<?xml version="1.0"?>
<Events>
 <Event xml:lang="en" id="2011/90D8" href="http://www.nyartbeat.com/event/2011/90D8">
  <Name>Allison Miller Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/72F1B3A1">
    <Name>Susan Inglett Gallery</Name>
    <Type>Gallery</Type>
    <Address>522 W 24th St., New York, NY 10011</Address>
    <Phone>212-647-9111</Phone>
    <Fax>212-647-9333</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_24">Chelsea 24th</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[Susan Inglett presents the work of Los Angeles based painter Allison Miller in her first solo presentation with the Gallery from 26 January to 3 March 2012. A reception for the artist will be held Thursday evening 26 January from 6 to 8 PM.
 
Allison Miller's paintings attest to the evocative possibilities of abstraction. Imbued with a vibrant and dissonant musicality, her hand-drawn lines, geometrically-inclined forms and structural use of patterning coalesce into a graceful unification of disparate energies. Drawing inspiration from a diverse and unlikely meeting of influences, most recently Vuillard, Fontana, and Magritte, the work seeks to render the uncanny and the absurd in abstract form.
 
From inspiration to execution, Miller's approach is designed to shake both maker and viewer from a well-worn track. Her process is a journey without predetermined destination, a map of its progression contained within each piece. Every line and layer resonates with the improvisational evolution of the process. &quot;There is no plan to stray from,&quot; said Miller in a recent interview, &quot;...I am constantly trying to undermine the ostensible priority of the painting in order to achieve a state of perpetual surprise.&quot; Through varied surface textures, oscillating opacities, complex transitions - Miller's paintings create a distinctive visual syntax culminating in images that give form to the idea of liminal space.

[Image: Allison Miller &quot;Bulletin&quot; (2011) Oil and acrylic/canvas 40 by 40 in.]]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2011/90D8-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/90D8-170" width="170" />
  <Karma>1.97113</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748653</Latitude>
  <Longitude>-74.004194</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/C94E" href="http://www.nyartbeat.com/event/2011/C94E">
  <Name>Damien Hirst &quot;The Complete Spot Paintings 1986-2011&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/F35D4C50">
    <Name>Gagosian Gallery 24th Street</Name>
    <Type>Gallery</Type>
    <Address>555 W 24th St., New York, NY 10011</Address>
    <Phone>212-741-1111</Phone>
    <Fax>212-741-9611</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_24">Chelsea 24th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[I was always a colorist, I've always had a phenomenal love of color... I mean, I just move color around on its own. So that's where the spot paintings came from-to create that structure to do those colors, and do nothing. I suddenly got what I wanted. It was just a way of pinning down the joy of color.
-Damien Hirst
 
Gagosian Gallery presents &quot;The Complete Spot Paintings 1986-2011&quot; by Damien Hirst.
 
The exhibition will take place at once across all of Gagosian Gallery's eleven locations in New York, London, Paris, Los Angeles, Rome, Athens, Geneva, and Hong Kong, opening worldwide on January 12, 2012. Most of the paintings are being lent by private individuals and public institutions, more than 150 different lenders from twenty countries. Conceived as a single exhibition in multiple locations, &quot;The Complete Spot Paintings 1986-2011&quot; makes use of this demographic fact to determine the content of each exhibition according to locality.
 
Included in the exhibition are more than 300 paintings, from the first spot on board that Hirst created in 1986; to the smallest spot painting comprising half a spot and measuring 1 x 1/2 inch (1996); to a monumental work comprising only four spots, each 60 inches in diameter; and up to the most recent spot painting completed in 2011 containing 25,781 spots that are each 1 millimeter in diameter, with no single color ever repeated.
 
In conjunction with the exhibition will be the publication of The Complete Spot Paintings 1986-2011, a fully illustrated, comprehensive and definitive catalogue of all spot paintings made by Hirst from 1986 to the present. Published by Gagosian Gallery and Other Criteria, The Complete Spot Paintings 1986-2011 includes essays by Museum of Modern Art curator Ann Temkin, cultural critic Michael Bracewell, and art historian Robert Pincus-Witten as well as a conversation between Damien Hirst, Ed Ruscha and John Baldessari.
 
The third issue of the Gagosian App for iPad will also launch January, providing an interactive, in-depth look at the series that features more than ninety spot paintings.
 
&quot;Damien Hirst: The Complete Spot Paintings 1986-2011&quot; precedes the first major museum retrospective of Hirst's work opening at Tate Modern in London in April, 2012.
 
Damien Hirst was born in 1965 in Bristol, England. Solo exhibitions include &quot;The Agony and the Ecstasy,&quot; Museo Archeologico Nazionale di Napoli, Naples (2004); &quot;A Selection of Works by Damien Hirst from Various Collections,&quot; Museum of Fine Arts, Boston (2005); Astrup Fearnley Museet for Moderne Kunst, Oslo (2005); &quot;For the Love of God,&quot; Rijksmuseum, Amsterdam (2008); &quot;No Love Lost,&quot; The Wallace Collection, London (2009); &quot;Requiem,&quot; Pinchuk Art Center, Kiev (2009); and &quot;Cornucopia,&quot; the Oceanographic Museum of Monaco (2010). He received the Turner Prize in 1995. His work is included in many important public and private collections throughout the world.
 
