical photographers such as Ralph Meatyard, Diane Arbus, Robert Frank, or Mike Disfarmer, we remember that each of these photographs was taken for personal reasons altogether removed from the public realm. They are therefore crucial documents of a nature alternately anthropological and historical, but always luscious in their unorthodox and rarefied aesthetics.

Amassed by artist Jason Brinkerhoff over a period of roughly ten years, the selection in Other Bodies was culled from nearly 2000 photographs found from a wide variety of sources and curated over two years by the artist and gallery owner Scott Zieher.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9037-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9037-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9037-170" width="170" />
  <Karma>1.69643</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-14</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.745933</Latitude>
  <Longitude>-74.006169</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9D5F" href="http://www.nyartbeat.com/event/2012/9D5F">
  <Name>Rene Lynch &quot;Leda's Daughter&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/65007A7F">
    <Name>Hpgrp Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., 2W, New York, NY 10011</Address>
    <Phone>212-727-2491</Phone>
    <Fax>212-727-7030</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street Station</Access>
    <Area areaId="chelsea_20">Chelsea 20th</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="0" hol="1" />
    <ScheduleDetails>sundays openinghour 12:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[hpgrp GALLERY NY presents Leda’s Daughter, an exhibition of new paintings by Rene Lynch. These large-scale works present gorgeous women communing with animals in fantastic landscapes of stormy skies and over-scaled roses. These paintings are an expression of Lynch’s life as a woman and an artist, as well as an invitation into her dream world. They are lush with color, romantic, and unapologetically operatic, the manifestations of Lynch’s conviction that she “paints because she breathes.”

Lynch cites numerous sources of inspiration in the work, including the 1948 film The Red Shoes—which is about a ballet dancer who gives everything for her craft much in the same way that Lynch gives everything for her art—as well as tragic and powerful feminist icons; such as the late contemporary artists Pina Bausch and Amy Winehouse, and Joan of Arc, Icarus and Artemis, the magic realism of Japanese anime and the twin concepts of beauty and death depicted in 17th century Dutch Still Life painting. 

Referring to the works as self portraits and an “attempt to define a raw truth about women’s creative ambition and sexual energy”, Lynch depicts figures that are more goddesses than they are humans, sporting crowns of gold and plush wings of snow-white feathers, along with other accouterments of wealth, beauty, magical powers, and suffering. They are surrounded by Lynch’s own personal avatars—crows for their cleverness, cats for their sensuality, swans for their fierceness and vulnerability—which offer a glimpse into Lynch’s own psyche, as well as the pathology of her drive as an artist, which like the fairytale of The Red Shoes, she will never be able to cure.

Rene Lynch’s art has been widely exhibited around the world, and has been featured in publications such as The New York Times, Art and Antiques, The Washington Post, Bunte, Oxford American and American Art Collector. This is her second solo exhibition at hpgrp GALLERY NEW YORK following her 2007 exhibitions in New York and Tokyo. Recent solo exhibitions include; Galerie Kaysser in Munich Germany in 2011, 2008, and 2007, and Jenkins Johnson Gallery NYC and San Francisco in 2009, 2008, and 2007. Recent museum exhibitions include her solo Gaze at Galerie Künstlade in Zittau, Germany in 2008, and major works exhibited at Haus der Kunst, Munich, Germany, 2006, and the Hunterdon Museum, Clifton, NJ, 2007 and 2005. Lynch studied painting, art history, and critical theory at Virginia Commonwealth University. She has been awarded numerous fellowships including; P.S.1 Museum, NYC, Virginia Center for the Creative Arts, and Oberpfalzer Künstlerhaus, Germany.  

[Image: Rene Lynch &quot;Swan Prisoner&quot; (2011-12) oil on canvas, 48 x 72 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9D5F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9D5F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9D5F-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746264</Latitude>
  <Longitude>-74.006225</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/A440" href="http://www.nyartbeat.com/event/2012/A440">
  <Name>Jeff Keen &quot;Works from the 1960s + 1970s&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/7CB74E3E">
    <Name>Elizabeth Dee</Name>
    <Type>Gallery</Type>
    <Address>545 W 20th St., New York, NY 10011</Address>
    <Phone>212-924-7545</Phone>
    <Fax>212-924-7671</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street, A/C/E to 14th Street or L to 8th Avenue.</Access>
    <Area areaId="chelsea_20">Chelsea 20th</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>
  <Media>Screen: Film</Media>
  <Description><![CDATA[Elizabeth Dee Gallery presents the first solo exhibition at the gallery and United States debut of paintings and films by Jeff Keen [b. 1923, UK]. This important first exhibition in New York will explore in depth Keen's most influential and fundamental period of work, the 1960s and 1970s, during which he established a prolific visual practice extending to five decades of drawing, painting, experimental film, concrete poetry and performance.

