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<Events>
 <Event xml:lang="en" id="2011/217D" href="http://www.nyartbeat.com/event/2011/217D">
  <Name>Bertien van Manen &quot;Let’s sit down before we go&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/EDE6BD0B">
    <Name>Yancey Richardson Gallery</Name>
    <Type>Gallery</Type>
    <Address>535 W 22nd St., 3 Fl., New York, NY 10011</Address>
    <Phone>646-230-9610</Phone>
    <Fax>646-230-6131</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>Summer Hours: Monday thru Friday, 10am to 6am. Closed on Labor Day Weekend. Winter Hours: Tuesday thru Saturday, 10am to 6pm.</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[The Yancey Richardson Gallery presents Let’s sit down before we go, an exhibition of works by Dutch photographer Bertien van Manen. Van Manen’s work is a meditation on human existence, revealing the truth of particular lives. Selected from her travels through Uzbekistan, Siberia, Ukraine, Georgia, Moldova, Moscow and Tartarstan since 1990, van Manen’s photographs are characterized by the intimacy she achieves with her subjects, with whom she spent countless hours sitting at their tables, lodging in their homes, immersed in their reality.

Van Manen provides a window into Russian lives following years of struggle under the Communist regime. As critic Ryszard Kapuściński notes in his introduction to van Manen’s 1995 book, A hundred summers, a hundred winters, the artist’s lens penetrates the “most inaccessible of places—the homes of ordinary people—in order to show us how millions of Russians live and sleep, what they eat, what they look like in their everyday life, in their flats, at their tables, in their beds.” In the case of the former Soviet empire, people were conditioned to be fearful and suspicious, long forbidden to exhibit whom they really were to the rest of the world.  By contrast, Van Manen celebrates the country’s richness and humanity, especially that of its youth, capturing her subjects at leisure with family and friends, snow skiing in bathing suits, donning wedding dresses, swimming in Siberia and cutting hair in an emerald green meadow.

Kapuściński writes, “Through her excellent photographs and her inquiring and humanistic temperament, and with powerful artistic expression, Bertien van Manen shows what historians, writers, sociologists and political scientists argue, that there are at least two Russias. There is the official, imperial, external Russia, known to us from newspaper headlines, and the one within, the hidden, poor Russia of the anonymous, ordinary people of whose existence Bertien van Manen’s moving and revealing [work] tells.” 

Born in 1942 in The Hague, The Netherlands, van Manen lives and works in Amsterdam. Her most recent monograph, Let’s sit down before we go, was released in 2011. She has released three previous monographs: A hundred summers, a hundred winters (1994), East Wind West Wind (2004), and Give Me Your Image (2005), selections of which featured in New Photography 2005 at the Museum of Modern Art. Van Manen’s work is held in the permanent collections of several major museums, including the Metropolitan Museum of Art, the Museum of Modern Art, and the Stedelijk Museum. Her work has been exhibited internationally at museums such as the Fotomuseum Winterthur, the Reina Sofia, and the Metropolitan Museum of Photography in Tokyo. The series Let’s sit down before we go will be presented in its entirety at FOAM Photography Museum, Amsterdam in March 2012.

[Image: Bertien van Manen &quot;Beach at Lake Baikal, Siberia, from the series Let's sit down before we go&quot; (1993) 12 x 16 inch Chromogenic Print. Edition of 10.]]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2011/217D-170" width="170" />
  <Karma>8.04878</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>
  <PermanentEvent>0</PermanentEvent>
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  <Datum>wgs84</Datum>
  <Latitude>40.747592</Latitude>
  <Longitude>-74.005639</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/BC40" href="http://www.nyartbeat.com/event/2011/BC40">
  <Name>&quot;Mobilier National&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/E0759F6E">
    <Name>Demisch Danant</Name>
    <Type>Gallery</Type>
    <Address>542 W 22nd St., New York, NY 10011</Address>
    <Phone>212-989-5750</Phone>
    <Fax>212-989-5730</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_22">Chelsea 22nd</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 12:00, saturdays closinghour 18:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Furniture</Media>
  <Media>3D: Product</Media>
  <Description><![CDATA[Demisch Danant gallery will unveil the first American exhibition devoted exclusively to the 20th century furniture created under the Mobilier National - an institution of the République française conceived to decorate the official palaces and residences of the Republic and to promote the highest levels of beauty, originality and technical innovation in French decorative arts and design. Mobilier National will present more than 20 rare examples of furniture realized under this extraordinary program between 1964, including Olivier Mourgue’s Montreal Chair and Table (1967), and a selection of Pierre Paulin designs for the Palais de l'Elysée including a rare Bureau de Dame (1981). Also on view will be an important President's Desk (1968) by Henri Lesetre and a Chaise Grains de café (1971) by Francois Xavier and Claude Lalanne.

The exhibition will remain on view through February 2012 at the gallery’s New York space in the West Chelsea arts district of Manhattan.

Dating back to the 17th century, the Mobilier National has been responsible for the decoration of the Republic’s many official government spaces at home and abroad. In 1964, the Atelier de Recherche et Creation (ARC) was created under the Mobilier National to promote a uniquely French contemporary style by engaging and supporting the work of 
French designers and artists. Since the 1960s, the ARC has realized over 500 prototypes for furniture and lighting, including many objects now viewed as icons of modernity. Pierre Paulin and Olivier Mourgue were the first to participate in the Mobilier National’s ARC in the 1960s. They were followed over ensuing decades by such significant figures as Elizabeth Garouste and Mattia Bonetti, and Martin Szekely in the 1980s, and the Bourroullec brothers Ronan and Erwan in the 1990s. Today, ARC continues to promote extraordinary artistic creativity in France, providing leading designers and new talents alike the resources necessary to experiment with new techniques and materials.

The exhibition at Demisch Danant focuses primarily upon the important commissions that emerged during the ARC’s first years. In 1967 the Mobilier National requested Olivier Mourgue to design the seats and tables for the French Pavilion at Expo ‘67 in Montreal. The organization commissioned Pierre Paulin to furnish the private apartments of President George Pompidou at the Palais de l'Elysée in 1969, and for the Exposition Universal in Osaka in 1970, where Paulin’s now famous Amphis sofa was unveiled. In these cases, the ARC-sponsored prototypes gave way to editions through commercial entities, allowing the vision and talent of French designers to emanate beyond the nation’s borders, influencing design internationally: these curved and softened objects heralded the beginning of a broader cultural design shift away from the more functional, hard-edged and streamlined Modernist aesthetic of the early 1960s, and toward an organicism still powerful today.]]></Description>
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  <Karma>1.25252</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-11-08</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
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  <Latitude>40.747694</Latitude>
  <Longitude>-74.005878</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/DB56" href="http://www.nyartbeat.com/event/2011/DB56">
  <Name>Jitka Hanzlová &quot;Here&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/EDE6BD0B">
    <Name>Yancey Richardson Gallery</Name>
    <Type>Gallery</Type>
    <Address>535 W 22nd St., 3 Fl., New York, NY 10011</Address>
    <Phone>646-230-9610</Phone>
    <Fax>646-230-6131</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>Summer Hours: Monday thru Friday, 10am to 6am. Closed on Labor Day Weekend. Winter Hours: Tuesday thru Saturday, 10am to 6pm.</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[The Yancey Richardson Gallery presents HERE, a project gallery exhibition of works by Czech photographer Jitka Hanzlová, marking the debut exhibition of the artist’s work at the gallery. The decade-long series documents the artist’s experience of acclimation to her new home in the Ruhr region of northwest Germany. Formed by a conglomeration of industrial centers, including Hanzlová’s adopted town of Essen, the landscape of the Ruhr region is in sharp contrast to the pristine forests of her childhood.

The residual sense of foreignness to the landscape, language and people is at the heart of the series. As Hanzlová explains, “Otherness is a challenge. It keeps you alert and sharpens your senses.” The images reflect this visual acuity, presenting curious landscapes clearly shaped by human intervention yet resplendent in their poetic sensibility. “The feel of a place is very important to my work, especially the light,” says the artist. Hanzlová’s expert treatment of light and attention to detail lend a sense of the transformative in these landscapes, as seen through the eyes of a poet.

Hanzlová has produced several other bodies of work since beginning HERE in 1998, including: Cotton Rose, a series of portraits in Japan, published as a monograph by Steidl; Leonardo, a series of Renaissance inspired portraits; Female, a portrait series of women the artist encountered on the streets of Europe and America; and Forest, a quiet yet powerful exploration of the forest near the Czech village where she grew up. Void of any trace of civilization, the Forest images possess an out-of-time, enchanted quality. As critic John Berger writes in the introduction to Steidl’s monograph of Forest, “the longer one looks at Jitka Hanzlová’s pictures of her forest, the clearer it becomes that escape from the prison of modern time is possible.”