Hirst lives and works in London and Devon, United Kingdom.

[Image: DAMIEN HIRST &quot;Eucatropine&quot; (2005) Household gloss on canvas, 34 x 34 inches  (86.4 x 86.4 cm) © Damien Hirst and Science Ltd. All rights reserved, DACS 2011]]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2011/C94E-170" width="170" />
  <Karma>10.7317</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749122</Latitude>
  <Longitude>-74.005472</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/008B" href="http://www.nyartbeat.com/event/2012/008B">
  <Name>John Miller &quot;Suburban Past Time&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/1BFE12E5">
    <Name>Metro Pictures</Name>
    <Type>Gallery</Type>
    <Address>519 W 24th St., New York, NY 10011</Address>
    <Phone>212-206-7100</Phone>
    <Fax>212-337-0070</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_24">Chelsea 24th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[John Miller elaborates on many of the tropes he has masterfully cultivated throughout his thirty-plus year career in “Suburban Past Time,” his latest exhibition at Metro Pictures. Through artificial rocks and plants ranging in scale from massive to ordinary, wallpaper, store-bought and handmade decorative elements and the continuous presence of two people, Miller transforms the gallery into a bizarre yet familiar public space. The works included in the exhibition are a continuation of the artist’s ongoing sociological investigation into so-called middlebrow culture, which focus on artifice in Western consumer societies. 

To evoke a sense of the generic, Miller pastes two vector print wallpapers depicting exterior views of nondescript plattenbauten, or apartment blocks, in Berlin and a beach resort on the working class tourist island of Mallorca, Spain. With the wallpapers are two carpets spelling “NO,” filing cabinets painted in what Miller describes as “hot rod finish,” and an oversized tree and rock that refer to the practice of using fake “natural” objects to hide pool pumps in suburban backyards. Continuously present amidst the installation are two people who either sit on a chair reading or rest on a plinth. 

Also on view are a series of flash animations Miller created with long time collaborator Takuji Kogo under the name Robot. Lifting the text from personal ads and setting them to MIDI voice recordings, cultural hierarchies related to age and wealth emerge from the borrowed lyrics of these videos projected on the gallery’s walls.

[Image: &quot;Suburban Past Time,&quot; installation view, 2012. Metro Pictures, New York.]]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2012/008B-170" width="170" />
  <Karma>6.84492</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.74875</Latitude>
  <Longitude>-74.004292</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/04C1" href="http://www.nyartbeat.com/event/2012/04C1">
  <Name>Kim Dong Yoo Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/57E7DAC9">
    <Name>Hasted Kraeutler</Name>
    <Type>Gallery</Type>
    <Address>537 W 24th St., New York, NY 10011 </Address>
    <Phone>212-627-0006</Phone>
    <Fax>212-627-5117</Fax>
    <Access>Between 10th and 11th Aves. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_24">Chelsea 24th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Hasted Kraeutler presents the first exhibition of paintings by KIM DONG YOO in the United States.

Kim Dong Yoo is best known for paintings of iconic images that are comprised of thousands of smaller images, which either contradict or support the primary subject, such as John F. Kennedy, Mao Tse-Tung, Marilyn Monroe, Michael Jackson, Madonna and Albert Einstein.

Born in 1965 in Gongju, Korea, Kim Dong Yoo has exhibited widely in Korea and internationally since 1988, when he completed his MFA at Mokwon University. He now lives in Seoul, Korea. 

[Image: Kim Dong Yoo &quot;Marilyn &amp; JFK&quot; (2010)]]]></Description>
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  <Karma>1.26774</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-24</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>44</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748989</Latitude>
  <Longitude>-74.004833</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0CDB" href="http://www.nyartbeat.com/event/2012/0CDB">
  <Name>&quot;SIGHT (UN)SCENE Contemporary Landscape&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/B4B26044">
    <Name>Benrimon Contemporary</Name>
    <Type>Gallery</Type>
    <Address>514 W 24th St., Fl.2, New York, NY 10011</Address>
    <Phone>212-924-2400</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Avenues. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_24">Chelsea 24th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>20:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 12:00, sundays closinghour 18:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Benrimon Contemporary presents its first group exhibition of 2012, SIGHT (UN)SCENE, featuring paintings, photographs, works on paper and sculpture by a selection of international artists.

Historical landscape paintings call to mind bucolic yet contrived scenes where every tree, rock and cloud appear carefully placed to capture a pastoral moment in time. This exhibition challenges the notion of classical landscape art, exposing the unseen and forgotten, forcing the viewer to reconsider what defines this pillar of art history through a contemporary lens. 

Landscape painting can be traced back to Greek and Roman antiquity, and became the platform for religious artwork in the western world through the 16th century. The prestigious European art academies resisted the genre because a hierarchy of subject matter placed historical, religious, and allegorical themes above all other subjects - portraits, still life, and landscapes were seen as inferior. During the 19th century the hierarchy of subjects crumbled and landscape painting gained a new supremacy in Europe and North America. Artists became less concerned with idealized, classical themes and focused on painting directly from nature. Revolutionary artists emerged, such as Gustave Courbet, who pushed boundaries with their radical painting techniques and paved the way for the next generation of painters, the Impressionists, to break from the academy. 

