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<Events>
 <Event xml:lang="en" id="2011/3863" href="http://www.nyartbeat.com/event/2011/3863">
  <Name>Damien Hirst &quot;The Complete Spot Paintings 1986-2011&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/436DF6C6">
    <Name>Gagosian Gallery 21st Street</Name>
    <Type>Gallery</Type>
    <Address>522 W 21st St., New York, NY 10011</Address>
    <Phone>212-741-1717</Phone>
    <Fax>212-741-0006</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_21">Chelsea 21st</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[I was always a colorist, I've always had a phenomenal love of color... I mean, I just move color around on its own. So that's where the spot paintings came from-to create that structure to do those colors, and do nothing. I suddenly got what I wanted. It was just a way of pinning down the joy of color.
-Damien Hirst
 
Gagosian Gallery presents &quot;The Complete Spot Paintings 1986-2011&quot; by Damien Hirst.
 
The exhibition will take place at once across all of Gagosian Gallery's eleven locations in New York, London, Paris, Los Angeles, Rome, Athens, Geneva, and Hong Kong, opening worldwide on January 12, 2012. Most of the paintings are being lent by private individuals and public institutions, more than 150 different lenders from twenty countries. Conceived as a single exhibition in multiple locations, &quot;The Complete Spot Paintings 1986-2011&quot; makes use of this demographic fact to determine the content of each exhibition according to locality.
 
Included in the exhibition are more than 300 paintings, from the first spot on board that Hirst created in 1986; to the smallest spot painting comprising half a spot and measuring 1 x 1/2 inch (1996); to a monumental work comprising only four spots, each 60 inches in diameter; and up to the most recent spot painting completed in 2011 containing 25,781 spots that are each 1 millimeter in diameter, with no single color ever repeated.
 
In conjunction with the exhibition will be the publication of The Complete Spot Paintings 1986-2011, a fully illustrated, comprehensive and definitive catalogue of all spot paintings made by Hirst from 1986 to the present. Published by Gagosian Gallery and Other Criteria, The Complete Spot Paintings 1986-2011 includes essays by Museum of Modern Art curator Ann Temkin, cultural critic Michael Bracewell, and art historian Robert Pincus-Witten as well as a conversation between Damien Hirst, Ed Ruscha and John Baldessari.
 
The third issue of the Gagosian App for iPad will also launch January, providing an interactive, in-depth look at the series that features more than ninety spot paintings.
 
&quot;Damien Hirst: The Complete Spot Paintings 1986-2011&quot; precedes the first major museum retrospective of Hirst's work opening at Tate Modern in London in April, 2012.
 
Damien Hirst was born in 1965 in Bristol, England. Solo exhibitions include &quot;The Agony and the Ecstasy,&quot; Museo Archeologico Nazionale di Napoli, Naples (2004); &quot;A Selection of Works by Damien Hirst from Various Collections,&quot; Museum of Fine Arts, Boston (2005); Astrup Fearnley Museet for Moderne Kunst, Oslo (2005); &quot;For the Love of God,&quot; Rijksmuseum, Amsterdam (2008); &quot;No Love Lost,&quot; The Wallace Collection, London (2009); &quot;Requiem,&quot; Pinchuk Art Center, Kiev (2009); and &quot;Cornucopia,&quot; the Oceanographic Museum of Monaco (2010). He received the Turner Prize in 1995. His work is included in many important public and private collections throughout the world.
 
Hirst lives and works in London and Devon, United Kingdom.

[Image: DAMIEN HIRST &quot;Prochlorperazine&quot; (2009) Household gloss on canvas, 82 x 78 inches  (208.3 x 198.1 cm) © Damien Hirst and Science Ltd. All rights reserved, DACS 2011]]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2011/3863-170" width="170" />
  <Karma>5.96206</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746642</Latitude>
  <Longitude>-74.005728</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0D6D" href="http://www.nyartbeat.com/event/2012/0D6D">
  <Name>Robert Grosvenor Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/DD2D07C7">
    <Name>Paula Cooper Gallery &quot;534 W 21 St.&quot;</Name>
    <Type>Gallery</Type>
    <Address>534 W 21st St., New York NY, 10011</Address>
    <Phone>212-255-1105</Phone>
    <Fax>212-255-5156</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_21">Chelsea 21st</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[Robert Grosvenor presents a new work at Paula Cooper Gallery. Untitled (2011) is a two-part sculpture whose components include fiberglass, aluminum and concrete blocks. The exhibition will also present Untitled (1986-87), a piece consisting of a fragment of concrete wall lying on a blue tarp and sheltered by a steel structure.
 