Born in Czechoslovakia in 1958, Jitka Hanzlová has lived in Germany since 1983. She has had solo exhibitions in several international museums, including the Deichtorhallen, Hamburg, the Fotomuseum, Winterthur, and the Stedelijk, Amsterdam. She is the winner of the 2007 BMW Prize at Paris Photo, the 2003 Grand Prix Award, Arles, and was shortlisted for the 2001 Citibank Photography Prize. Her work is held in the permanent collections of several major museums, including the Museum of Modern Art, San Francisco Museum of Modern Art, Stedelijk Museum, and the Fotomuseum Winterthur, among many others.]]></Description>
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  <Karma>3.44948</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>40.747592</Latitude>
  <Longitude>-74.005639</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0423" href="http://www.nyartbeat.com/event/2012/0423">
  <Name>Robert Buck &quot;Kahpenakwu&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/F7CD35E1">
    <Name>CRG Gallery</Name>
    <Type>Gallery</Type>
    <Address>548 W 22nd St, New York, NY 10011</Address>
    <Phone>212-229-2766</Phone>
    <Fax>212-229-2788</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_22">Chelsea 22nd</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>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[For his second show at CRG Gallery, Robert Buck (who previously showed under the name Robert Beck) exhibits sculptures, assemblages, paintings, and drawings inspired by the deserts of the American southwest – Kahpenakwu, or “west” in the Comanche language. In his desert sojourns, Buck finds source material in the natural environs (lechuguilla seed pods, devil’s head cactus areoles, yucca dagger leaves) and the detritus of American consumerism (rusted sheet metal, a wooden shipping palette, soda cans bleached by the sun). With this found desert material, the artist incorporates construction materials used in off-the-grid structures, including cinder blocks, concrete pavers, and metal fence poles.

In Through the Night That, an American flag, dyed pitch black and affixed to a metal pole, stands in a roll of barbed wire. The black flag is graphically reminiscent of a star spangled night sky, while the spiked, tangled physicality of the barbed wire itself echoes desert flora, notably ocotillo plant stalks. Buck finds the tranquility of nature at odds with the artificial and heavily enforced boundaries imposed by the border.
Contending with the “other” permeates Buck’s work. In a new series of drawings in which the artist redrafts drawings by American Indians – “savages” after his earlier drawings by “children” – the source material includes drawings by a Kiowa Native American named Silver Horn. Buck redraws Big Horn’s depictions of torture and conflict, highlighting not only the Kiowa tribe’s encounter with otherness, in the White Man, but also the sense that identity and intent are determined historically and contextually.

Language informs much of Buck’s work. In his “By Any Other Name” and “Second Hand” painting series, he appropriates signatures from sign-in books from his previous gallery shows. The “Second Hand” series is comprised of thrift store paintings, across which the artist enlarges a signature, and then signs it “R. Buck”. With this action, the artist questions the notion of authorship, while blurring the line between the painting’s original artist, gallery observer, and himself. Both series utilize the grid, as a kind of foundation or screen, either as a means to transcribe a signature to a canvas, or as a digitally printed background – specifically the “transparency” layer found in Adobe Photoshop.

The artist employs smoked Plexiglas as a stand-in for gorilla glass—the reflective surface of hand-held Apple products, like iPhones and iPads. In the same way that the Photoshop grid is apperceived as a limit, the murky Plexiglas functions as a marker of our times—before and, ultimately, after Apple. It also serves as a pane through which we encounter images, like the Navajo buck, gleaned from the internet (like all of the images in show) in El Camino Real, or the dismembered victims of a Mexican cartel in An Eye For An Eye For An Eye For An Eye For An Eye. Alongside the natural elements, the lustrous material highlights that what appears literally in reach and immediate may be in truth remote and transitory.]]></Description>
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  <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>
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  <Latitude>40.747488</Latitude>
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 </Event>

 <Event xml:lang="en" id="2012/0E72" href="http://www.nyartbeat.com/event/2012/0E72">
  <Name>Randy Polumbo Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/20A51708">
    <Name>Morgan Lehman Gallery</Name>
    <Type>Gallery</Type>
    <Address>535 W 22nd St., Fl.6, New York, NY 10011</Address>
    <Phone>212-268-6699</Phone>
    <Fax>212-268-6766</Fax>
    <Access>Between 10th and 11th Avenues. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</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>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Randy Polumbo lives and works in New York City &amp; Joshua Tree, California.  His interests in recycling, salvation, &amp; transformation originate from early mad science projects with medical supplies and toys, and has progressed into monumental, techno-organic glass and crystal proliferations of &quot;blossoms&quot; with which he is colonizing, pollinating, and retooling libidinal and biological structures and systems.

[Image: Randy Polumbo &quot;Six Pack #9&quot; (2011) Vintage Louis Vuitton, cast glass baby bottle nipples, LEDs, battery pack, 4.5 x 9 x 6 in.]]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2012/0E72-170" width="170" />
  <Karma>1.33484</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>
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  <Latitude>40.747592</Latitude>
  <Longitude>-74.005639</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/1D89" href="http://www.nyartbeat.com/event/2012/1D89">
  <Name>Tian Xiaolei &quot;Song of Joy&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/5AC235AC">
    <Name>Meulensteen</Name>
    <Type>Gallery</Type>
    <Address>511 W 22nd St., New York, NY 10011</Address>
    <Phone>212-633-6999</Phone>
    <Fax>212-691-4342</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</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>July &amp; August,  Monday – Friday, 10:00 – 18:00</ScheduleNote>
  </Venue>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Meulensteen presents the first solo exhibition in the United States of Tian Xiaolei. Born and based in Beijing, he creates surreal animated videos and images that engage with the history of Chinese art and the rapidly evolving social, economic, and political realities of contemporary China. The exhibition feautres “Song of Joy,” an ambitious computer-animated film through which Tian talks about the relationship between pretended joy and real pain, and discusses the truth regarding the era of consumption and desire. This boisterous and ironic celebration of the new China features hundreds of identically outfitted businessmen frolicing in a chaotic amusement park and participating in choreographed dances and marches to the tune of Mozart's Requiem. Also on view is Tian’s print series of “Chinese Contemporary Paintings.” Employing modern techniques to re-present Chinese traditional landscape painting, Tian digitally creates nature-centered images of dramatic topographies that become dwarfed by fantastic animal figures. In the artist’s own words: I used to be more inclined to accept the conception of Daoism, which praises highly the integration of nature and human. With the fast development of technology, we are now experiencing a transition from being in awe of Mother Nature to conquering and changing it. This seems to be a sign of the great progress of human civilization, but behind that progress there is a breaking down of something about which most of us cannot become aware. Our inherent spiritualism and our integrated relationship with nature are degenerating as technology is making progress faster and faster. Tian Xiaolei graduated from the Digital Media Department of the Central Academy of Fine Arts (CAFA) in Beijing in 2007. His work has been featured in exhibitions in Beijing, Meulensteen's group show “In a Perfect World…”, curated by James Elaine in 2011, and the Milwaukee Art Museum. Tian was recently selected by the Martell Art Fund and the Today Art Museum for the “Focus on Talent Project.”]]></Description>
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-08</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>
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  <Latitude>40.747172</Latitude>
  <Longitude>-74.00495</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/2EE4" href="http://www.nyartbeat.com/event/2012/2EE4">
  <Name>Katayoun Vaziri &quot;Yeki Bud, Yeki Nabud&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/5AC235AC">
    <Name>Meulensteen</Name>
    <Type>Gallery</Type>
    <Address>511 W 22nd St., New York, NY 10011</Address>
    <Phone>212-633-6999</Phone>
    <Fax>212-691-4342</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</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>July &amp; August,  Monday – Friday, 10:00 – 18:00</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Prints</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Meulensteen presents Yeki Bud, Yeki Nabud, an exhibition of new work by Katayoun Vaziri. Featuring drawings, paintings, prints and video work, this exhibition marks the artist’s second show with the gallery. Born and raised in Iran and based in New York, Vaziri draws on a wide range of cultural references to question the linearity of political and social narratives. In her most recent body of work, Vaziri critiques the arbitrariness she perceives in contemporary politics. She begins by making drawings that combine elements from various sources, including news media, advertisement, Iranian nationalist posters, photographs by others taken of her, and references to modern painting (particularly the work of Frank Stella and David Salle). After scanning the drawings, the artist manipulates them digitally, sometimes inviting friends to collaborate at this stage. Vaziri subjects her original source material to a series of actions and changes in medium in order to blur the distinctions between the private and public realms and to question the originality of ideas and the political currency of images. For the video piece “Yeki Bud Yeki Nabud,” Vaziri filmed one of her drawings in a single static shot. The words of the title (Farsi for “One was, one was not,” the traditional opening of Persian fairytales) repeat while a blank square moves across the screen, pulsating on and off. The drawing illustrates an imagined encounter between the artist and Barack Obama, in which she is poised to apply lipstick to the President’s mouth. The juxtaposition of her gleeful expression with his pensive one heightens the sense of absurdity, stressing the nebulous nature of socio-political discourse. Vaziri received an MFA from Yale University in 2009 and a BFA from Tehran University in 2005. Her work has been featured in exhibitions in San Francisco, London, and Dubai. She has held residencies at the Skowhegan School of Painting and Sculpture in Maine in 2010 and the Constance Saltonstall Foundation for the Arts in Ithaca, New York in 2011. She has co-curated a number of exhibitions and screenings, including “Handheld History” at the Queens Museum of Art in 2010. In addition to her artistic practice, Vaziri reports on the arts in New York for BBC Farsi.]]></Description>
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-08</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>40.747172</Latitude>
  <Longitude>-74.00495</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/3072" href="http://www.nyartbeat.com/event/2012/3072">
  <Name>&quot;Interiors&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/0CDF04B2">
    <Name>Andrew Kreps Gallery</Name>
    <Type>Gallery</Type>
    <Address>525 W 22nd St., New York, NY 10011</Address>
    <Phone>212-741-8849</Phone>
    <Fax>212-741-8163</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_22">Chelsea 22nd</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3072-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3072-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3072-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-14</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-14" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747289</Latitude>
  <Longitude>-74.005319</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/4525" href="http://www.nyartbeat.com/event/2012/4525">
  <Name>Patrick Wilson &quot;Color Space&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/BB060749">
    <Name>Ameringer | McEnery | Yohe </Name>
    <Type>Gallery</Type>
    <Address>525 W 22nd St., New York, NY 10011 </Address>
    <Phone>212-445-0051</Phone>
    <Fax>212-445-0102</Fax>
    <Access>Between 10th and 11th Aves.  Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</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[The paintings lasso your attention, harness your view, burrow into your mind, and continue humming in your mental bandwidth long after you have encountered them.* — Sarah Bancroft 

Ameringer | McEnery | Yohe presents its first solo exhibition of paintings by Los Angeles based artist Patrick Wilson, Color Space.