Today artists continue to explore landscape as subject matter, but for different purposes. The landscapes are now manipulated, re-appropriated and re-imagined by contemporary artists to not only challenge the traditional trajectory of art history, but also to comment on the social and political forces that shape our surroundings. These ideas will be further explored through the works of gallery artists Shay Kun, whose paintings are both sublime and incongruent, Amanda Burnham’s urban landscape illustrations and Simon Patterson’s “Landskip” photographs. Dimitri Kozyrev’s paintings comment on man’s mental and physical impact on the environment and Trey Speegle’s playful pieces re-invent the landscape through a paint-by-number context. We will also introduce paintings by new gallery artist Christopher Mir, in addition to works by Jorge Mayet, Amanda Ross Ho, Tom Bamberger, Julia Oschatz and Kunié Sugiura.]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2012/0CDB-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
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  <Latitude>40.748531</Latitude>
  <Longitude>-74.004427</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0E0B" href="http://www.nyartbeat.com/event/2012/0E0B">
  <Name>Magnus Plessen Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/3A325A19">
    <Name>Gladstone Gallery (Chelsea 24th Street)</Name>
    <Type>Gallery</Type>
    <Address>515 W 24th St., New York, NY 10011</Address>
    <Phone>212-206-9300</Phone>
    <Fax>212-206-9301</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_24">Chelsea 24th</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[Gladstone Gallery presents our fourth solo exhibition of new paintings by Magnus Plessen. For over a decade, Plessen has been known for his subtle investigations into the phenomenological structure of vision, tactility, and form that are the foundation of his painting practice. Looking to the immediate material properties of paint and the two-dimensional surface, Plessen constructs his compositions by systematically adding and subtracting sections of paint to create a shifting field of positive and negative space, revealing not only the artist's process of mark making, but also the ghostly presence of what has been removed. Plessen's imagery is determinedly generalized, often showing just a suggestion of a face, bottle, or hand. These motifs emerge from a fractal landscape of lines, shapes, and colors to provide a palpable tension between abstraction and representation.

This exhibition brings together two new series of large-scale paintings that together continue to expand upon Plessen's formal strategies.  Returning to the female form, the first set of works present the image of a pregnant woman. In these paintings, the figures are positioned frontally, facing the viewer in a collage-like assemblage of fragmented body parts, creating a feeling of spatial flatness while celebrating the subject’s physical presence. 

In the second body of work, Plessen adopts the notion of rotation as an analogy for building movement and momentum within the structure of each painting. Plessen employs this as an organizational principle, invoking a visual sense of rotation by positioning the figure of a head at the center of each canvas to create a generative force of action around which the painting's elements are arranged. Unlike the directness of the female figure, these works eschew specific subject matter and instead build upon an internal logic of rhythm, motion, and temporality. Plessen explains:

These paintings take less notice of the presence of the viewer than earlier works. Imagine
a theater performance being in full blast as you enter the space of the theater to take your
seat. This indifference to me or possibly the onlooker, and a feeling of unfamiliarity of the
depicted heads and body parts, give the rotation paintings a quality of coming from a long
distance to my mind. 

While Plessen's color values have previously remained distinctly muted, both new series playfully engage a palette of bright pinks, blues, and yellows, which further punctuate the artist’s depth of space as well as a newly explored painterly light. Through these works, Plessen establishes a vibrant exchange between his rigorous formal structures, developed sense of materiality, and the ever-unfolding experience of viewing a painting. 

[Image: Magnus Plessen &quot;Untitled&quot; (2010) oil on canvas, 82 3/8 x 72 1/8 in.]]]></Description>
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-15</DateStart>
  <DateEnd>2012-03-15</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-14" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>35</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748569</Latitude>
  <Longitude>-74.004161</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/290C" href="http://www.nyartbeat.com/event/2012/290C">
  <Name>Steve Gianakos &quot;New Paintings&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/C38E1A5E">
    <Name>Fredericks &amp; Freiser Gallery</Name>
    <Type>Gallery</Type>
    <Address>536 W 24th St., New York, NY 10011</Address>
    <Phone>212-633-6555</Phone>
    <Fax>212-633-7372</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_24">Chelsea 24th</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[Fredericks &amp; Freiser is pleased to announce an exhibition of new paintings by Steve Gianakos. Since the early 1970s Gianakos has been taunting and reddening the cheeks of his viewers with perversions that can throw any Freud lover into analytic shock. Dismantling its veracity with a smirk or a shaking of the head, Gianakos’ work grants us a collective purging that is curiously humorous. Coupled with crisp lines that evoke minimalism’s simplicity, Gianakos conflates formalist rigor with mind-bending vulgarity. 