Since first exhibiting at Park Place Gallery in 1965, Robert Grosvenor has created varied and stimulating bodies of sculpture and works on paper. His recent work, created out of materials such as wood, fiberglass or concrete, often consists of discrete and dissimilar elements put into relationship within a given space.  While abstract and at times inscrutable, his structures make oblique allusions to our everyday environment: bridges, fences, terraced patios or low-slung rock walls are variously suggested, yet, through the artist’s entirely original idiom, they are transfigured into singular and evocative forms that offer a fresh redefinition of sculpture.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0D6D-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2012/0D6D-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-04</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-03" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746709</Latitude>
  <Longitude>-74.006198</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/15A8" href="http://www.nyartbeat.com/event/2012/15A8">
  <Name>Donald Ian McCaw &quot;Corporate Mba Fabrications Inc.&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/86EA3B3A">
    <Name>AnnaKustera</Name>
    <Type>Gallery</Type>
    <Address>520 W 21st St., New York, NY 10011</Address>
    <Phone>212-989-0082</Phone>
    <Fax>212-989-0456</Fax>
    <Access>Between 10th Ave and West Side Highway. Subway: A/C/E to 14th Street or C/E to 23rd Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_21">Chelsea 21st</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>In summer closed on Saturdays.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[In an age when artists routinely become so successful and prolific that they morph into corporations, we are left to ponder the imponderable: what if a faceless corporation began creating its own art?  If  ideas go from focus groups straight into production,  doesn't  the  artist   become   merely   a  superfluous  middleman?  It  was  with  this  notion  that  Mba Fabrications  Inc., the brainchild of entrepreneur Donald Ian McCaw, was born.      
 
Initially, McCaw identified the fine art production industry as an ideal way to incorporate economic diversity into his business interests. As he describes it, &quot;Here was a high-profile industry with great margins that had somehow missed out on the transformative innovations of modern management science.&quot;  In 2010 the company began manufacturing appealing and marketable fine art.
 
To generate these Business Pop paintings, a revolving cast of employees work under the direction of a senior management team to perform every function from design to modeling to paint application. Multiple sketches, templates and painting techniques have been employed in the creation of each canvas. 
 
The resulting paintings produced by Mba Fabrications Inc. are as revelatory as they are handsome. They expose The Businessman for what he is: a headless suit that despite his many layers of accomplishment, can't escape the burdens of his urges, unease and endless ambition.  A contemporary anti-hero, created from an amalgam of arms, belts, wristwatches and designer wing-tipped shoes.  Sartorial vanity becomes a kind of armor.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/15A8-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/15A8-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/15A8-170" 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>40.746525</Latitude>
  <Longitude>-74.005625</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/4845" href="http://www.nyartbeat.com/event/2012/4845">
  <Name>Nick Mauss Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/AA2A3256">
    <Name>303 Gallery (547 W 21st Street)</Name>
    <Type>Gallery</Type>
    <Address>547 W 21st Street, New York, NY 10011</Address>
    <Phone>212-255-1121</Phone>
    <Fax></Fax>
    <Access>Between 10th Ave. and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_21">Chelsea 21st</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: Drawing</Media>
  <Media>2D: Prints</Media>
  <Description><![CDATA[For his second solo exhibition at 303 Gallery, Nick Mauss presents a landscape of images and notations, drawn across various forms. Accumulations of large aluminum sheets painted white and silkscreened with enlargements of Mauss' drawings or snapshots from his personal archive articulate the experience of looking at something that you have seen, thought about, made, and finding it strange or alien, and working with this strangeness as a material. Like oversized leaves from a dented manuscript, the sheets heave, drape, and fold over one another, looped with tongues and cut-out windows that transfigure the images they support, ranging from the highly stylized rendering, to the prosaic: a mannequin hunched over a computer infiltrated by reflections of trees in the window; a rebus-like drawing of a crack, a chin resting on a hand, half of a sickle; a photograph of an archway modeled after an enlarged seashell; a drawing of a figure in a pose of supplication covered in a spattering of ink; a graphic frame enclosing white space; photographs of shadows of photographing hands and a camera held over sketches for dress designs; a floating dormant head suspended over a graphic ribbon hemmed in by a corner. Often the images stutter in repetition across multiple sheets, individually hand-colored or worked over, as if to correct, underscore, or elaborate.