The process of creating one of Patrick Wilson’s compositions is painstaking. At the center of the artist’s technique is an inseparable marriage of color and structure, combined with a keen attention to craft and detail. The pursuit of beauty and pleasure are his primary concerns. Wilson obsessively layers his compositions with countless colors, both muted and vibrant. Each “film” is constructed by pulling viscous paint and medium across the canvas with a drywall blade. Pressure and movement of the knife coats the canvas, creating transparent color fields of great nuance, which eventually build up to embody Wilson’s sleek, almost sculptural paintings. For as much control, exactitude, and precision that go into the construction of these works, there is an intuitive quality, a constant give and take, which is essential to their presence. The artist notes, “The key value of abstraction to me is its openness. The best abstraction isn’t didactic, it’s experiential.” The meticulous nature of Wilson’s work as a whole, combined with his very personal use of color and surprising structural relationships, garners the imagination of the viewer and rewards those who are willing to slow down and look.

Patrick Wilson (b. 1970, Redding, California) currently lives and works in Los Angeles. He received his MFA from Claremont Graduate University in Claremont, California. Recent solo exhibitions include “Good Barbeque” at Susanne Vielmetter Los Angeles Projects, Culver City, CA; “The View From My Deck” at Marx &amp; Zavattero, San Francisco, CA; and “Slow Food” at Curator’s Office in Washington, D.C. Notable group exhibitions include the 2010 California Biennial at the Orange County Museum of Art, curated by Sarah Bancroft, Newport Beach, CA; “Inaugural Group Exhibition” at Susanne Vielmetter Los Angeles Projects, Los Angeles, CA; “Tomorrow’s Legacies: Gifts Celebrating the Next 125 Years” at the Crocker Art Museum, Sacramento, CA; “Electric Mud” at the Blaffer Gallery, University of Houston, Houston, TX, curated by David Pagel; “Keeping it Straight: Right Angles and Hard Edges in Contemporary Southern California Art” at the Riverside Art Museum, Riverside, CA, curated by Peter Frank; and “Gyroscope” at the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. His work is also part of selected public collections including the Columbus Museum of Art, Columbus, OH; Crocker Museum of Art, Sacramento, CA; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C; Long Beach Museum of Art, Long Beach, CA; Los Angeles County Museum of Art, Los Angeles, CA; the Orange County Museum of Art, Newport Beach, CA; and the San Jose Museum of Art.

[Image: Patrick Wilson &quot;Storm Chaser&quot; (2010) Acrylic on canvas, 67 x 72 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/4525-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4525-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4525-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.74725</Latitude>
  <Longitude>-74.005414</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/4D1A" href="http://www.nyartbeat.com/event/2012/4D1A">
  <Name>Mauro Moriconi &quot;My Plastic Japan&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/EA72187D">
    <Name>Chair and the Maiden</Name>
    <Type>Gallery</Type>
    <Address>500 W 22nd St., New York, NY 10001</Address>
    <Phone> 212-255-0562</Phone>
    <Fax>212-675-6330</Fax>
    <Access>Corner of 10th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 13:00, sundays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Fabrication in lieu of reality? Reproduction disjuncted from purpose? Dismissal and blurring of perceived &quot;natural&quot; elements...Mauro Moriconi&quot;s My Plastic Japan is just that.

In a technologically overwrought society production continues blindly and unregulated. Through the discussion of the natural and nature Moriconi exposes the deception of such technological advances through their inherent
uselessness and false importance that is social media. Through media magnates and their creation of a need the world now hinges on the accelerated addictiveness of the rush to betterment. Japan sets the perfect stage for such turcite coated discussions.

Moriconi in essence retells the story of The Emperor's New Clothes.He points out the foolishness behind the
aggressive courting of Utopia-chasing science. He shows us the illegitimacy behind the mantra of indispensability and likens it to nothing more than the promises of a snake charmer's elixir.

What we are encouraged to believe as advances are nothing more than distractions that mire our understanding of our true evolutionary goals. Ironically Moriconi uses technology itself to self inflict judgment.

Through obvious manipulation to more clandestine articles of sublimation Moriconi questions and plasticizes our own perceptions of a world unbridled.]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2012/4D1A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747039</Latitude>
  <Longitude>-74.005039</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/5BFE" href="http://www.nyartbeat.com/event/2012/5BFE">
  <Name>Nikolay Bakharev, Gerard Petrus Fieret, and Miroslav Tichý &quot;Three Postwar European Photographers&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/FB74E473">
    <Name>Julie Saul Gallery</Name>
    <Type>Gallery</Type>
    <Address>535 W 22nd St, 6 Fl., New York, NY 10011</Address>
    <Phone>212 627-2410</Phone>
    <Fax>212 627-2411</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_22">Chelsea 22nd</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: Photography</Media>
  <Description><![CDATA[Julie Saul Gallery presents this exhibition that combines the work of three powerful and enigmatic photographers who came of age in postwar Europe. Each of them has created very personal and idiosyncratic bodies of work shaped by a particular political environment. 

Nikolay Bakharev (b.1946 Altai Region of Russia) is the youngest, only living, and least well known to American audiences, of the group. His work was featured in the “Ostalgia” exhibition last summer at the New Museum which gathered art from Eastern European countries with a curious nostalgia for a painful past. As a critic in the Economist said: “All of this art is political, by the simple act of its creation.” In the case of Bakharev, he was an orphan (his parents died when he was four) who worked as a mechanic until he developed his profession as a self-trained photographer. He grew up in East Russia near Mongolia, and still lives in Siberia.

Bakharev’s models are the people among whom he lives and his depictions can be divided into two distinct bodies of work: private and public. The private images are generally women or couples photographed in their homes, and the public are couples and larger groups in swimsuits photographed in the woods. During the 60s and 70s it was illegal to photograph nudes so the swimmers provided a surrogate. Taking on the role of “beach photographer” enabled Bakharev to both earn a living and depict his subjects in a much more revealing way then was officially allowed.

Bakharev carefully arranges his subjects into compelling poses in which the physical contact is erotically charged, and at the same time display vulnerability and elegance. In this show we have selected works from the “public” realm, although the settings for these images are so constricted within their leafy environments that they almost feel like studio environments.

Gerard Petrus Fieret (Amsterdam 1924-2009) lived in the Netherlands and like Tichý, he was trained as a painter at the Academy and self taught as a photographer. However unlike Tich? and Bakharev he was active in a milieu with no societal restrictions. Fieret maintained a studio practice where he directly engaged with his sitters in a raucous confrontational and experimental mode. There is an open dialogue that is ambiguous and has a performance aspect. Unlike Bakharev’s conventionally printed black and white prints, Fieret worked in a completely inconsistent and fearless way with creased, strangely exposed prints made in a great range of sizes, with dashing signatures in felt tip pen and studio stamps contributing to their strong graphic presence and dada spirit. It is said that Fieret was paranoid and very difficult to work with, but that is not what comes through in his sensual and exuberant work. 

Miroslav Tichý (Czech Republic 1926-2011), unlike Bakharev and Fieret, depicted women surreptitiously with eccentric hand made cameras. Only in recent years has his work been discovered and he has been regaled as a visionary with exhibitions at the Kunsthaus Zurich, the Pompidou and the ICP in New York. Following the communist takeover of the Czech republic, Tichý returned from Prague where he attended the Academy of Fine Arts to his small home town of Kyjov, and abandoned his training as a modern painter due to the restrictions placed by the regime who regarded him as a dissident. He began to fabricate cameras from cardboard and photographed women at the local public swimming pool, in parks and made thousands of photographs, up to eighty a day, and each unique. They accumulated in the shack where he lived and worked in squalor, with no running water. There he worked exclusively in photography from around 1972 until 1985 when he returned to painting. A decade later his neighbor and friend brought Tichý to the public eye. The voyeuristic aspect of the work can be unsettling, yet the necessary cropping and distorted perspectives give the prints a strong graphic quality and a great deal of sophistication. 