Appropriating the iconic style of 1950’s children’s books, Gianakos’ characters assume a basic innocence that belies their hyperbolic actions. Violence and sexual impulse are at once portrayed as inherent as they are grossly twisted. Working with only stark black lines, Gianakos delivers his punch straight up. His geometric inter-framing both leads the eye into the scene while also disorienting it. Harnessing the grotesque both formally and contextually, Gianakos finds a way to astonishingly marry the two. 

Steve Gianakos was born in New York City in 1938.]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2012/290C-170" width="170" />
  <Karma>1.65266</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-19" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
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  <Latitude>40.748847</Latitude>
  <Longitude>-74.004903</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/332E" href="http://www.nyartbeat.com/event/2012/332E">
  <Name>Eric Fischl Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/2DE3C62E">
    <Name>Mary Boone Gallery (Chelsea)</Name>
    <Type>Gallery</Type>
    <Address>541 W 24th St., New York, NY 10001</Address>
    <Phone>212-752-2929</Phone>
    <Fax>212-752-3939</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_24">Chelsea 24th</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[Dating from 1992 to 2011, the works in the exhibition range from sketched portraits cropped to the face, to commanding single figures, to complex arrangements of couples, families, or groups. As in the fraught suburban scenes for which he first rose to prominence, with each approach to portraiture Fischl demonstrates his mastery of conjuring form and light from paint to communicate the psychological bearing of his subjects.

A highlight of the exhibition is three large group portraits painted at intervals of several years that depict the Artist and his circle of friends at the beach. The earliest, The Gang (2006), is a congregation of sun-enveloped bodies with paraphernalia suggesting an extended day of revelry. Saint Barts Ralph’s 70th (2009) presents a smaller group, parched in bright light, bags packed and seemingly on the move -- a record of transition that is echoed in the painting’s title. The third, the most recent work in the exhibition, is Self-Portrait: An Unfinished Work (2011), an unsettling painting within-a-painting in which the Artist sits facing the viewer with his back to an unfinished canvas. Here, the friends Fischl portrays are pressed toward the front of the picture plane by dark rocks and waves. At the center of this group a conspicuously incomplete figure, presumably a surrogate for the Artist himself (who, until now, has been absent from the gatherings) hovers above the foreground self-portrait. Fischl allows us to see the Artist, so adept at capturing others, wrestling with seeing himself.]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2012/332E-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-11</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="3" date="2012-02-11" start="17:00:00" end="19:00:00">Reception For The Artist</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748928</Latitude>
  <Longitude>-74.005139</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/5E45" href="http://www.nyartbeat.com/event/2012/5E45">
  <Name>Will Kurtz &quot;Extra F***ing Ordinary&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/8701820A">
    <Name>Mike Weiss Gallery</Name>
    <Type>Gallery</Type>
    <Address>520 W 24th St., New York, NY 10011</Address>
    <Phone>212-691-6899</Phone>
    <Fax>212-691-6877</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_24">Chelsea 24th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Mike Weiss Gallery presents Extra F***ing Ordinary, Will Kurtz's debut exhibition at the gallery. The show consists of life size figural sculptures constructed of collaged torn sheets of newspaper, wood, wire, screws, tape and everyday objects which depict the characters captured by Kurtz's iPhone camera lens.

Utilizing the observing eye of a curious urban voyeur, Kurtz spends large portions of his days combing the streets of New York for his subjects which are later transformed into sincere and amusing life-size sculptures. It is not the subjects' aesthetic appeal that draws Kurtz as much as their essence and strong representation of the multitude of prototypes that typify New York City: from an old married couple and endearingly eccentric dog owners to curmudgeonly middle-aged smokers.
 
Kurtz’s sculptures openly reference real people engaged in real scenarios, be it posing for group shots at a tourist attraction, walking their dog, awkwardly changing their clothes or reluctantly sweeping the floors. Kurtz holds an admiring magnifying glass to the genre of subjects and scenes that are commonly overlooked. The subjects collectively present a candid and unapologetic mosaic of New Yorkers in their blunt, colorful, borderline-manic ways made of the same papers they read in coffee shops and subways during their morning commute.
 
As important as the subjects are to understanding Kurtz’s works is the medium—discarded and recycled bits of print publication, DIY building and packaging supplies, along with everyday objects that bring a sense of familiarity to the works. Kurtz leaves the subjects’ skin and clothes unpainted, inviting a closer inspection of the kaleidoscopic bits of text and images that form each figure. By emphasizing the technique and the material life of his figures, Kurtz diverges from such realist sculptors as Duane Hanson and Ron Mueck, famous for their meticulous replication of the human skin. Kurtz’s figures, therefore, are more emblematic than realistic, reminding viewers they are constructs of Pop-culture references—from daily savings coupons and scandalous political headlines to the cultural and fashion icons of the style section and page six. Kurtz’s work is more closely affiliated with the everyday reverence seen in Bill Cunningham’s snapshots of fashionable New Yorkers than any unifying sense of timeless existence. It is Kurtz’s own insouciant and humorous reminder of life’s temporality.
 
Will Kurtz received his MFA from the New York Academy of Art where he was the recipient of the Postgraduate Fellowship, 2009 – 2010. 