Thinking in sliding picture constellations, Mauss takes images out of the air and puts them onto various carriers, formalizing a poetic language from drawing, to object, to syntax. The ceramic tablets and folded ribbons hovering on the wall have the viscosity and vibrancy of a thought just before it is formed into words. The space of the exhibition follows the same logic as the space of the drawing, disjointed drawings are used as plans for things to do in space. The mental rendering and the quivering gesture become irrepressible material, process becomes a kind of notional architecture.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/4845-30" width="30" />
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  <Karma>0.955882</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-13" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747047</Latitude>
  <Longitude>-74.006278</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/4D39" href="http://www.nyartbeat.com/event/2012/4D39">
  <Name>Kate Pane &quot;I SCREAM/YOU SCREAM&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/C56EE053">
    <Name>Mallick Williams &amp; Co</Name>
    <Type>Gallery</Type>
    <Address>150 11th Ave., New York, NY 10011</Address>
    <Phone>212-929-4137</Phone>
    <Fax></Fax>
    <Access>Between 21st and 22nd Sts.  Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_21">Chelsea 21st</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>saturdayopening hour 11:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Mallick Williams &amp; Co. Gallery presents I SCREAM/YOU SCREAM with new paintings by Kate Pane. During this past Miami Art Basel the gallery previewed an oversized outdoor installation of Pane’s work at The Shore Club. The artist is following up her Basel debut with her ﬁrst solo exhibition. 

Pane’s paintings focus on the transitional stage when childhood turns into teenage years, a time while facing forthcoming growth there is the inclination to remain innocent. The exhibition’s title I SCREAM/YOU SCREAM best represents this  period. The popular rant is learned while growing up, sung over and over in unison until satisﬁed. Though it is known between every boy and girl, there are other parts of  young adolescence that remain secretive.  This explorative age quickly leads to unknown exploitations. Curiosities turn into lustful discoveries, with screams of desires emerging from all delights - both pure and profane. More wonderment than perversion, this time of life is exciting and fully romantic notions.

Spread over the gallery’s entirety, I SCREAM/YOU SCREAM is both whimsical and dreamlike. In the front room works on canvas evoke a child’s dizzying perspective painted with imaginative visions of ponies and ﬁgures. The back space strips away the naive fantasies of the other room. Collage works of pornographic material overlaid with girlish glitter expose the reality of aging in a world of accessibility, with the gaieties of youth diminishing.  ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/4D39-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4D39-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4D39-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-02-29</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>20</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747686</Latitude>
  <Longitude>-74.007536</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/4FEE" href="http://www.nyartbeat.com/event/2012/4FEE">
  <Name>&quot;See My Voice, Hear My Vision&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/EC3901AE">
    <Name>Westside Gallery</Name>
    <Type>Gallery</Type>
    <Address>133/141 W 21st St., New York, NY 10011</Address>
    <Phone>212-592-2145</Phone>
    <Fax></Fax>
    <Access>Between 6th and 7th Ave. Subway: 1 or F/V to 23rd Street</Access>
    <Area areaId="chelsea_21">Chelsea 21st</Area>
    <OpeningHour>09:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 10:00, saturdays closinghour 18:00</ScheduleDetails>
    <ScheduleNote>Closed on federal holidays.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Installation</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[An exhibition of selected work by second-year students in the MPS Art Therapy Department and the clients they work with at their internship sites. Curated by faculty member Liz DelliCarpini. ]]></Description>
  <Image src="http://www.nyartbeat.com/resources/images/nopic" width="30" />
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  <Image src="http://www.nyartbeat.com/resources/images/nopic_170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-11</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-15" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.74205</Latitude>
  <Longitude>-73.994825</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/69B1" href="http://www.nyartbeat.com/event/2012/69B1">
  <Name> Thomas Scheibitz &quot;A Panoramic View of Basic Events&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/545C297B">
    <Name>Tanya Bonakdar Gallery</Name>
    <Type>Gallery</Type>
    <Address>521 W 21st St, New York, NY 10011</Address>
    <Phone>212-414-4144</Phone>
    <Fax>212-414-1535</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_21">Chelsea 21st</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>3D: Sculpture</Media>
  <Description><![CDATA[For his seventh solo exhibition at the gallery, titled &quot;A Panoramic View of Basic Events,&quot; Thomas Scheibitz will present an extraordinary group of new paintings, sculptures, drawings, and collages.  These pieces function as a meditation on composition across several different media, as the artist continues his  exploration of perspective, the fine line between abstraction and figuration, and the fusion of the painterly and the graphic. Combining imagery that references classical architecture, the contemporary urban landscape, and popular culture, Scheibitz filters these sources of inspiration through his own lens of abstraction to create visually dynamic and compelling works that are layered with meaning and references, yet remain enigmatic.  ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/69B1-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/69B1-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/69B1-170" width="170" />
  <Karma>1.19241</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746647</Latitude>
  <Longitude>-74.005653</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6AB3" href="http://www.nyartbeat.com/event/2012/6AB3">
  <Name>Sophie Calle, Christian Marclay, Paul Pfeiffer, Walid Raad, Michael Sailstorfer and Carey Young Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/4E34641A">
    <Name>Paula Cooper Gallery  &quot;521 W 21 St.&quot;</Name>
    <Type>Gallery</Type>
    <Address>521 W 21st St., Fl.2, New York NY, 10011</Address>
    <Phone>212-255-1105</Phone>
    <Fax>212-255-5156</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_21">Chelsea 21st</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[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6AB3-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6AB3-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6AB3-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-07</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746815</Latitude>
  <Longitude>-74.00573</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6ABF" href="http://www.nyartbeat.com/event/2012/6ABF">
  <Name>Hans-Peter Feldmann Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/AA2A3256">
    <Name>303 Gallery (547 W 21st Street)</Name>
    <Type>Gallery</Type>
    <Address>547 W 21st Street, New York, NY 10011</Address>
    <Phone>212-255-1121</Phone>
    <Fax></Fax>
    <Access>Between 10th Ave. and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_21">Chelsea 21st</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[Hans-Peter Feldmann was the recipient of the 2010 Hugo Boss Award, and displayed this prize in its entirety as his exhibition at the Guggenheim Museum, New York. His work has recently been featured in exhibitions at Malmö Konsthall in Sweden Reina Sofia, Madrid, Kempner Art Museum St. Louis, and MOCAD, Detroit. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6ABF-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6ABF-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6ABF-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-24</DateStart>
  <DateEnd>2012-03-31</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>51</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747047</Latitude>
  <Longitude>-74.006278</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/77F8" href="http://www.nyartbeat.com/event/2012/77F8">
  <Name>Brian Fekete &amp; Nathan Schiel &quot;Cellar Door&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/89613CA9">
    <Name>571 Projects</Name>
    <Type>Gallery</Type>
    <Address>551 W 21st St., Unit 204A, New York, NY 10011</Address>
    <Phone>212-229-0897</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave.  Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_21">Chelsea 21st</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>and by appointment</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[571 Projects presents Cellar Door, an exhibition of new works by artists Brian Fekete and Nathan Schiel, curated by Joe Elliott. This is Fekete and Schiel’s first exhibition with 571 Projects, and Schiel’s first exhibition in New York City. 
 