Keen is primarily known as a legendary underground filmmaker whose work and activities coincided with the emergence of expanded cinema. He was one of the original participants in the 60s at the London Filmmakers Co-op. The BFI and later the British Arts Council supported and enabled Keen to make films and devise a multitude of drawings and paintings. During this period, Keen maintained jobs as a landscaper in the Parks and Recreation department of his hometown, Brighton, and sometimes as a postal worker delivering mail. The artist made movies primarily on weekends with his family and friends in an ensemble cast and his painting and drawing studio was for 40 years a repository of props and art that accumulated to extraordinary effect that has been fully documented.

Embracing the increasingly available technology of 8mm, 16mm and prevelance of American Pop imagery and Comics [and later Punk], Keen employed modes of popular media, technology and music in painting, drawing and collage using a stop frame animation process and in camera editing, resulting in active and evocative films. Utilizing a frequency of speed not found in work of the period, Keen, through the possibilities of the medium, brought new life to the significance of radical visual media.

Keen was able to merge Surrealist and Dadaist ideology with a social-political critique of American consumerism with the spontaneity of the Beat and 60s era. These works are avid responses to an overwhelming sense of increasingly proliferating media and commodification during the decade. He often explored his experiences surviving World War II in this material, focusing on monuments of power and the ever-present war within the artist as individual. This took the form of invented characters or corporations [i.e. Rayday Films] with brands, personas or protagonists in a fractured narrative style. Performative and reminiscent of Surrealism's influence on his formative period in the 1950s, Keen additionally drew from English Romanticism and his love of language to devise a novel method of working in a newly evolving medium. 

Keen's work can be viewed today as prescient to modes of film and video that began to take cultural references into an exploration of our own larger social portraiture. His enthusiastic embrace of alternative modes of discourse in a pre-internet age is astoundingly fresh today, and the diversity of his practice calls to mind both painters, film and video artists who succeeded him, from such figures as Derek Jarman, Richard Hamilton and Linder, to American artists such as Jack Smith, Ryan Trecartin and Peter Saul. 

Jeff Keen very rarely exhibited his drawings and paintings. He first showed Rayday Film [1968 - 1970] in the First International Underground Film Festival at the National Film Theatre in 1970. Upcoming 2012 exhibitions include a retrospective at the Brighton and Hove Museum, the National Portrait Gallery, London and Tate Modern, London.

[Image: Jeff Keen &quot;Rayday Film&quot; (1968 - 70 +1976) 16mm, 13 mins]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/A440-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A440-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A440-170" width="170" />
  <Karma>1.89383</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746275</Latitude>
  <Longitude>-74.006578</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/A856" href="http://www.nyartbeat.com/event/2012/A856">
  <Name>Zimoun &quot;Volume&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/C2CAA62C">
    <Name>Bitforms Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., 2 Fl., New York, NY 10011</Address>
    <Phone>212-366-6939</Phone>
    <Fax>212-366-6959</Fax>
    <Access>Between 10th Ave. and West Side Highway. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_20">Chelsea 20th</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>
  <Media>Screen: Video installation</Media>
  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[bitforms gallery presents Volume, the first solo exhibition in New York by Swiss artist Zimoun. On view will be an immersive, site-specific sound installation based on prepared dc-motors and cardboard boxes. 

Part of a series that received its U.S. debut in a solo exhibition at the Ringling Museum of Art this Fall, the installation emphasizes the grid as a method of visual organization. Precariously balanced rows of cardboard boxes form an architectural space containing a rumbling din produced by mechanical motors humming in unison. 

Pulsing rhythmically, each unit in the system reverberates with its own sense of purpose and timing. Temporal microstructures emerge and shift, made visible by collective behavior. With minimalist and low-tech means, Zimoun constructs a blank zone of play utilizing repetition and the physical pressure of vibration.

As an author, Zimoun uses scale and tools of amplification to transform our associations with commonplace industrial objects. Tuned into kinetic and acoustic detail, his obsessive displays of collected materials unlock emotional potential in otherwise banal and chaotic gestures. In his work static volume permeates a space, yielding reductive clocklike operas of the everyday.