[Image: Will Kurtz &quot;Studio View&quot; (2011)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5E45-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5E45-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5E45-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.74875</Latitude>
  <Longitude>-74.004378</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/66E2" href="http://www.nyartbeat.com/event/2012/66E2">
  <Name>&quot;Campaign&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/6C6B5CBA">
    <Name>C24 Gallery</Name>
    <Type>Gallery</Type>
    <Address>514 W 24th St., New York, NY 10011</Address>
    <Phone>646-416-6300</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_24">Chelsea 24th</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>Misc.: Performance Art</Media>
  <Description><![CDATA[C24 Gallery presents CAMPAIGN, a group exhibition curated by Amy Smith-Stewart. The exhibition places the popular depiction of the female body in a torrent of unrestrained expression from 27 international artists. Smith-Stewart states: “We are a culture obsessed with image making. The rapidly growing and absolutely powerful rise of new media embrace the celebrity lifestyle of “making it.” Who we are and what we are have become reflections of popular thinking.”

Incorporating an array of media, CAMPAIGN goes under the surface of digitally manipulated imagery of the homogenized female in order to understand how this has become a repository for confused and misplaced notions of status, power, dominance and beauty. By showing how women’s bodies are marketed, CAMPAIGN poses questions such as: What perpetuates this hegemonic depiction of women and how do we reveal what is really underneath the super-perfect veneer?

While appropriating imagery from mainstream culture and repurposing fashionable tropes, CAMPAIGN creates alternative meanings that reveal hidden truths—exploring the stereotypes of femininity to uncover contemporary self-reflective practices. The artists show how technological advances enable the manipulation of a visual vernacular. This fuels a fixation with transformation that complicates ongoing struggles with personal identity.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/66E2-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/66E2-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/66E2-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748514</Latitude>
  <Longitude>-74.004428</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/7D4E" href="http://www.nyartbeat.com/event/2012/7D4E">
  <Name>&quot;Silverstein Annual&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/0C342BD2">
    <Name>Bruce Silverstein</Name>
    <Type>Gallery</Type>
    <Address>535 W 24th St., New York, NY 10011</Address>
    <Phone>212-627-3930</Phone>
    <Fax>212-691-5509</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_24">Chelsea 24th</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[The Silverstein Annual is part of the gallery's ongoing effort to provide exposure to emerging artists whose work incorporates the medium of photography. Bruce Silverstein Gallery with the guidance of curatorial advisor Nathan Lyons, annually invites ten prominent curators to nominate one artist whom they feel deserves the opportunity for further exposure within New York's cultural milieu.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/7D4E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7D4E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7D4E-170" width="170" />
  <Karma>1.14332</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-14</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-14" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748847</Latitude>
  <Longitude>-74.004817</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9626" href="http://www.nyartbeat.com/event/2012/9626">
  <Name>Paula Scher &quot;Maps&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/9C5EEEED">
    <Name>Bryce Wolkowitz Gallery</Name>
    <Type>Gallery</Type>
    <Address>505 W 24th St., New York, NY 10001</Address>
    <Phone>212-243-8830</Phone>
    <Fax>212-243-8620</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_24">Chelsea 24th</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: Graphics</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[For the past twenty years, renowned graphic designer and fine artist Paula Scher has been reinterpreting society's approach to data and our visual representation of the trafficked environment. Through her large-scale cartographic paintings, she has created a novel way of mapping traditional information, while subjectively twisting and confounding it. Intricate, colorful and obsessively detailed, her paintings have the foundations of accuracy, but are ultimately impressionistic visions of our interconnected world.

Scher culls data from informational media such as headlines, commercial maps, and diagrams and renders them in madcap fields of hand-drawn typography. The accumulated textures and patterns provide an exuberant portrait of contemporary information in all its complexity and subjectivity, while questioning our innate ability to synthesize and analyze. 
Scher has been a principal of the international design consultancy Pentagram since 1991, where she is renowned for her creation of graphic identities, publications and environments.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9626-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9626-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9626-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748861</Latitude>
  <Longitude>-74.003992</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/996E" href="http://www.nyartbeat.com/event/2012/996E">
  <Name>Anne Truitt &quot;Drawings&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/717D47A1">
    <Name>Matthew Marks Gallery 523 W 24th St.</Name>
    <Type>Gallery</Type>
    <Address>523 W 24th 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_24">Chelsea 24th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[This retrospective of Truitt’s works on paper spans the four decades of her career. The 40 works on view date from the early 1960s, when she first developed the totemic sculptures in painted wood for which she is best known, to the last years of her life. Many works are being shown for the first time. 

Drawing was a daily ritual for Anne Truitt (1921-2004). The works in the exhibition include the full range of her drawing techniques including graphite, ink, pastel, and acrylic on paper. Edges are variously taped, rolled, and sliced. Line is sometimes bold, and at other times subtle enough to appear at first glance almost invisible. A 1966 series of distilled, hard-edge forms evoke the architecture of Truitt’s childhood home with its white clapboard siding and picket fence. In a group of works from 1976, paint is applied in layers of subtle color, a signature of her work in all media. 

A fully illustrated hardcover book, with an essay by Brenda Richardson, will be published to accompany the exhibition.