Bakharev in Siberia, Tichý in Kyjov and Fieret in Amsterdam, each engaged obsessively with the subject of women, and each shaped by a strikingly different environment. ]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2012/5BFE-170" width="170" />
  <Karma>2.34044</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747453</Latitude>
  <Longitude>-74.005631</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/5FF0" href="http://www.nyartbeat.com/event/2012/5FF0">
  <Name>&quot;Publications by Maurizio Cattelan from Three Star Books&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/B38A4EDB">
    <Name>Printed Matter, Inc.</Name>
    <Type>Shop</Type>
    <Address>195 10th Ave., New York, NY 10011</Address>
    <Phone>212-925-0325</Phone>
    <Fax>212-925-0464</Fax>
    <Access>Between W 21st and W 22nd St. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</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>thursdays closinghour 19:00, fridays closinghour 19:00, saturdays closinghour 19:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Prints</Media>
  <Description><![CDATA[Printed Matter presents an exhibition featuring a new set of publications by Maurizio Cattelan from Three Star Books.

Conceived as artworks in the spirit of Duchamp’s Boîte-en-valise, the large format and loose-page boxed set surveys Cattelan's career with an autobiographical account that verges on the mythological.

Designed and edited by the artist, these three books: &quot;Die / Die more / Die better / Die again&quot; (2007), &quot;The Three Qattelan&quot; (2010) and &quot;The Taste of Others&quot; (2011) are beautifully produced objects, printed offset in 5 colors (note that &quot;Die / Die more / Die better / Die again&quot; (2007) is printed in 6 colors using Staccato screens with UV inks).

For the duration of the exhibition, Printed Matter will have regular editions available for purchase individually as well as boxed sets. 

The completion of this set marks the artist's continued interest in publishing and elaborates on a career making wry and penetrating sculptures, most famously a life-size Pope John Paul II brought down by a meteor. These works from Three Star Books are as ambitious in scope and partake in the subtle delivery of his past works.

Pages of text and photos have been translated into hand-painted plates following an original typeset model and subsequently printed offset on recto only; the images of Cattelan's own sculptures, photos and publishing efforts are likewise painted as miniatures by artists Fu Site and Xinhui Li.

For the most recent edition (published in October 2011) long-term Cattelan collaborator and New Museum curator Massimiliano Gioni recounts the many editions and ephemeral projects spawned by the artist. Beyond merely listing works in catalogue raisonne form, Gioni’s text is done in a magisterial style, often written about himself in the third person to demonstrate the intricate crossovers between friendship and work. The other editions include writing by writer and curator Francesco Bonami and Bice Curiger, chief editor of Parkett and curator at Kunsthaus Zurich.

Each of the Three Star Books measures 12.7 x 16.9 inches and is produced in an edition of 1,000. Special signed and numbered deluxe copies are available for both &quot;Die / Die more / Die better / Die again&quot; (2007) and &quot;The Three Qattelan &quot;(2010) editioned at 100 copies and the deluxe copy of The Taste of Others (2011) is available in an edition of 50. All three titles in deluxe form include an original hand-painted illustration.

Each book comes in a hand-crafted cardboard box with embossed and foil stamped text including a printed image in a plate sink. The complete sets retail for $1,550 USD and can be purchased at Printed Matter or online here. &quot;Die/Die More/Die Better/ Die Again&quot; retails for $900.00 USD and can be purchased here. &quot;The Taste of Others&quot;, the newest publication in the series, retails for $325 USD and can be purchased here.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5FF0-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5FF0-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5FF0-170" width="170" />
  <Karma>1.45161</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
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  <Latitude>40.746794</Latitude>
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 </Event>

 <Event xml:lang="en" id="2012/7C9D" href="http://www.nyartbeat.com/event/2012/7C9D">
  <Name>Natasza Niedziolka &quot;White Shadow&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/BDB8A1B6">
    <Name>Horton Gallery</Name>
    <Type>Gallery</Type>
    <Address>504 W 22nd St., Parlor Level, New York, NY 10011</Address>
    <Phone>212-243-2663</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave.  Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</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>Gallery Closed: Independence Day, July 3 &amp; 4, August 24 – September 7, 2009.</ScheduleNote>
  </Venue>
  <Media>2D: Other</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Horton Gallery, Chelsea presents White Shadow, the first New York solo exhibition by Berlin based artist Natasza Niedziolka.

Natasza Niedziolka's abstract fabric and thread works intuitively integrate enigmatic shapes and evocative colors. Following in the tradition of Dada artists such as Jean Arp, Niedziolka's fabric panels embrace the irrational. While the artist's use of quilting and sewing connect her work with historical, democratized expressive acts, Niedziolka decidedly rejects traditional craft-art guidelines such as functionality and pictorial coherence.

While her compositions are at times vaguely representational, it is Niedziolka's technique itself that recalls the simplicity and clarity of folk-art. Though powerful, Niedziolka's colors and shapes have a random, scavenged appearance to them like early American &quot;crazy-quilts&quot; which were mended and added to generation after
generation, resulting in visually abstract records of time. Where her shapes do approach specificity, glimpses of Picasso-esque collaged, still-lives demonstrating his experimentation with stitching together common objects and substrates may be recognized as well.

On the harsher side of Niedziolka's spontaneous technique, sometimes described as &quot;punk painterly,&quot; her work relates to Dada art-forms not only because of its close association with Arp, but also because of its deconstructed appearance. The work's cut-and-paste quality makes reference to the aggression of collage promoted by radical interwar artists working in Berlin who cut and reassembled magazine and newspaper images. Particularly in works where thread bleeds from the fabric ground and where punctures are emphasized is this attitude most evident. 

At times benign, at others aggressive, Niedziolka's work demonstrates the complicated relationship between Fine Art and pedestrian materiality that artists continue to examine. 

Natasza Niedziolka (b. 1978, Miedzychod, Poland) lives and works in Berlin, Germany. Her work has been exhibited throughout Germany and Europe. White Shadow is the artist's first solo exhibition with Horton Gallery.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/7C9D-30" width="30" />
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  <Karma>0</Karma>
  <Price free="0"></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>
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  <Latitude>40.747075</Latitude>
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 </Event>

 <Event xml:lang="en" id="2012/8818" href="http://www.nyartbeat.com/event/2012/8818">
  <Name>Clay Ketter Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/CAE79014">
    <Name>Sonnabend</Name>
    <Type>Gallery</Type>
    <Address>536 W 22nd St., New York, NY 10011</Address>
    <Phone>212-627-1018</Phone>
    <Fax>212-627-0489</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_22">Chelsea 22nd</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[Sonnabend Gallery presents an exhibition of new works by Clay Ketter.

Continuing his investigation into the familiar yet overlooked surfaces of architecture in various stages of construction and disrepair, Ketter’s new large scale photographic compositions are constructed from material taken in Naples, Italy at MADRE - Museo d’Arte Contemporanea Donna Regina. Apparently disregarding the museum’s impressive collection of contemporary art, 8 x 10 inch color negatives were taken through the open windows of the museum, to the views of wall surfaces and structures across the way. 
 
This MADRE Veduta series is a continuation of the artist’s reading and interpretation of wall surfaces as painting, while in these particular motifs framing, objectification and even perspective are allowed to play a more prominent role. All but one of the compositions include the open window enclosure as a framing device. The images are carefully re-composed using picture-making techniques recognizable from Ketter’s more recent paintings – manipulations used in building the compositions are deliberately revealing, sometimes resulting in Rorschach inkblot-like symmetries. 
 
Ketter’s work continues to challenge the boundaries between painting and photography, fiction and fact. Examples of Ketter’s later paintings and other large format photographs will hang alongside the new works as an overview of this fluctuation. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8818-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8818-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8818-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-14</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-14" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.74745</Latitude>
  <Longitude>-74.005708</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/94BE" href="http://www.nyartbeat.com/event/2012/94BE">
  <Name>&quot;Night Falls&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/F26D3665">
    <Name>P.P.O.W.</Name>
    <Type>Gallery</Type>
    <Address>535 W 22nd Street, Fl. 3, New York, NY 10011</Address>
    <Phone>212-647-1044</Phone>
    <Fax>212-647-1043</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</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></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Other</Media>
  <Description><![CDATA[Martin &amp; Muñoz are an art team best known for their “Travelers” series of snow globes and photographs. In the world that they have developed, blizzard transformed landscapes often serve as backdrops for enigmatic narratives. These are in some instances angst-dream inspired. Others are hard times fables. There is a socio-political as well as a psychological aspect to these images and sculptures. As is often the case with this couple's work, the narratives have an unfinished open ended quality. 

For this exhibition, Martin &amp; Muñoz have chosen night as a back drop.  Fires, flashlights and moonlight puncture the dark to expressive effect.  Important details and aspects of the narratives are lent a dynamic chiaroscuro where the interplay of light and dark shape both the mood and contour of the subject.  Some of the images and snow globes depict a sort of dystopian Kinderland.  This is a place where children have no parents, a place where adults appear only as an opposing tribe.  Some of characters depicted and developed in this group of photos include: a giant black dog, a band of rogue tree children and a nefarious priesthood.  A small group of related snow globes will also be exhibited.