Often cited as an example of phonasthetics, here Cellar Door forefronts the concept of thresholds. The hidden, forgotten and stratified belong to the cellar, and a door grants or denies passage into this alternate realm. In literature gateways, portals and even rabbit holes are used as a device to define the transition between perceived truth and enlightenment, and the few who gain access must earn it. Painters Fekete and Schiel both explore similar boundaries between an apparent surface reality and an enigmatic world below in their work on view at 571 Projects. Activating similar thresholds, they challenge us to engage and interact with their work.
 
Believing in the potential of progress rather than a preoccupation with the past, Schiel builds his paintings via an unrelenting system of layers.  Cabin (2011, oil on canvas, 40 x 30 in.) is heavily repainted, revealing only the slightest hint of that which lies beneath. As a result of this stratification our visual understanding is restricted by the physicality of the tangible layers. Adorning the surface of his abstract paintings, Schiel delicately grounds us in the shadows of trompe l’oeil, once again referencing depth though ultimately teasing us with concealed histories. Schiel does not intend to restrict the viewer from the origins of the work, but he asks us to look closely for windows into past layers, revealing the true personality of each painting.
 
In contrast to Schiel’s opaque layers pierced by windows, Fekete uses a latticework of juxtaposed imagery.  Thrusting us deep into a medley of visual symbolism, he challenges logic and convention on a cerebral level. In Serotonin Serenade (2011, ink and gouache on paper, 50 x 38 in.), a distorted image of a brain floats against a boundless, decoratively patterned void. Aided by an extensive image library consisting of automobile catalogues, anatomical prints, and historical illustrations, Fekete uses a process that Elliott describes as ‘analog Photoshop.’ Favoring the photocopier and projector over the convenience of their digital counterparts, he intertwines elements of nature, science, and religion. Through distortion and re-contextualization of these images, Fekete celebrates their similarities and hopes that we too might open our minds, taking a daunting yet critical step into his fantastical world.
 