Anne Truitt was born in Baltimore and lived the majority of her life in Washington, D.C. Her first one-person exhibition was at the Andre Emmerich Gallery, New York, in February 1963. Her work has been the subject of one-person exhibitions at the Whitney Museum of American Art, New York (1973); the Corcoran Gallery of Art, Washington, D.C. (1974); and the Baltimore Museum of Art (1974 &amp; 1992). In 2009, the Hirshhorn Museum and Sculpture Garden, Washington, D.C., organized an acclaimed retrospective of her work. Truitt was also a distinguished writer and published three volumes of her memoirs, Daybook (Pantheon, 1982), Turn (Viking Penguin Press, 1986), and Prospect (Penguin, 1996). ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/996E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/996E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/996E-170" width="170" />
  <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>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748681</Latitude>
  <Longitude>-74.004425</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/A122" href="http://www.nyartbeat.com/event/2012/A122">
  <Name>&quot;Cultural Production&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/DA16EFED">
    <Name>Andrea Rosen Gallery</Name>
    <Type>Gallery</Type>
    <Address>525 W 24th St., New York, NY 10011</Address>
    <Phone>212-627-6000</Phone>
    <Fax>212-627-5450</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_24">Chelsea 24th</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>Misc.: Media Arts</Media>
  <Description><![CDATA[[Image: Courtesy Konrad Fischer Galerie. © Estate of Hanne Darboven/DACS]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/A122-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A122-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A122-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-11</DateStart>
  <DateEnd>2012-03-24</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-10" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>44</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748667</Latitude>
  <Longitude>-74.004694</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/B929" href="http://www.nyartbeat.com/event/2012/B929">
  <Name>&quot;MIE: a portrait by 35 artists&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/E6D478AE">
    <Name>Freight and Volume</Name>
    <Type>Gallery</Type>
    <Address>530 W 24th St., New York, NY 10011</Address>
    <Phone>212-989-8700</Phone>
    <Fax>212-989-8708</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_24">Chelsea 24th</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>Open by appointment also.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Long a muse and subject of many contemporary masters in the art world, curator/model Mie Iwatsuki joins forces with gallerist/curator/artist Nick Lawrence, of Freight+Volume, to create a very special, intimate portrait show, aptly titled MIE: A Portrait By 35 Artists. Drawing on the ancient tradition of portraiture, but bringing the medium into a contemporary discourse, this show of multiple interpretations of one subject—MIE—promises to be rich and provocative in its variety, insightful and illuminating in its focus. MIE features 35 contemporary prominent and emerging artists, working in every medium—painting, drawing, video, sculpture and performance—who have achieved a unique voice in the realm of portraiture.

The contemporary discourse on the portrait is one of the most challenging to clarify because of its wide use and traditional importance throughout art history. For thousands of years we have sought to unveil the human condition by producing portraits of individuals which transcend particular moments of time, culture, and social circumstances. Idiosyncratic Greek and Roman portrait busts, masterpieces like the all-encompassing Mona Lisa by Da Vinci, Caravaggio’s stunning David, the haunting Las Meninas by Velásquez, Holbein’s quirky The Ambassadors, Madam X’s mysterious visage by Sargent, Andy Warhol, the psychological study by Alice Neel, and microscopically-detailed Benefits Supervisor Sleeping by Lucien Freud are just a few examples of portraits that have weathered the ages and whose stories are still analyzed today.

As a medium, the portrait has always been a revelation—both a dissection of its subject as well as an abstraction. We are not just looking into the soul of another person as much as looking into our own souls when we view a portrait: indeed, the art form is similar to a mirror. The moment in time in the life of one person is not only frozen by the artist and his or her subject, but also by the viewer when engaged by the work of art in front of them. When we encounter such great works either in gallery, museum or private settings, we become a part of the painting; a triangular relationship is created between the subject, the artist, and the viewer.

The subject recorded in a portrait does not speak directly to the viewer, but its voice emanates through the filter of the regional, social, and cultural circumstances in which the portrait is created. It is further shaped by the technique of the artist and the unique interaction that takes place between the artist and the model throughout the painting process; this can include things as subtle as the time of day that the model sits, or the banter between them for the hours of company they keep. We don’t see the subject of a portrait as just another person; we encounter ourselves, reflected back, as we construct a relationship with the subject and the artist who recorded him or her.

Considering the complex conditions that surround the creation of a portrait, what could we learn if we add the third voice of the model as a sort of mediator between the artist and viewer? The model has an advantageous position to observe the artist’s creative process. By describing the conditions of the work’s creation, the model can enrich the viewer’s experience by giving them access to the artist and steering their interpretations more closely towards the artist’s intentions.

Model and curator, Mie Iwatsuki has also written on the entire range of her experience as the subject for each of the artists’ works– the &quot;Model's Voice.&quot; Her objective has been to work as closely as possible with the artist in the creation of each piece. She has made herself available to the artists for as long as necessary and has interpreted the personal stories and processes behind the works in order to share their experience and intentions as much as possible. Her observations, anecdotes, and criticisms will add a third dimension to the exhibition in lieu of the traditional gaze between artist and viewer. Her text will also be included in the catalogue, in addition to essays by John Yau, Peter Frank, Anthony Haden-Guest and Nick Lawrence.