Walter Martin and Paloma Muñoz have been collaborating since 1993 and have since exhibited internationally. Their work is in numerous museum collections, including the Museo Nacional Centro de Arte Reina Sofia in Madrid, the Nerman Museum of Contemporary Art in Overland Park, Kansas, and the KIASMA Museum of Contemporary art in Helsinki, Finland.  Recently their work was featured in group exhibitions at the Bellevue Arts Museum, Bellevue, Washington; the Museum of Art and Design, New York, NY and the University of Michigan in Ann Arbor, Michigan. Concurrent with the exhibition at P.P.O.W the artists are participating in the exhibition “Fairytales, Monsters and the Genetic Imagination” at the Frist Center for the Visual Arts in Nashville, Tennessee.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/94BE-30" width="30" />
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  <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>
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  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747592</Latitude>
  <Longitude>-74.005639</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9AEB" href="http://www.nyartbeat.com/event/2012/9AEB">
  <Name>Iva Gueorguieva Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/BB060749">
    <Name>Ameringer | McEnery | Yohe </Name>
    <Type>Gallery</Type>
    <Address>525 W 22nd St., New York, NY 10011 </Address>
    <Phone>212-445-0051</Phone>
    <Fax>212-445-0102</Fax>
    <Access>Between 10th and 11th Aves.  Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</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[[Image: Iva Gueorguieva &quot;Vagal Vex&quot; (2011) Acrylic, dry pigment, collage and oil stick on canvas, 74 x 78 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9AEB-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9AEB-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9AEB-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.74725</Latitude>
  <Longitude>-74.005414</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9BA2" href="http://www.nyartbeat.com/event/2012/9BA2">
  <Name>Kay Rosen &quot;Wide and Deep&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/306D8265">
    <Name>Sikkema, Jenkins &amp; Co</Name>
    <Type>Gallery</Type>
    <Address>530 W 22nd St., New York, NY 10011</Address>
    <Phone>212-929-2262</Phone>
    <Fax>212-929-2340</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_22">Chelsea 22nd</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: Installation</Media>
  <Description><![CDATA[Sikkema Jenkins &amp; Co. presents Wide and Deep, an exhibition of two series of recent works by Kay Rosen.
 
Kay Rosen’s paintings, drawings, editions, collages, and installations on walls, billboards and buildings are best known for using language as their imagery. Understanding language as a visual and malleable form, Rosen explains in a 2010 interview: “When it comes to reading my work, throw out all the rules you ever learned: spelling, spacing, capitalization, margins, linear reading, composition…all your old reading habits will be useless.”
 
The first series of Wide and Deep consists of: gray-toned paintings, which use enamel sign-paint on canvas, and two wall paintings. The wall paintings, Between a Rock and a Hard Place and Wideep (detail), enlist the limits of the basic architecture of the space and the possibilities of everyday language. 
 
Challenging normal left to right reading on both the canvas and the walls, the works in this series convey their message in a number of ways: horizontally, vertically, upside-down, as a detail or a fragment. 
 
Rosen’s second series of works—gouache and pencil drawings on watercolor paper, a wall drawing and an illuminated stained-glass edition—grew out of her investigation of words whose letters are layered on top of each other (deep), instead of sequentially (wide).  These works are abstract and function more like objects than as readable text.  In some, like Sweet Jesus, the stacked letters are transparent, revealing the lines of the underlying letters; while in others, like Open Kimono, the letters are semi-transparent, producing a kind of verbal sandwich.  The third type of work, which includes Kiss on the Cheek, depicts only the outer contours of the words, appearing only as opaque silhouettes.
 
Rosen applied three rules to this second series: the word images must begin and end with the same letter, creating a closed-end, self-contained verbal unit; the letters are to be layered on top of each other; and the strategy (transparent, sandwiched, opaque) should correspond to some aspect of the text’s meaning.
 
Born in Texas, Kay Rosen is a Midwest-based artist whose language-based work has been exhibited in museums and institutions both nationally and internationally for several decades.  Her work has previously been exhibited at The Museum of Contemporary Art, Los Angeles, where she had a retrospective exhibition in 1998-99; the Linde Family Wing at The Museum of Fine Arts, Boston; MASS MOCA, North Adams, Massachusetts; the Whitney Biennial (2000); The Art Institute of Chicago; inaugural exhibition commission for The Contemporary Jewish Museum, San Francisco; The MCA Chicago, and in solo gallery exhibitions across the U.S. and Europe. 
 
Additionally, Rosen taught at The School of the Art Institute for eighteen years.  She is the recipient of three National Endowment for the Arts fellowships and an Anonymous Was A Woman grant. A book about her work, Kay Rosen: AKAK, was published by Regency Art Press, New York City, in 2009.

[Image: Kay Rosen &quot;Wideep&quot; (2011) Enamel sign paint on canvas, 20 x 28.375 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9BA2-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9BA2-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9BA2-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-03</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>
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  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747378</Latitude>
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 </Event>

 <Event xml:lang="en" id="2012/9F8C" href="http://www.nyartbeat.com/event/2012/9F8C">
  <Name>Anne and Patrick Poirier Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/CAE79014">
    <Name>Sonnabend</Name>
    <Type>Gallery</Type>
    <Address>536 W 22nd St., New York, NY 10011</Address>
    <Phone>212-627-1018</Phone>
    <Fax>212-627-0489</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_22">Chelsea 22nd</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/2012/9F8C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9F8C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9F8C-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="1" date="2012-01-14" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.74745</Latitude>
  <Longitude>-74.005708</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/A487" href="http://www.nyartbeat.com/event/2012/A487">
  <Name>Natasha Bowdoin &quot;Jungle Book&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/69A0DBC5">
    <Name>Monya Rowe Gallery</Name>
    <Type>Gallery</Type>
    <Address>504 W 22nd St., 2nd Fl., New York, NY 10011</Address>
    <Phone>212-255-5065</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[Monya Rowe Gallery presents the first New York solo exhibition of hand-cut drawings by Natasha Bowdoin titled Jungle Book.

Pushing the boundaries between drawing, sculpture and installation, Bowdoin meticulously constructs layers of cut paper into text culled from various literary sources, often classic literature, such as Lewis Carroll’s Alice’s Adventures in Wonderland, Jorge Borges’ Dreamtigers, and Herman Melville’s Moby Dick. Beyond simple recontextualization, Bowdoin uses language to create pictures of words through interwoven transcriptions, breaking apart and reconfiguring these iconic texts into free flowing rhythms. Bowdoin allows the viewer to depict readable words, and readable images. For instance, in “Tiger Mind” (2011), we are noticeably faced with an image of a tiger head arranged from layers of text and gouache, however in “Foolish Fire” (2011), it becomes more difficult to identify what the form actually represents. In essence, the ritual of transcribing text becomes a conduit for hidden interpretations where language defies its’ initial intent.
 
All the work in Jungle Book began as direct transcriptions of Walt Whitman's Leaves of Grass, including the passages &quot;I Sing the Body Electric,&quot; &quot;To a Stranger&quot; and &quot;Roots and Leaves Themselves Alone.&quot; Whitman himself practiced a literary form of collage, rearranging language in an ever-evolving poetic form. The itinerant Whitman's words were literally always on the move, both geographically and in his notebooks where he cut and pasted lines into multitudinous arrangements, and broke language down into increasingly portable units. In both his process and the content of his poetry, Whitman emulated the fluidity of boundaries, between body and nature, body and book, love and lover.
 
As Bowdoin's work develops, some letters remain recognizable while others are buried and transformed into abstraction.  Her dense reconstructions are paeans to Whitman's &quot;free verse&quot; collage process.  An excised piece of one drawing might be grafted onto the next.  Bowdoin’s elegant palimpsests evoke growth and decay, and the uncanny psychological space in which the familiar becomes unnamable. Bowdoin cultivates Whitman's wild flora and fauna into a brimming jungle of words, into which one must venture deep to discover the mysteries within.
 
Natasha Bowdoin received a MFA from Tyler School of Art, PA, a  BA and a Post-Baccalaureate Certificate from Brandeis University, MA, and also completed studies at Slade School of Art, London. She completed a residency at The Core Program, Museum of Fine Arts Houston, TX from 2008-2010 and was recently awarded a residency at the Bemis Center for Contemporary Arts in Omaha, NE (2012). Bowdoin is the recipient of a Joan Mitchell Foundation Grant (2007). Her work has recently been exhibited at Bryan Miller Gallery, Houston, TX; UT Visual Art Center, Austin, TX; Weatherspoon Art Museum, Greensboro, NC and Kohler Arts Center, Sheboygan, WI. Bowdoin lives and works in Houston, TX.

[Image: Natasha Bowdoin &quot;Tiger Mind&quot; (2011) pencil, ink and gouache on cut paper, 20 x 20 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/A487-30" width="30" />
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
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 </Event>

 <Event xml:lang="en" id="2012/A4D6" href="http://www.nyartbeat.com/event/2012/A4D6">
  <Name>Don Doe &quot;Tossed Overboard&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/20A51708">
    <Name>Morgan Lehman Gallery</Name>
    <Type>Gallery</Type>
    <Address>535 W 22nd St., Fl.6, New York, NY 10011</Address>
    <Phone>212-268-6699</Phone>
    <Fax>212-268-6766</Fax>
    <Access>Between 10th and 11th Avenues. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</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[Morgan Lehman Gallery presents, Tossed Overboard, paintings and works on paper by Don Doe. This is Doe's first solo exhibition with the gallery. The artist is closely associated with the group of figurative artists that includes Lisa Yuskavage and John Currin - all of whom graduated from the same class in Yale's Fine Art MFA program. While these artists choose to frequently represent fantastically sexualized images of nude women, each of them have chosen highly individualized stylistic methodologies and theoretical underpinnings in which to explore issues of kitsch, gender and sexuality.  
 