For the duration of the show, the gallery’s project room on the 6th floor will also feature four mechanical works by the artist and a video.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/A856-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A856-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A856-170" width="170" />
  <Karma>4.02439</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:30:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746908</Latitude>
  <Longitude>-74.006225</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/B32C" href="http://www.nyartbeat.com/event/2012/B32C">
  <Name>&quot;20th Anniversary&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/FB7D5F99">
    <Name>Skoto Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., 5 Fl., New York, NY 10011</Address>
    <Phone>212-352-8058</Phone>
    <Fax>212-352-8079</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street, A/C/E to 14th Street, L to 8th Avenue.</Access>
    <Area areaId="chelsea_20">Chelsea 20th</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: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Skoto Gallery at 20
by Geoffrey Jacques
 
It is tempting to talk about Skoto Gallery as a secret treasure of the New York art scene; but doing so brings up a lot of contradictory data. For instance, how does a “secret” survive two decades in a historically tough scene made even tougher by the cultural and economic head winds that have buffeted art, the New York art world, and the world in general in the last few years? To say the quality of the work shown at Skoto Gallery during these last twenty years is responsible for its success would be one obvious truth. There is, however, more to it than that. Skoto Gallery performs a vital intervention into the very idea of contemporary art.
 
Twenty years ago this seemed like just another gallery starting up in New York City’s Soho during that neighborhood’s historical heyday as the center of the art world. This was a time of sharp public protests and protest-style exhibitions trying to crack an art scene whose racial and gender homogeneity was only slightly masked by an essentially Eurocentric ethnic plurality. It was the era of a multiculturalism that seemed like it was always emerging, yet never quite arriving. The Museum of Modern Art had recently mounted a highly-touted exhibition on “primitivism” —still thought of, as late as the mid-1980s, as a polite word — and modern art. African art was still thought of, by a wide section of the art public and by more than a few specialists, as an art without artists. That is, one had the objects, but usually these objects had no individual names attached to them. The sources of these objects were often ascribed as tribal or regional, but were rarely ascribed to an individual artist. Of course, Africans might have had some influence on the origins of modern art —this was, after all, MOMA’s point — but none created art worth thinking about in our real-time world. Few people in New York had ever heard of a contemporary African artist making contemporary art. Meanwhile, the conversation concerning contemporary art as such focused almost exclusively on European or Eurocentric trends, individuals and individualists. Even the few African Americans whose names the official art world admitted to knowing, such as Romare Bearden and Jacob Lawrence, were talked about, when considered at all, not as artists, exactly, but as relics or representatives.
 
This was the art world Skoto Gallery found itself in, and its own intervention into the conversation started with a bang. To open a gallery largely devoted to contemporary African art was one thing, and a pretty big thing at that; but to open the gallery with an exhibition curated by Ornette Coleman was another thing altogether. Soon enough, word got around town that something different was happening down on Prince Street. So it was. You walked in, and a whole new world opened up. It wasn’t just Africans who showed there, as remarkable as that might have been; sometimes Skoto Gallery would come up with ingenious pairings. I remember being so moved by a 1995 exhibition of works by two sculptors that I had to write about them. The pairing was, at first glance, audacious: Tom Otterness, from Kansas, who lived in New York; and Bright Bimpong, from Ghana, who was, at the time, studying in New Jersey. It was the kind of beautiful exhibition we’re now used to seeing at Skoto Gallery. On another occasion, I spent several congenial hours surrounded by the transcendent works of the category-defying El Anatsui, who was born in Ghana but who made his reputation in Nigeria. Here was an accomplished artist who’d been working for decades. I’d never heard of him. This is often the case with the artists who choose Skoto Gallery as an exhibition venue, and it is among the qualities that continue to make this gallery a unique and valuable part of New York’s art world. This is one of the rare galleries in that world where it’s still possible to get the news about art. One can hardly think of a bigger accomplishment.
 