A portion of the proceeds from the exhibition and catalogue sales will benefit the Japan Earthquake Relief Fund.

[Image: Alex Katz &quot;Mie&quot; (2010) oil on linen, 60 x 84 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B929-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B929-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B929-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-21</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-21" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748433</Latitude>
  <Longitude>-74.004847</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D02B" href="http://www.nyartbeat.com/event/2012/D02B">
  <Name>Anne Appleby &quot;Paintings&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/7BC7FFEC">
    <Name>Danese</Name>
    <Type>Gallery</Type>
    <Address>535 W 24th St., 6 Fl., New York, NY 10011</Address>
    <Phone>212-223-2227</Phone>
    <Fax>212-605-1016</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street, A/C/E to 34th Street or L to 8th Avenue.</Access>
    <Area areaId="chelsea_24">Chelsea 24th</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>Summer: Mon -Thu 10am-6pm (Fri 10am - 4pm)</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[[Image: Anne Appleby &quot;Oaks&quot; (2012) Oil and wax on wood panels 37 x 37 in. (overall)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D02B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D02B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D02B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-10</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748847</Latitude>
  <Longitude>-74.004817</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D9FE" href="http://www.nyartbeat.com/event/2012/D9FE">
  <Name>&quot;Resourced: The Influence of Photography in Contemporary Art&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/7298302A">
    <Name>Lyons Wier Gallery</Name>
    <Type>Gallery</Type>
    <Address>542 W 24th St., New York, NY 10011</Address>
    <Phone>212-242-6220</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Aves. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_24">Chelsea 24th</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[Lyons Wier Gallery presents Resourced: The Influence of Photography in Contemporary Art, an exhibition of eight contemporary artists who use photography to create and sometimes inspire their art making. Each artist appropriates certain aspects and assets afforded by the camera, creating work that is referential but independent in spirit.  The featured artists are: Ryan Bradley, Mary Henderson, David Lyle, Tim Okamura, Fahamu Pecou, James Rieck, Aristides Ruiz, and Cayce Zavaglia. 

Although the advent of the Daguerreotype utilized and revolutionized the principles of the camera obscura by capturing images in the early nineteenth century, the use of the camera obscura as a preparatory tool for artists dates as far back as the Renaissance when in 1490, Leonardo da Vinci wrote the first detailed description of the camera obscura in his “Atlantic Codex.”

Resourced presents a contemporary look at the influences and inspiration borne from the platforms of photography, ranging from found vernacular photography to self-portraiture.  Collectively, the exhibition reveals the inexhaustible possibilities of how an artist can appropriate and re-contextualize a photographic image into a distinct conceptual perspective through various other media.

The artists’ methodology of capturing a moment or finding inspiration is as subjective as their aesthetic point of view. Some artists choose to take a traditional approach by staging studio shoots that generate self-produced photographs open for creative transformation. This can be seen in Ryan Bradley’s digitally manipulated shots of muse Adi Neumann that result in ornate hand drawn deconstructions of the female figure, Fahamu Pecou’s painted self-portrait that evolves into a parody of contemporary media, Cayce Zavaglia’s intimate and striking portrait of her daughter, Abbi, that becomes a painstaking hand stitched embroidery on canvas, and Tim Okamura’s expressive and provocative oil portrait of friends that he intuitively situates within urban environments of New York and its surrounding boroughs. 

Others artists seize captured moments from the past and present for re-contextualization, thereby transforming the original source material via personal and societal prisms into another place and time. David Lyle’s use of found vernacular prints and vintage photographs are cleverly reimaged and redefined within our contemporary zeitgeist, executed in his limited use of only black paint. Mary Henderson’s oil paintings source images from photo-sharing websites that she alters compositionally into an intentional public image executed in paramount technical detail. Aristides Ruiz’s hyper-realist ballpoint drawings metamorphose extracted shots of animated New York streets into baffling renderings of urban life. And finally, James Rieck’s appropriation of commercial advertising into deliberately cropped photo-realist paintings truncates contemporary culture to its essence.  

With a focus in “conceptual realism,” the common ground shared in Resourced is the realist platform that photography allows and the conceptual leap the artist affords. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D9FE-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D9FE-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D9FE-170" width="170" />
  <Karma>1.54074</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
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 </Event>

 <Event xml:lang="en" id="2012/F35B" href="http://www.nyartbeat.com/event/2012/F35B">
  <Name>Shirin Neshat Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/3A325A19">
    <Name>Gladstone Gallery (Chelsea 24th Street)</Name>
    <Type>Gallery</Type>
    <Address>515 W 24th St., New York, NY 10011</Address>
    <Phone>212-206-9300</Phone>
    <Fax>212-206-9301</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_24">Chelsea 24th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Gladstone Gallery presents our fifth exhibition with Shirin Neshat. In her upcoming project, Neshat will present a new series of photographs and a video installation, both of which explore the underlying conditions of power within socio-cultural structures.  Inspired by the sweeping momentum of recent political uprisings in the Arab world, Neshat turned to both historical and contemporary sources to generate richly provocative metaphors for the network of relations that comprise a society.