Originally from Detroit, Michigan, Fekete received his BFA and MFA from the Wayne State University, Detroit, Michigan. Most recently he has exhibited at SoapBox Gallery, NY, Edward Thorp Gallery, NY, Suzanne Hilberry Gallery, MI and Bunting Gallery, MI. His work is represented in multiple private and institutional collections including, The Detroit Institute of the Arts, CB Commercial and Miller, Cranfield, Paddock and Stone. Born in Denver Colorado, Schiel received his BFA from the Rhode Island School of Design. In 2011 Schiel was awarded a full scholarship and teaching fellowship to The University of Massachusetts Amherst. This will be Schiel’s first exhibition in New York City.
 
Joe Elliott is a New York City-based independent curator and the founder of Kingsley Elliott, an online gallery dedicated to supporting and promoting emerging artists via pop-up exhibitions.  Elliott received his BFA from Rhode Island School of Design and his Masters in Visual Arts Administration from New York University.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/77F8-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2012/77F8-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-16</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="21:00:00">Opening Reception</Party>
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 </Event>

 <Event xml:lang="en" id="2012/8098" href="http://www.nyartbeat.com/event/2012/8098">
  <Name>Marlo Pascual Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/30018243">
    <Name>Casey Kaplan</Name>
    <Type>Gallery</Type>
    <Address>525 W 21st St., New York, NY 10011</Address>
    <Phone>212-645-7335</Phone>
    <Fax>212-645-7835</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_21">Chelsea 21st</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>Misc.: Media Arts</Media>
  <Description><![CDATA[PLEATED SUEDE
Dress bare back pump in soft black suede has new pleated vamp. Sizes 9 ½ to 12 in
slim, narrow or medium widths are $20.95 at Nierman’s Tall Girls Shoes.
Utah Celery
Vegetables
(PLESE CREDIT FERRY. MORSE SEED CO.)
Sand Dunes
Mich.­
Oceana County at Silver Lake
The sentinel. This oak, vanquished + uncovered by the dune, Old Hogback, stands as
a sentinel white the dune moves on to vanquish the forest.
A NATURAL MAGNET.
Probably the world’s only natural magnet which was recently found in the Wasatch
Mountains in Utah and was placed on oxhibition at the Field Museum of Natural
History in Chicago. This natural magnet weights 400 pounds and is so powerful that
it will hold a nail suspended from _ almost hosizontal in the air as shown in the
corner of the picture.
(Credit Herbert Photo Inc.)
The Big Kilauea Crater
Lava Buttress
UFO Rock Which Was Reportedly Dropped From Unidentified Craft
ABOVE: Right.
Pants should hit the heel seam of your shoe. If you
Are wearing
High-water slacks
And your socks
Are showing,
You’ve
Commited one of
The cardinal sins
Of menswear.
Photo 1974 Abstract Birds Light
Treasure Buried
Map of stone found on John Writlaw farm near Milford, Mich.
Lighting
1.Man first saw the light-at night-
with such a prehistoric stone lamp,
used by cave men to burn animal fats.
CAT

Marlo Pascual is an American artist living and working in New York. Born in 1972, in Nashville, TN, Pascual completed her MFA at Tyler School of Art, Philadelphia, PA in 2007. This is the artist’s second solo exhibition at the gallery.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8098-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8098-80" width="80" />
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-16</DateStart>
  <DateEnd>2012-03-24</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-16" start="18:00:00" end="20:00:00">Opening Reception</Party>
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  <Latitude>40.746806</Latitude>
  <Longitude>-74.005678</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/8E65" href="http://www.nyartbeat.com/event/2012/8E65">
  <Name>Mat Collishaw Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/545C297B">
    <Name>Tanya Bonakdar Gallery</Name>
    <Type>Gallery</Type>
    <Address>521 W 21st St, New York, NY 10011</Address>
    <Phone>212-414-4144</Phone>
    <Fax>212-414-1535</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_21">Chelsea 21st</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[In Gallery 2, Mat Collishaw creates installation and photo-based works that explore the impact of disturbing subject matter presented through formally stunning imagery.  New photographs from both Collishaw's &quot;Insecticide&quot; and &quot;Last Meal on Death Row - Texas&quot; series will compliment a large multi-media installation and sculptures.  Mining the fertile ground between oppositional themes: reality versus reproduction, observation versus exploitation, seduction versus repulsion, Collishaw presents works that captivate the viewer in their seemingly contradictory ability to incorporate beauty and horror in equal measure.  ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8E65-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8E65-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8E65-170" width="170" />
  <Karma>1.0061</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746647</Latitude>
  <Longitude>-74.005653</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D1AC" href="http://www.nyartbeat.com/event/2012/D1AC">
  <Name>&quot;Rotary Connection&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/30018243">
    <Name>Casey Kaplan</Name>
    <Type>Gallery</Type>
    <Address>525 W 21st St., New York, NY 10011</Address>
    <Phone>212-645-7335</Phone>
    <Fax>212-645-7835</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_21">Chelsea 21st</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: Drawing</Media>
  <Description><![CDATA[Casey Kaplan presents a group exhibition, Rotary Connection, organized by the gallery’s director, Loring Randolph. The exhibition brings together 13 artists who, despite different approaches, all challenge conventional models of artistic processes. A web of interwoven art historical references and ideologies connects the sculptures, paintings, and images on view in an installation that aspires to incite multi-disciplinary discussions with varied readings relating to themes such as: the displacement of the figure and the subject, the phenomenology of the viewer, and the deconstruction of systems. In Rotary Connection, what is visible is as important as what is unseen.