Don Doe creates fantasy images of women depicted in the garb and backdrop of the sea-faring pirate. Typically in a work, a lithe female is a represented, often semi-nude, with costume accouterments such as an eye-patch, bandana, parrot or buccaneer's cutlass. They are culled from magazine sources  - both old and new, such as &quot;girly&quot; magazines, advertising and vintage and contemporary fashion magazines. In any one picture, an advertisement from American Apparel, a vintage sixties stag magazine and a plate from a Robert Louis Stevenson book can be mashed together to create a perplexing work that references both our nostalgic past and our modern life.  As viewers, we recognize the humor and character of these faux-menacing harlots. Doe comments on contemporary pop culture's connection between sexuality and danger by using the symbol of the pirate archetype hybridized with the pin-up girl of teenage fantasy, while still leaving ample room for the viewer to interpret the narrative.
 
Don Doe was born in 1963 in Toledo, Ohio and currently lives and works in Brooklyn, New York. He earned his MFA at Yale University in 1987.  Recent solo exhibitions include &quot;New Mothers&quot; at Mireille Mosler, Ltd., New York, NY and &quot;Heroines &amp; Hellions&quot; at Cornell University Herbert F. Johnson Museum of Art, Ithaca, NY.  His work is in the collections of The Art Institute of Chicago, The Museum of Modern Art, and Yale University Art Gallery among others. Doe's work has been reviewed in The New York Times, Chicago Journal, Art in Review, The New Yorker and NY Arts among others.          

[Image: Don Doe &quot;Thirst&quot; (2011) Watercolor, ink, pastel on paper, 17 x 14 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/A4D6-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2012/A4D6-170" 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>
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 </Event>

 <Event xml:lang="en" id="2012/AC03" href="http://www.nyartbeat.com/event/2012/AC03">
  <Name>Kunié Sugiura &quot;Photographic Works from the 1970s and Now&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/E0AA7AD7">
    <Name>Leslie Tonkonow Artworks + Projects</Name>
    <Type>Gallery</Type>
    <Address>535 W 22nd St., 6 Fl., New York, NY 10011</Address>
    <Phone>212-255-8450</Phone>
    <Fax>212-414-8744</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_22">Chelsea 22nd</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>2D: Other</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[The exhibition centers on multi-panel works from the late 1970s, constructed of monochromatic abstract paintings and photographs printed on canvas, and a selection of the artist’s recent works, in which she revisits the themes of her earlier “photo-canvases” through the prism of more than three decades and a revolution in digital imaging.

For more than forty years, Kunié Sugiura has investigated the various uses and manifestations of photography, producing a large and varied body of work that includes unique color abstractions from the mid-1960s, photographic works on canvas from the 1970s, and life-sized depictions of people, animals, fish, botanical specimens and other living things made from the early 1980s to the present using the photogram process.

This exhibition, Sugiura’s sixth one-person show at the gallery, will also include a series of collages in which she applied photographs, paint, and blank exposed photographic paper to large sheets of etching paper. Exhibited here for the first time, they were created in dialogue with the larger canvas constructions between 1977 and 1980.

Like other notable Japanese women artists who emerged in the postwar years, Sugiura went West to fulfill her artistic ambitions. Born in Nagoya in 1942 and raised in Tokyo by a single mother, she arrived in the United States at the age of 20. With few personal connections and speaking little English, she enrolled at the School of the Art Institute of Chicago where the Modernist legacy of the New Bauhaus instilled in her a lifelong commitment to invention and experimentation. After graduating in 1967, she moved to New York and immediately began to show conceptual photographic works in galleries and museum exhibitions including the Whitney Museum’s 1972 Annual Exhibition of Contemporary Painting, curated by Marcia Tucker

In the catalogue accompanying this exhibition, Sugiura notes that “in the 1970s photography was still considered a marginal artistic activity.” Eschewing traditional photographic prints on paper, she experimented by brushing emulsion on to various surfaces, eventually choosing canvas which gave the photographic image &quot;the potential to be as challenging as painting – particularly on a large scale.&quot;

The earliest canvases featured Sugiura's own close-up photographs of patterns from nature – tree bark, pebbles, leaves, rocks – and a particularly extreme series of erotic images, enlarged to a monumental scale. Having drawn and painted since childhood, she freely applied graphite and acrylic paint to these works, eventually “almost disregarding the photos underneath … One day I put a painting and photo-canvas next to each other and liked them better together than as separate works … presenting the photograph as a parallel medium, produced something more radical or original.”

In 1980, while searching for a way to make more dynamic drawings, Sugiura adopted the classic black-and-white photogram technique which she has used ever since. Expanding its technical capabilities to create painterly works with increased tonal variations, deep illusionistic spaces, and saturated colors, Sugiura's photograms evoke traditional Japanese art forms such as Ikebana and Sumi-e painting, while more directly evincing the synthesis of East and West that has always informed her aesthetic.

In 2008, inspired by a growing need to contend with rapidly changing technologies and the image-explosion of the virtual world, Sugiura, for the first time in almost thirty years, used her camera to record real places, creating works on canvas that contrast her painterly hand with the cool affect of black &amp; white digital printing. She writes:

In Asian art there has always been a co-existence of the real and the abstract … New expressions often come from crossing mediums and technologies … I can accept photography and painting as both real and abstract – completing one vision.

Works by Kunié Sugiura have been exhibited at major museums throughout Japan, Europe, and the United States and are included in the collections of The Museum of Modern Art, New York; the Museum of Fine Arts, Houston; the Museum of Fine Arts, Boston; the Tokyo Metropolitan Museum of Photography; the National Museum of Modern Art, Tokyo, among many others.

This exhibition is accompanied by a 32-page catalogue with twenty-four illustrations in color and black and white, and a conversation with the artist.

[Image: Kunié Sugiura &quot;Yellow Floor&quot; (1977) Photographic emulsion, acrylic on canvas, 36 x 50 in. ]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/AC03-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2012/AC03-170" width="170" />
  <Karma>6.03658</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
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  <Latitude>40.747453</Latitude>
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 </Event>

 <Event xml:lang="en" id="2012/BA55" href="http://www.nyartbeat.com/event/2012/BA55">
  <Name>Terry Winters &quot;Cricket Music, Tessellation Figures, &amp; Notebook&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/FA740834">
    <Name>Matthew Marks Gallery 522 W 22nd St.</Name>
    <Type>Gallery</Type>
    <Address>522 W 22nd St., New York, NY, 10011</Address>
    <Phone>212-243-0200</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Avenue. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</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[Matthew Marks announces, Terry Winters: Cricket Music, Tessellation Figures, &amp; Notebook. The exhibition consists of 11 large-scale vibrantly colored recent paintings. Winters depicts forms inspired by mathematical concepts like tessellations and knot theory, as well as shapes from the natural and scientific worlds in these new canvases. His kaleidoscopic compositions of overlapping grids and patterns create complex pictorial spaces, and his use of transparent pigments allows the viewer to see, as the artist has said, “all the events that went into the making of the painting.” The title Tessellation Figures refers to the process of creating a two-dimensional plane through the repetition of a geometric shape. 

Notebook, 2003-2011, will be on view in the gallery at 502 West 22nd Street for the first time in this country. These striking collages of found images layered on top of one another reveal the lasting tension between abstraction and representation in Winters’ work and are the source for many of his images in recent years. ]]></Description>
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-04</DateStart>
  <DateEnd>2012-04-14</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-03" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>65</DaysBeforeEnd>
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  <Distance>0</Distance>
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 </Event>

 <Event xml:lang="en" id="2012/C55F" href="http://www.nyartbeat.com/event/2012/C55F">
  <Name>Paul Bloodgood &quot;Objects in Pieces&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/7E64E7E3">
    <Name>Newman Popiashvili Gallery</Name>
    <Type>Gallery</Type>
    <Address>504 W 22nd St., New York, NY 10011</Address>
    <Phone>212-274-9166</Phone>
    <Fax>212-274-3829</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</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: Other</Media>
  <Description><![CDATA[Newman Popiashvili Gallery presents Objects in Pieces, the second solo exhibition of Paul Bloodgood's work at the gallery. The show consists of new painting and collages, which continue his ongoing practice of fragmentation and reassembly.

Bloodgood has made his career mining texts and images from artists, poets and philosophers, reassembling them into landscapes without the constraints of any one specific genre of painting or poetry. His method is based on fracture and assembly.

In October 2010, the artist suffered a brain injury, which altered his optical system. Bloodgood lost the ability to make perceptual closure, to &quot;make whole&quot; images from objects viewed only in part. The works in this show straddle Bloodgood 's two visual worlds. Before, he would break things apart to understand them, now the converse is necessary - he assembles fragments, reassembles, in order to understand them.

Abstraction's imperative to grant the medium priority over the subject matter frees the line, the mark, from what it delivers. In place of a requirement to convey information, there is in Bloodgood's paintings, an exploration of the expressive capability of line as an embodiment of naturalistic form.

Co-founder and curator of the AC Project Room, Paul Bloodgood has been an important figure in the New York art world for the past two decades. His work has been exhibited at David Zwirner Gallery, 303 Gallery and at the 2007 White Columns Annual. He received his MFA in Painting from the Maine College of Art in Portland and his BA in Painting from Yale University. Paul Bloodgood was a 2009 recipient of the Guggenheim Fellowship.