Geoffrey Jacques is a poet and critic. He is the author of the poetry collection Just for a Thrill (2005) and A Change in the Weather: Modernist Imagination, African American American Imaginary (2009), a book of criticism.
 http://www.geoffreyjacques.com

[Image: Inaugural exhibition, curated by Ornette Coleman at Skoto Gallery former 25 Prince Street location, February 7th, 1992]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B32C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B32C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B32C-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746167</Latitude>
  <Longitude>-74.0062</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/C341" href="http://www.nyartbeat.com/event/2012/C341">
  <Name>&quot;Selected Gallery Artists&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/0F1576CC">
    <Name>Flowers</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., New York, NY 10011</Address>
    <Phone>212-439-1700</Phone>
    <Fax>212-439-1525</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd St.</Access>
    <Area areaId="chelsea_20">Chelsea 20th</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="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>or by appointment</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[[Image: Glenys Barton &quot;Tattoo Head I&quot; (2009) Ceramic, 63 x 44 x 28 cm / 25 x 17½ x 11¼ in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C341-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C341-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C341-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-24</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746263</Latitude>
  <Longitude>-74.006224</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D8EF" href="http://www.nyartbeat.com/event/2012/D8EF">
  <Name>Araya Rasdjarmrearnsook &quot;Two Planets / Village and Elsewhere&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/6714DCF2">
    <Name>Tyler Rollins Fine Art</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., New York, NY 10001</Address>
    <Phone>212-229-9100</Phone>
    <Fax>212-229-9104</Fax>
    <Access>Between 10th Ave and West Side Hwy. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_20">Chelsea 20th</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>Screen: Video installation</Media>
  <Description><![CDATA[Araya Rasdjarmrearnsook is universally recognized as one of the leading video artists from Southeast Asia. For the past 25 years, her video, installation, and graphic works have been regularly shown in institutions in her native Thailand and throughout the world. Tyler Rollins Fine Art presents Two Planets / Village and Elsewhere, the first solo show of her work in the United States. The exhibition features the world premiere of her latest video, Village and Elsewhere: Jeff Koons’ Wolfman in Pakoitai Market and Sunday Market, as well as the first US showing of three other recent videos from her Village and Elsewhere and Two Planets series (Village and Elsewhere: Artemisia Gentileschi’s Judith Beheading Holofernes, Jeff Koons’ Untitled, and Thai Villagers; Two Planets: Millet’s The Gleaners and Thai Farmers; and Two Planets: Manet’s Luncheon on the Grass and the Thai Villagers). The videos are installed with a group of related photographs.

Araya’s video works have a meditative, ritualistic quality, and, like many of humanity’s important rituals, they are often focused on the idea of communication between different realms. Her earlier works, for example, have explored the connection between the living and the dead, between the insane and “normal” people, and between humans and animals. Over the past few years, Araya has focused on art itself and the way the viewer interacts with a work of art. In the videos she presents in this exhibition, Araya has placed framed reproductions of iconic Western artworks in settings that are radically different from the art museum, specifically in rural villages, markets, and Buddhist temples in Thailand, where she films groups of farmers or working class people discussing the artworks. The scenes are shot from the perspective of a member of the crowd, thereby incorporating the viewer into the flow of conversation. With the four videos screening simultaneously in the gallery, the various soundtracks seem to meld together as a constant barrage of different voices buzzes in the air, with English subtitles providing a selective translation of the Thai dialogue, suggestive of the artist’s own attempt to manage, organize, and make sense of the unfolding events. These videos show the meeting of two different worlds: “high art” and everyday life; the personal and private spheres; elite vs. mass culture; art and commerce; East and West. While issues of class and cultural differences, exoticization of the “other,” etc., are invoked, these videos also convey a sense of curiosity, humor, and joy that emphasize a common humanity.

Videos from Two Planets will be shown later this year at the Walters Art Museum in Baltimore, which will present Araya’s first solo show at a US museum. Her works have been shown in numerous international museum exhibitions on five continents, including the groundbreaking exhibition, Traditions/Tensions: Contemporary Art in Asia, organized by the Asia Society, New York, in 1996. In 2011 alone, her work was featured in group exhibitions at the National Museum of Art, Osaka, Japan; the Musée de l’Objet, Blois, France; the Zentrum für Kunst, Karlsruhe, Germany; the Sørlandets Kunstmuseum, Kristiansand, Norway; the Palazzo Fortuny, Venice, Italy; MDE11 (Encuentro Internacional de Medellin), Medellin, Colombia; the Changwon Asian Art Festival, Gyeongnam, South Korea; and the Singapore Art Museum.