The new photographic series, titled The Book of Kings, is named after the ancient book Shahnameh (The Book of Kings), a long poem of epic tragedies written by the Persian poet Ferdowsi between c. 977 and 1010 AD. Shahnameh retells the mythical and historical past of Greater Iran from the creation of the world until the Islamic conquest of Persia in the 7th Century. Divided into three groups—the Masses, the Patriots, and the Villains—Neshat’s portraits of Arab youth comprise black and white photographs with meticulously executed calligraphic texts and drawings inscribed over each subject’s face and body. These texts and illustrations—drawn from Shahnameh as well as from contemporary poetry by Iranian writers and prisoners—both obscure and illuminate the subjects’ facial expressions and emotive intensity, intimately linking the current energy of contemporary Iran with its mythical and historical past.  In this arresting body of work, Neshat returns to the confrontational nature of her iconic Women of Allah series, while refocusing on themes of revolution and the bold-faced defiance of youth. 

In her new three-channel video installation, Neshat draws upon themes of justice and the struggle of the artist against the constraints of authoritarian rule. Creating a space where moral judgment is questioned and the viewer’s allegiances oscillate between identifying with the victim and being accomplice to power, Neshat investigates the repressed and unspoken elements of social and cultural consensus through this bold new work.

Shirin Neshat was born in Qazvin, Iran and moved to the United States in 1974. She has had solo exhibitions at the Museo de Arte Moderno, Mexico City; Contemporary Arts Museum, Houston; Walker Art Center, Minneapolis; Castello di Rivoli, Turin; Wexner Center for the Arts, Columbus; the Art Institute of Chicago; the Serpentine Gallery, London; Museo de Arte Contemporaneo, León, Spain, and the the Hamburger Bahnhof, Berlin. Neshat was included in Prospect.1, the 2008 New Orleans Biennial, Documenta XI, the 2000 Whitney Biennial, and the 1999 Venice Biennale. Neshat was awarded the Silver Lion at the 66th International Venice Film Festival (2009), the Lillian Gish Prize (2006), the Hiroshima Freedom Prize (2005), and the First International Award at the 48th Venice Biennale (1999).  OverRuled, Neshat’s commission for the fourth edition of Performa, premiered in November 2011.  A major retrospective of Neshat’s work, organized by the Detroit Institute of Arts, will open in April 2013.  Neshat currently lives and works in New York City.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/F35B-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2012/F35B-170" width="170" />
  <Karma>12.5541</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
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 <Event xml:lang="en" id="2012/F5F3" href="http://www.nyartbeat.com/event/2012/F5F3">
  <Name>Tom Friedman &quot;New Work&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/4A009A1D">
    <Name>Luhring Augustine Gallery</Name>
    <Type>Gallery</Type>
    <Address>531 W 24th St., New York, NY 10011</Address>
    <Phone>212-206-9100</Phone>
    <Fax>212-206-9055</Fax>
    <Access>Between 10th and 11th Avenue. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_24">Chelsea 24th</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>In July/August open Monday-Friday, 10:00-17:30 </ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[My creative process fluctuates between an open system and closed system approach. I would characterize this new body of work as one that follows a more closed system, with ideas that are more compressed. For me, every piece has been an evolution of surprises and will continue to be until completion. – Tom Friedman

Luhring Augustine presents an exhibition of new work by the American artist Tom Friedman. This will be Friedman’s first solo exhibition with the gallery and his first in New York since 2005. Friedman is known for his meticulously crafted sculptures and works on paper that inhabit the intersections between the ordinary and the monstrous, the infinitesimal and the infinite, the rational and the uncanny. His work skews perception and is often deceptive, its handmade intricacy masked by a seemingly mass-produced or prefabricated appearance. Friedman’s deadpan presentation implies content and form are seamless; expectations are overturned as the viewer slowly perceives that chasm between illusion and reality.

This exhibition will include all new work, both sculptures as well as works on paper, in a wide range of materials, scales, and genres. Among the pieces to be exhibited will be a new self-portrait, a still-life sculpture, abstract wall works, text drawings, and a new large-scale stainless steel sculpture. Several works explore ideas of technology through an analog lens, such as a life-size video camera hand-crafted from wood and paint; a handmade wall collage with an upbeat futuristic pattern that mimics a high-tech flat screen; and an antiquated television screen with a pixelated static pattern made of tiny hand-applied paint tiles. Other works touch on the trials and tribulations of the artistic process itself, such as a work on paper listing the word “Verisimilitude” misspelled several times, as well as a pile of “bitten” apples sitting on the floor like an accumulation of so many failed ideas.

Tom Friedman was born in St. Louis, MO in 1965; he lives and works in Massachusetts.

[Image: Tom Friedman, &quot;Untitled (nobody)&quot; (2012) Styrofoam and paint, 13 x 16.5 x 11.5 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/F5F3-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F5F3-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F5F3-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-11</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-10" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
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 </Event>

</Events>