[Image: Paul Bloodgood &quot;Objects in Pieces&quot; (2011) Oil on panel, 48 X 58 in.]]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2012/C55F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C55F-170" width="170" />
  <Karma>1.36752</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-07</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
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  <Distance>0</Distance>
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  <Latitude>40.747075</Latitude>
  <Longitude>-74.0048</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D26A" href="http://www.nyartbeat.com/event/2012/D26A">
  <Name>&quot;Color&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/7594AA3E">
    <Name>Carolina Nitsch Project Room</Name>
    <Type>Gallery</Type>
    <Address>534 W 22nd St., New York, New York 10011</Address>
    <Phone>212-645-2030</Phone>
    <Fax>212-463-0614</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</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: Prints</Media>
  <Description><![CDATA[Carolina Nitsch presents the exhibition Color; including work by Damien Hirst, Donald Judd, Anish Kapoor, Ellsworth Kelly, Sherrie Levine, Sol Lewitt, Olaf Nicolai, and Blinky Palermo, at Carolina Nitsch Project Room, 534 W. 22nd St, New York.

Donald Judd’s Untitled (s. 157-166), from 1988 is a suite of ten woodcuts printed in cadmium red light on Okawara paper. This series presents the rectangle and its subsequent partitions as both positive and negative space. It begins with a solid red rectangle surrounded by a wide margin of paper. Next to it stands its counterweight, the negative space of the same rectangle formed by a frame of red printed in the wide margin. Each subsequent print in the series partitions these rectangles horizontally and vertically as if continually clarifying itself.

Meltdown (1989) by Sherrie Levine is a suite of four 12-color woodblock prints on Korean Kozo paper. This series of abstract squares is the result of employing computer technology to reduce four famous paintings to their essential 12 colors. The 4 paintings are: Mondrian's Tableau No II; Kirchner's Potsdam Square, Berlin; Monet’s Rouen Cathedral, and Duchamp's L.H.O.O.Q. (mustached Mona Lisa).

Damien Hirst has been painting and making prints of evenly spaced colored spots since 1986. They call to mind candy or pills and permeate a strange sense of indifferent optimism. Each work is named after a bio-chemical or organic compound used in pharmaceutical drugs and the title of the print in this exhibition, Hydroxylysine (2010), is a component of collagen.

Ellsworth Kelly’s lithograph, Purple, (2001) is a simple, thick wedged form tilting on the paper. Its simplicity results in varying observations; it can seem like a rectangle which has been hit by some invisible force, two squares colliding into each other from oblique angles, or a bloated arrow. Green Shadow (2011) by Anish Kapoor is a suite of 4 etchings with each print utilizing 2 photopolymer plates with half tone screens, which are printed slightly out of register in order to purposely create a moiré effect. The intense pigmentation and moiré lends these prints a three-dimensional quality akin to Kapoor’s sculpture. The viewer is constantly pulled back and forth between pure color and bright white as if falling into a vortex.

Olaf Nicolai’s Kombination series from 2007 are woven Pantone strips using 30 different colors in as many different combinations as is mathematically possible. Each assemblage is made by the same process but no 2 are alike. Nicolai is fascinated by the effects standardization has had on artistic practice and by functional applications of color in everyday life.
Isometric Forms (2002) by Sol Lewitt are rich linocut prints of various three dimensional forms whose volume is defined purely by color, rather than tonal value. Because of this they constantly fluctuate between appearing flat and three-dimensional. Blinky Palermo’s Untitled print from 1971 is a screen printed blue and green oval form that seems to be attempting to break away from the constraints of the 4 sided paper on which it sits.

[Image: Sherrie Levine &quot;Meltdown&quot; (1989) Suite of four 12-color woodblock prints on Korean Kozo paper, with colophon, in wooden box, 36 x 25 in. Edition of 35, Each signed and numbered]]]></Description>
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  <Karma>0.901126</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-06</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
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  <Latitude>40.747344</Latitude>
  <Longitude>-74.005611</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D52B" href="http://www.nyartbeat.com/event/2012/D52B">
  <Name>Joyce Pensato “Batman Returns”</Name>
  <Venue href="http://www.nyartbeat.com/venue/C889AF53">
    <Name>Friedrich Petzel Gallery</Name>
    <Type>Gallery</Type>
    <Address>535 &amp; 537 W 22nd St., New York, NY 10011</Address>
    <Phone>212-680-9467</Phone>
    <Fax>212-680-9473</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</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>And by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Friedrich Petzel Gallery presents “Batman Returns,” the third exhibition of new work by the New York-based artist Joyce Pensato. An illustrated catalogue, published by 38th Street Publishers with an accompanying essay by Ira G. Wool, will be available on the occasion of the exhibition. The book commemorates the 32 years that the artist worked in her Olive Street studio in East Williamsburg, Brooklyn, before re-locating to a new space in the spring of 2011.

For this exhibition, Joyce Pensato uses Batman as the predominant subject and inspiration for her paintings. “Batman” is a motif that first appeared in Pensato’s drawings as early as the mid-1970’s and has been used by the artist only periodically since, the last Batman painting, as singular work, having been executed in 1996. Pensato’s resurrection of this iconic image sixteen years later marks an additional shift in her practice as it will be the first time that she has added various colors to what until now has been a strictly black, white and silver painting palette. Pastel color has played a role in Pensato’s drawings over the years, but color in the paintings is new, and as with her drawings, the color element marks a layer within, simultaneously erased and darkened by the profuse and continual saturation of black and white enamel. 

Alongside Pensato’s Batman motif will be paintings and drawings incorporating her familiar cartoon imagery of clowns, Homer Simpson, Groucho Marx, Mickey Mouse, and a character the artist refers to as “The Juicer.” Furthermore, she will present assemblages of toys, ephemera, and stuffed animals throughout the gallery and will show as well approximately fifteen to twenty photographs of striking tableaux of the aforementioned elements taken by the artist at various times of day and night in her former studio. Through these old and new mediums, Pensato continues her baleful transmutation of American cartoon culture - employing her fast, assured, and gestural hand to shed light on the arguable darkness lurking within our familiar Pop iconography. What lay beneath Batman’s mask was, perhaps only for a moment, Bruce Wayne.

Joyce Pensato lives and works in Brooklyn, New York. She has exhibited widely, including in exhibitions at the Museum of Modern Art, San Francisco; the St. Louis Art Museum; The Speed Museum of Art, Louisville; and The Cleveland Museum of Art. Her work is included in the collections of the Museum of Modern Art, New York; the Museum of Modern Art, San Francisco; The Dallas Museum of Art; the Hammer Museum, Los Angeles; and the FRAC des Pays de la Loire, France, among others. She is the recipient of a Guggenheim Fellowship, the Pollock-Krasner Foundation Award and the Anonymous Was A Woman Award. She attended The New York Studio School.]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2012/D52B-170" width="170" />
  <Karma>1.44841</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>
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  <Latitude>40.747381</Latitude>
  <Longitude>-74.00555</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/E061" href="http://www.nyartbeat.com/event/2012/E061">
  <Name>Thomas Eggerer and R.H. Quaytman &quot;Preludes&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/C889AF53">
    <Name>Friedrich Petzel Gallery</Name>
    <Type>Gallery</Type>
    <Address>535 &amp; 537 W 22nd St., New York, NY 10011</Address>
    <Phone>212-680-9467</Phone>
    <Fax>212-680-9473</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</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>And by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Friedrich Petzel Gallery presents Preludes, a collaboration between Thomas Eggerer and R.H. Quaytman. This is Thomas Eggerer and R.H. Quaytman’s third collaboration together.

The exhibition Preludes consists of three collaborative paintings between Thomas Eggerer and R.H. Quaytman with an additional large acrylic painting, Regatta (2009), by Eggerer. Working together, Eggerer and Quaytman selected images for screenshots from documentary footage of piano virtuoso Arturo Benedetti Michelangeli (1920 – 1995). The artists then followed Quaytman’s standard medium and formats by creating silkscreens on gessoed panels measuring: 32 3/8 x 52 3/8 inches (82.2 x 133 cm), and 32 3/8 x 32 3/8 inches (82.2 x 82.2 cm). The silkscreened images are each interrupted by Eggerer’s hand painted band across the surface.

The images of Michelangeli were selected because of Thomas Eggerer’s ongoing interest in representations of male authority. The temporal and spatial stability of this classic genre of musical portraiture is overturned through color and form via the painted image. The photographic crop appears to threaten the hierarchy of the virtuoso in relation to his instrument. The piano becomes a landscape that is at once wellspring and menace. The dated illustionistic space of the image itself becomes another kind of landscape between the painted gesso ground and the oil painted line. Eggerer and Quaytman’s process of reconfiguring and reframing the image, subdues the pianist’s and the painter’s authorial autonomy. The piano becomes the guiding vessel, an external body, and an allusion to a black coffin mirroring the pianist on the inside of its lid. In addition, the raised piano lid resembles the sailboat that quietly keels upon the endless horizon in Regatta.]]></Description>
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  <Karma>1.65266</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
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  <Latitude>40.747381</Latitude>
  <Longitude>-74.00555</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/E916" href="http://www.nyartbeat.com/event/2012/E916">
  <Name>Christopher Russell &quot;After the Golden Age&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/FB74E473">
    <Name>Julie Saul Gallery</Name>
    <Type>Gallery</Type>
    <Address>535 W 22nd St, 6 Fl., New York, NY 10011</Address>
    <Phone>212 627-2410</Phone>
    <Fax>212 627-2411</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_22">Chelsea 22nd</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>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Russell’s second exhibition at the gallery will be a ceramic still-life installation comprised of multiple elements including fruit bowls, birds and obelisks. The elements have historical references to European decorative arts and monuments as well as natural history and Russell is using a new glaze that mimics the feeling of stone.