Étienne Chambaud’s two sculptures are objects that have been formed and deformed through subversive acts, emphasizing the fragile balance of context, representation, and meaning. Objets Rédimé (les livres), 2010, consists of three cast glass books that have been dropped to their demise from the gallery’s ceiling to the floor of the exhibition space. « Atlas, », 2011, presents a found atlas with holes cut into its pages, displayed at its center, and leveled flat resting on a plinth. The remaining object confuses and combines political and geographical boundaries.

Isabelle Cornaro’s practice begins with documents and archives belonging to history and culture. Utilizing these images and documents as a framework, Cornaro creates, through various processes and mediums, artworks that question and deconstruct the systems of representation that these sources denote (of objects, life, architecture, and nature). Based on historical images of landscaped gardens the exhibition presents three drawings created from wisps of hair and cut paper, plus an ethereal spray painting, entitled, Of Cinematic, 2011, where nuances of compositions in Impressionist paintings have been rapidly captured.

Julia Dault’s artworks harness the limitations and the contingencies of gesture, time, and material, as their subject matter. Dault’s most recent sculptures consist of draped, un-stretched paintings that layer vinyl, pleather, and other materials of costume and display. While taut, Dault scrapes through previously applied layers of paint with a simple toothed tool to reveal both singular and repetitive gestures, additionally exposing metallic, reflective, transparent or vibrantly colored under surfaces.

Jose Dávila takes simple industrial, building materials with appropriated images as his medium to create artworks that contest the inherent qualities of modern architecture and other constructed spaces. In, Topology of Memory, 2011, Dávila has removed famous artworks from their surroundings, exposing the interior and exterior sites as the subjects. Mirage No. 2, 2011, is reminiscent of a number of past artworks, including Kazimir Malevich’s White on White from 1918. However, in Dávila’s case, the wall acts as the canvas within a series of receding vinyl outlined frames, as panes of glass slip out of place to create an illusion of form.
A copper bell hangs in the third gallery with no clapper inside it to ring. The only time it sang out was when attached to the end of the broom of chimney sweep, Jonas Vytas Keršys while he cleared ash and soot from chimneys in Vilnius, Lithuania. This past journey and the bell’s sound are now an imagined occurrence – immortalized in the mind - by all who see its shell. Jason Dodge’s displaced objects tell a story of their history as evidence of a transformation that has already taken place through Dodge’s own actions and those of others.

Ryan Gander’s art tells a story in hopes of activating the viewer’s imagination, directing them to begin to remember or to misremember history in order to create a new “future history” of art. Multiple fictional characters and personas, processes, subject matters, and media, function within a system of production that Gander has created where the spectator must believe that the world is a constructed reality, one where anything can be true. An exhibition poster for a fictitious show entitled “You need to see this beauty broken down” and a fragmented historical icon direct the viewer to fill in the gaps.

In the late 1990s, Liam Gillick created an artwork consisting of a set of instructions to paint swatches on a wall to try to replicate the color of coca-cola, challenging the instructed person to re-examine their relationship to architecture, as well as the relationship of art production to social and economic structures. Three drawings in the exhibition are presented in the three rooms of the gallery, and show Gillick’s own graded attempts, Tango colored conference room, Pepsi colored foyer and Seven-up colored lobby, that additionally comment on the implications of the aesthetics in these structured places of temporal occupation.

What if this guy was a figment of my imagination, 2011, Andrew Kuo’s painting, quantifies the nonrepresentational – thoughts and emotions – in a mimetic relationship between text and image. Typical of his diagrammatic paintings that draw on the language of info-graphic images, the work contains fields of color that abstract a depiction of a 360-degree book hovering above a corresponding key. While it points towards modernist geometric abstraction, Kuo’s work is imbued with a unique complexity as it functions to document his daily life and oscillations of his psyche.