Araya’s work has been regularly featured in international biennials; she represented Thailand at the Venice Biennale (2005) and was featured in the Sydney Biennale (2010 and 1996), the Nanjing Biennale (2010), the International Video Art Biennial in Tel Aviv (2010), the Ural Industrial Biennale of Contemporary Art (2010), the Incheon Women Artists Biennale (2009), the Taipei Biennial (2006), the Gwangju Biennale (2006), the Carnegie International (2005), the Istanbul Biennial (2003), the Johannesburg Biennial (1995), and the Asia Pacific Triennial (1993). She was also an artist in residence at Artpace, San Antonio (1998-1999). We are pleased to welcome her back to the US.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D8EF-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D8EF-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D8EF-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-19" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746263</Latitude>
  <Longitude>-74.006224</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/DF70" href="http://www.nyartbeat.com/event/2012/DF70">
  <Name>Marilla Palmer &quot;Nature Burlesque&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/F457E489">
    <Name>Kathryn Markel Fine Arts</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., Suite 6W, New York, NY 10011</Address>
    <Phone>212-366-5368</Phone>
    <Fax>212-366-5468</Fax>
    <Access>Between 10th and 11th Avenue. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_20">Chelsea 20th</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: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Marilla Palmer's delicate compositions of flowers and leaves combine nature and theatrical embellishments; sequins, glitter and beads are all decadent components used to make nature her Soubrette. Palmer's eight new works on paper and sculptures reflect her overall interest in combining natural elements with fabricated materials. Palmer's faux botanical studies are derived directly from fallen shadows of handheld twigs and branches, and incorporate mushroom spores with thread, pressed leaves with holographic paper, and glitter with watercolor. The intricacy of Palmer's work entices exploration and beguiles the viewer. Look close and the work reveals details of intense study that are faithfully copied but made to be, as Palmer says, &quot;more gorgeous, more exciting.&quot; It is what Mother Nature would create if she were casting a play. Marilla Palmer gilds the lily of nature in its perfection; delicate and ethereal, sensual and seditious, it is nature accompanied by flare.

Marilla Palmer lives and works in Brooklyn, NY and has had numerous exhibitions of her work in New York and Los Angeles. She received her B.A. from Philadelphia College of Art. A review of a New York exhibition in the New Yorker says Palmer &quot;successfully amalgamates light-emitting diodes and bits of forest fungus.&quot; Time Out New York said Palmer &quot;sidesteps kitsch to create vivid and complex environment&quot;; and the Village Voice described her work as &quot;wistful rather than ornamental.&quot;]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/DF70-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/DF70-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/DF70-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746167</Latitude>
  <Longitude>-74.0062</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/F996" href="http://www.nyartbeat.com/event/2012/F996">
  <Name>David Goerk &quot;Recent Works&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/6B368230">
    <Name>Howard Scott Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., 7 Fl., New York, NY 10011</Address>
    <Phone>646-486-7004</Phone>
    <Fax>646-486-7005</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street or A/C/E to 14th Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_20">Chelsea 20th</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[Howard Scott Gallery presents an exhibition of recently completed works by the New York artist, David Goerk.  This will be his second solo exhibition with Howard Scott Gallery.      

The works which will compose the forthcoming exhibition are characterized by an economy of means.  Their scale is decidedly intimate, with dimensions rarely exceeding twelve inches. Perforce, passages of the declarative colors which he tends to favor (often in combination with white) can occupy only a small area, but because of the manner in which the color interacts with his carefully articulated shapes, the works achieve a physical presence which far outweighs their scale  -  allowing an individual work to hold a sizable wall, even when viewed at a considerable distance. ( It was perhaps a period of restricting his palette to black and white in combination  which honed his understanding of the optical properties of color.)

The artist spoke recently about the importance to him of achieving &quot;a simple clarity&quot; in his work  -  wall-sited constructs to which he refers specifically as &quot;sculpture&quot;, but &quot;sculpture informed by painting and drawing&quot;.  He places great value in the role of intuition in his working process, wanting the work to unfold in a direct and natural manner  -  not laborious, not endlessly deliberated upon… .  Crucially important to him is that his work not be fully comprehended in a brief viewing.  For this reason, he structures the work so that it possesses &quot;multiple and variable perspectives&quot; and also contains ambiguities which gradually explain themselves via prolonged viewing.

After a seven-year (1980-86) immersion in new music in Philadelphia (as one of four members of the band, Bunnydrums), Mr Goerk began exhibiting publicly as a visual artist, primarily in Philadelphia, where he continued living until moving to New York City.  His work has been juried into numerous museum and university gallery exhibitions by such admired &quot;eyes&quot; as Diane Waldman, Neal Benezra and Ned Rifkin.  Works are included in private and public collections in this country and in Europe, including the Philadelphia Museum of Art; Rutgers University, New Jersey; and the Panza di Biumo Collection in Milan.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/F996-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F996-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F996-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-19" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746167</Latitude>
  <Longitude>-74.0062</Longitude>
 </Event>

</Events>