Russell describes the impetus for this new body of work: &quot;The essential element of the still life is not the golden goblet or the Ming bowl, or even the pile of luxurious fruit. The essential element of the still life is the bug haunting the fruit bowl, the worm that burrows into the surreally beautiful apple. All still life is haunted. It is haunted with desire and greed, with the past and loss, with ostentation and pride.

I started the work that has become &quot;After the Golden Age&quot; when I got back to the studio from a trip to Paris, the sadness of beauty and grandeur was very strong. The world is so beautiful, there are so many beautiful things, but sometimes it all feels cursed.”

Currently, Russell is completing a commission for the Metropolitan Transit Authority's Arts for Transit office who selected his design proposal for the 9th Avenue Brooklyn Station. The commis- sion includes cast bronze ornamental gates and finials in the shapes of magnified, bee-covered honeycombs and flowers. The motifs of bees and birds and thistles have been carried over from his earlier ceramic work shown here in 2009 and at Wave Hill in 2008.]]></Description>
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
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  <Datum>wgs84</Datum>
  <Latitude>40.747453</Latitude>
  <Longitude>-74.005631</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/EEE6" href="http://www.nyartbeat.com/event/2012/EEE6">
  <Name>Marianne Vitale &quot;What I Need To Do Is Lighten the Fuck Up About A Lot of Shit&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/026DCAE5">
    <Name>Zach Feuer Gallery</Name>
    <Type>Gallery</Type>
    <Address>548 W 22nd St., New York, NY 10011</Address>
    <Phone>212-989-7700</Phone>
    <Fax>212-989-7720</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Zach Feuer Gallery presents What I Need To Do Is Lighten the Fuck Up About A Lot of Shit, an exhibition of new work by Marianne Vitale. The artist's new publication, What I Need To Do Is Lighten the Fuck Up About A Lot of Shit, will be available at the gallery.   
 
&quot;In 1845, slightly over 23% of the inhabitants of the Northeastern United States suffered from what was then commonly referred to as &quot;Combustivism&quot; which, according to the DSM-IV-R, is currently known as Schizoaffective Disorder. Symptoms included hallucinations, delusions and manic episodes. Men and women alike would forget who they were, what they did for a living, who their spouses and children were and, would more often than not, set out on violent rampages that led to arson, beatings, and property damage.
 
During the extraordinarily violent month of April 1846, 25 people were injured during a melee in Boston. In response, President James K. Polk gave a speech to Congress in which he voiced his concern for the turmoil sweeping the nation by stating &quot;if this madness doesn't stop, I will have to use the big stick of the law and beat back.&quot; Murders and violent crimes were so rampant that martial law was instituted in the states of Massachusetts, New York, New Hampshire, Pennsylvania and the District of Columbia. There were unsubstantiated rumors that Combustivism was caused by dust in homes, by letters and the saliva used to seal envelopes (the theory held that when the saliva dried and the letter was opened it would emit a caustic human dust that was believed to also be the root cause of insomnia and fevered states of aggression). Other causes were said to be brought on by the ink used to print newspapers, by food grown in eastern soil and most peculiarly, ornithologists of the period claimed that cardinals had an extreme alkalinity in their droppings, which was claimed to &quot;dry&quot; the brains of humans who happened to inhale the dried remnants of cardinal feces. In 1847, nearly every building in the Northeastern U.S. had mounds of cardinal fecal matter on their roofs. These dried mounds would create small clouds of dust that would settle over the towns and cities. As a result of these claims, huge hunting parties of men, women and children were sent out with muskets and nets. Local newspapers initiated contests to see who could harvest the most cardinals. Local politicians even got behind the efforts by giving winners of these contests keys to the city and tax abatements based on the number of cardinals they killed. Subsequently, tens of thousands of the red birds were slaughtered. Because of this horrific action, merely seeing a cardinal in our day has a connotation of good luck because of their rarity. This can be directly attributed to the wholesale slaughter of these beautiful red birds in 1848. Previous to this horrific act of ornithicide, the population of cardinals was so great in the upper northeast in the 1600's, that when the first settlers arrived the Algonquians referred to the sky as &quot;Massachusetts&quot; which means &quot;Red Sky&quot; in Algonquin.
 
Combustivism reached its apex on September 13, 1849 in Philadelphia, Pennsylvania. Based on rumors that had been spreading all summer that there was a 78% infection rate near the Heathdon neighborhood located in Northern Philadelphia. The entire neighborhood, encompassing some 10 square blocks, was burned to the ground by an angry mob of anti-combustivists. Among those who lost their homes was Edgar Alan Poe, who had just published his famous &quot;Raven&quot; poem a few months before the fire, and as luck would have it, was visiting Baltimore, Maryland, the weekend of the fire. The original manuscript of that poem was said to be in the house that was burned.
 
By 1850 there was a growing belief that Combustivism might not be caused by cardinals, or any other previously blamed sources for the disease. A botanist named Dr. Wilfred Jones surmised that Combustivism might be caused by the pollen from roses, which were indigenous to the Northeastern United States. When his notion was published in the New York Times on June 10, 1850, the nation was drawn into yet another wave of intense hysteria as thousands of rose bushes that had dotted the urban and rural landscapes, were uprooted and burned. Bonfires of burning roses could be seen all across Brooklyn. On the evening of June 10, Walt Whitman wrote these words in a notebook: &quot;This evening I took a long walk along the waterfront and was engulfed by the acrid smell of rose bushes burning all around Borough Hall. The sky was sprinkled with yellow-dotted light. Destruction also has its beauty.&quot;
 
A revelatory and conclusive year for Combustivism was in 1851, when a chemist named George Halley correctly determined that the malady was caused by a chemical called Brollodox, used in the production of coal. Brollodox was a combination of various sulfur dioxides and organic compounds such as chlorophyll and, most peculiarly, a variant of nitrous oxide, which is derived by capturing the gas that is released when natural gas is filtered through fish oil. Nitrous oxide, now mostly used in dentists' offices and whipped cream canisters, was, in its early 1850's incarnation, an unstable and frequently debilitating compound. In several coal service factories in the 1830's there were outbreaks of the kind that were very similar to the ones unleashed upon the U.S. a mere decade or so later.  George Halley arrived at his conclusion by testing various compounds on himself in his lab in Worcester, Massachusetts. In one self-study he conducted, he breathed in the nitrous compound until, as he wrote in his notebook: &quot;The world became wobbly, the very light around me became granular and seemed to shimmer with a new sort of radiance. I did not want to leave that place, though it was the place I'd been working, albeit, in a different frame of mind, for years.&quot; Halley's discovery was further proven when a group of chemists from Harvard University visited Halley's lab in Worcester in order to learn more about his discoveries and noticed the density of the purplish tint in their clothing from their exposure to the nitrous oxide in his lab. (One of the side-effects of nitrous oxide is that it stains not only clothes but the face itself, leaving behind a purplish aura on the nose and mouth of its users-in the 1960's, nitrous oxide abusers were called &quot;Purples&quot;). Given these findings, the team of chemists determined that the removal of nitrous oxide used in coal production could, in fact, minimize the risk of Combustivism.&quot;
 
- Todd Colby, Brooklyn, New York 2011
 
Marianne Vitale (b. 1973) graduated in 1996 from the School of Visual Arts, New York. Her work was featured in the 2010 Whitney Biennial, Performa '07, '09 and '11, as well as exhibitions at the Rubell Family Collection (US), Cass Sculpture Foundation (UK), White Columns (NY), The Kitchen (NY) and Kling &amp; Bang (Iceland). Solo exhibitions of her work include Too Much Satan For One Hand, IBID Projects, London (2011), The Clipper presented by Kunstverein NY (2010), Landswab Over Berberis, Sculpture Center, NY (2009), Missing Book of Spurs, Tensta Konsthall, Stockholm (2007); and OK/KO at White Columns, NY (2007).  In February, Vitale will open If You Expect To Rate As A Gentleman, Do Not Expectorate On the Floor, a show of new work, at UKS in Oslo, Norway.]]></Description>
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  <Name>&quot;Look | Sharp: Art and Fashion from the Edge&quot; Exhibition</Name>
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    <Name>Galerie Protégé</Name>
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    <Address>197 9th Ave., Lower Level, New York, NY 10011</Address>
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  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Avant-garde art and fashion have long been associated with a lifestyle radically expressive of rebellion, the rejection of complacency, and the struggle to draw strength through vulnerability. Look | Sharp: Art and Fashion from the Edge, is a group exhibition of works by five New York-based artists displaying a selection of paintings, photographs, clothing, and accessories evocative of danger, dark glamour and sensuous alternative beauty. In a time characterized by war, protest, and insurgency, these visual manifestations are both a reflection of passionate times and a respite from oppression through beauty. Look | Sharp coincides with the launch of New York Fashion Week. ]]></Description>
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