In many of his works, Mateo López creates sculpture from drawings, and then uses drawing as a means, a process, and an investigation into the narrative. Sometimes the work contains studio-like scenarios, often functioning to blur the line between production and display. By creating a system of lines on uniform rectangles of paper and creasing these lines, López delineates a 3-dimensional typography out of paper. His Paper Poems unfold on two shelves, changing daily over the course of the exhibition. Day 15 reads: “Time has” on the upper shelf, and “beaten us again” below.

Benoit Maîre’s practice is rooted in philosophy and theory. His paintings, installations, and films aim to create new systems of aesthetics through an investigation of whether an image (or an object) can be a concept and the distance that exists between the visual and the textual. In the exhibition, all three sculptures function around themes of the gaze. A bronze head of the Medusa faces her opposing reflection, Alberto Giacometti’s Nose, 1945 (cast 1965), is poised on a tripod as a camera, and a new sculpture, conjugaison du 16 novembre 2011: la question d'amie, is a vitrine with objects and images positioned to be experienced by the viewer from a specific vantage point.

Arthur Ou’s oeuvre includes photography, sculpture, and installation. His practice is engaged with questions of modernism, historiography, and documentation and their roles within visual culture. The four photographs on view, Primer 1 – 4, 2011, assimilate two different images and subjects, landscape, and studio photography, onto one plane in film through double exposures on a single negative. In this collapsed space, wire sculptures draw gestural lines over rock face expanses.
Over the past few years, Marlo Pascual has investigated the malleability of the photograph as physical material. In a recent series, Pascual scales and reprints found images of performers on watercolor paper, and then folds the paper at specific points to distort the image. Pascual’s latest image of a woman standing in front of a curtain is rendered life size, the figure engulfed by the drape of the fabric.

Pietro Roccasalva’s practice includes a wide-range of media such as painting, performance, sculpture and photography, that create what the artist calls “situazione d’opera” (“a worksite”), in which images and iconographies circulate in an ongoing process that eventually comes back to its departure point: painting and its power of simulacrum. The work in the show belongs to a series of white marble pieces titled, Che cosa sono le nuvole (What clouds are), which materialize the artist’s refusal to participate in a number of exhibitions. Embedded into a wall, each marble is the size of an A4 sheet of paper and is carved with the details of the show (date, venue, list of artists participating, title, and curator). The letters are then filled with black ink with the exception of Roccasalva's name, which is left indecipherable.]]></Description>
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  <Karma>0.685003</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-05" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
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  <Latitude>40.746806</Latitude>
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 </Event>

 <Event xml:lang="en" id="2012/D819" href="http://www.nyartbeat.com/event/2012/D819">
  <Name>&quot;Makeup on Empty Space&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/96F464D6">
    <Name>Larissa Goldston Gallery</Name>
    <Type>Gallery</Type>
    <Address>551 W 21st St., New York, NY 10001</Address>
    <Phone>212-206-7887</Phone>
    <Fax>212-206-7829</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_21">Chelsea 21st</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>
  <Description><![CDATA[Larissa Goldston Gallery inaugurates its new ground floor space with the exhibition Makeup on Empty Space, featuring works by Nicole Cherubini, Lauren Clay, Orly Genger, Janelle Iglesias, Fabienne Lasserre, Shana Moulton, Arlene Shechet, Lotte Van den Audenaeren, and Lorna Williams.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D819-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2012/D819-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-31</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>51</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.74715</Latitude>
  <Longitude>-74.006554</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/F72D" href="http://www.nyartbeat.com/event/2012/F72D">
  <Name>Thomas Heatherwick &quot;Extruding and Spinning&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/756A6D6F">
    <Name>Haunch of Venison</Name>
    <Type>Gallery</Type>
    <Address>550 W 21st St., New York, NY 10011</Address>
    <Phone>212-259-0000</Phone>
    <Fax>212-259-0001</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_21">Chelsea 21st</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>Or by appointment.</ScheduleNote>
  </Venue>
  <Media>3D: Architecture</Media>
  <Media>3D: Product</Media>
  <Description><![CDATA[Haunch of Venison presents the first U.S. exhibition of Thomas Heatherwick, one of Britain’s most celebrated architect designers. Heatherwick’s designs engage in the spectrum of architecture, engineering and public art. He has worked on a diverse range of projects from buildings, bridges to handbags and furniture. His British pavilion won the top prize for the Shanghai World Expo in 2010 and he was awarded three RIBA awards in 2010, including the prestigious Lubetkin Prize 2010 and has been selected to design the 2012 Olympic cauldron.  Extruding and Spinning is an exhibition of Heatherwick’s first two high-end furniture projects; Extrusion, a series of extruded benches and chairs and Spun Coriolis, a series of spinning metal chairs for which he was awarded Design Medal at the London Design Festival 2010.
Highlights of the exhibition will include four extruded, mirror  polished, nickel plated, aluminum benches made without fixtures or fittings  – the world’s first single component of metal furniture, extruded by machine.  Heatherwick Studio commissioned a specially designed die through which a single billet of  aluminum  was ‘squeezed’ into a chair profile, complete with  legs, seat and back. The aluminum emerges in a raw unpolished finish, which is then cut and sometimes shaped; each cut piece of bench then undergoes 300 hours of polishing. 
The project, 18 years since conception, takes technology used in the aerospace industry to produce the world’s largest ever extruded piece of metal. The graceful aluminum pieces each have a unique, dramatic form that combines the back, seat and legs into one element. Until now, extrusion technology has been limited to smaller dimension profiles, and since graduating from the RCA in 1994, Heatherwick has been searching for a machine capable of producing a chair with legs, seat and back from a single component. A second highlight of the exhibition is ‘Spun Coriolis ’ a functional chair formed from a single profile rotated through 360 degrees. The design transforms the domestic seat into a beautifully rendered spinning top. Each chair is assembled with six spinnings of thick metal, welded together and polished to give a uniform single form. The handmade spun pieces are created by pressing large sheets of metal against a rotating cast iron form using a large paddle.
The concept of this new design evolved from Heatherwick’s interest in the traditional manufacturing technique used for making large timpani drums in order to create a design using rotational symmetry while asking the question  – could a functional chair be formed from a single profile rotated through 360 degrees?  Spun Coriolis demonstrates Heatherwick’s interest in challenging traditional rules of design by transforming a static piece of sculpture into a playful piece of design. When upright Spun Coriolis is a gleaming sculptural vessel and it is only when it is lent on its side that the playful possibilities of its form come to light; Spun Coriolis allows the sitter to swivel in a circular rocking motion, including being able to rotate in a complete circle. Spun Coriolis chairs are made in limited edition series in different finishes like stainless steel or copper, each series signed and dated, some are rippled and others smooth or with a patinated finish. Heatherwick will make no more than 35 chairs in total, one of which was recently acquired for MoMA’s permanent collection. Thomas Heatherwick (b.1970) founded the Heatherwick Studio in London in 1994 after graduating from the RCA. Today, the practice operates from a combined studio and workshop in King’s Cross, London where a team of architects, designers and makers work on projects ranging from buildings and bridges to products and large scale works of art. The studio’s work includes La Maison Unique, the flagship store for luxury French brand, in New York Longchamp, multi-award winning East Beach Café, Littlehampton, and bridge, Paddington.  A major exhibition of Thomas Heatherwick's architecture and design will open at The Victoria &amp; Albert Museum in 
London in 2012 and the Nasher Sculpture Center in Dallas will host a survey exhibition in the fall of 2014 before touring to other American museums and institutions.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/F72D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F72D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F72D-170" width="170" />
  <Karma>2.46622</Karma>
  <Price free="0">Free </Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-19" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746846</Latitude>
  <Longitude>-74.006536</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/FE74" href="http://www.nyartbeat.com/event/2012/FE74">
  <Name>Stan Narten Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/A1BF27F3">
    <Name>Kravets/Wehby Gallery</Name>
    <Type>Gallery</Type>
    <Address>521 W 21st St., New York, NY 10011</Address>
    <Phone>212-352-2238</Phone>
    <Fax>212-352-2239</Fax>
    <Access>Between 10th Ave. and West Side Highway. Subway: A/C/E to 14th Street or C/E to 23rd Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_21">Chelsea 21st</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 Kravets/Wehby Gallery presents a solo exhibition of new paintings by Stan Narten.

In this latest series, Stan’s paintings have become increasingly dense and intricate. All are composed as portraits, each comprised of a solitary ‘character’ within a mass of abstract forms. They invoke spatial and figural illusions, visual anomalies and architectural elements. Inspired by references from Classical European portraiture, Narten utilizes the style of classical painting with glazes to create the luminance reminiscent of the old masters. The title of the exhibition is inspired by a concept in philosophy and neuroscience. The Three Pound Universe is a metaphor for the known universe existing as a sole construct of the brain, culminating in all feeling, perception, distortion, and illusion. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/FE74-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/FE74-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/FE74-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746647</Latitude>
  <Longitude>-74.005653</Longitude>
 </Event>

</Events>
