<?xml version="1.0"?>
<Events>
 <Event xml:lang="en" id="2012/01C0" href="http://www.nyartbeat.com/event/2012/01C0">
  <Name>Norbert Brunner &quot;Smiling Broadly&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/EF0C5F09">
    <Name>Claire Oliver</Name>
    <Type>Gallery</Type>
    <Address>513 W 26th St., New York, NY 10001</Address>
    <Phone>212-929-5949</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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>Misc.: Media Arts</Media>
  <Description><![CDATA[As Brunner’s work delights both visually and conceptually, the Artist has taken great care to ask more questions in the work than he answers, melding seamless fabrication with deeply meaningful content. The experience one has with Brunner’s work is deeply personal and interactive and yet the work speaks universally.  We must stand directly in front of a Brunner work in order for its full content to be revealed to us.  As Brunner states, “only by confronting head-on what is possible can you stay true to your pathway.  When you move to the side even a little bit, my work dissolves into dots of color and flashes of brilliant crystal, a glittery yet shadowy world not clear or precise, a metaphor for losing your way or wandering off of your chosen direction.&quot;

These works call into question our interpretation of a “portrait” as a fixed moment in time. Neither a mirror nor a photograph can capture reality; we see only an interpretation of that which is secured in the confines or perception of time. Artists have an historical precedent of foreshadowing and influencing world cultural shifts. By focusing on art as an empowering encounter, Norbert Brunner brings an artistic voice to an engaged audience. The Artist hopes to instill a desire, not a driving force, which could lead to realizing one's singular capabilities to determine the path of his or her own life and recognizing each individual’s ability to change the world for the better.

[Image: Norbert Brunner &quot;You are exceptional&quot; (2012) Digital print on acrylic glass, acrylic mirror, Swarovski crystals, MDF, LED lights 51.2 x 25.59 x 4.33 in. Image courtesy Claire Oliver Gallery, New York]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/01C0-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/01C0-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/01C0-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-16</DateStart>
  <DateEnd>2012-03-24</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="3" date="2012-02-16" start="18:00:00" end="20:00:00">Reception For The Artist</Party>
 <DaysBeforeEnd>44</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749761</Latitude>
  <Longitude>-74.003139</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0D92" href="http://www.nyartbeat.com/event/2012/0D92">
  <Name>Andrew Lenaghan &quot;Recent Paintings&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/B47DBB34">
    <Name>George Adams Gallery</Name>
    <Type>Gallery</Type>
    <Address>525 W 26th St., 1 Fl., New York, NY 10011</Address>
    <Phone>212-564-8480</Phone>
    <Fax>212-564-8485</Fax>
    <Access>Between 10th and 11th Ave.  Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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>Mondays by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[George Adams Gallery presents an exhibition of new smaller-scaled paintings by Andrew Lenaghan. The exhibition includes 19 cityscapes, landscapes, and interiors (with figures), all painted from life.

In his new paintings of Brooklyn, Lenaghan returned to several sites he previously depicted, notably the once empty lots and abandoned piers around North 8th Street, now East River Park, as well as the streets and yards near his home in the Midwood section of Brooklyn. In addition, Lenaghan has continued to introduce the figure and even narrative into his work. The exhibition includes several paintings featuring his wife and children in and around their house. Finally, there are four views of Santa Fe in the show, the results of a month-long stay and as is often the case, Lenaghan chose to depict some of the least likely sites, including a local cemetery and an abandoned housing complex.

This is Lenaghan’s tenth exhibition with the gallery since his debut in 1995. He is currently an adjunct art professor at Pratt, Brooklyn College, and New York Academy of Art, and is a 2011 recipient of the Joan Mitchell Foundation Painters and Sculptors Grant.

[Image: Andrew Lenaghan &quot;East River Park&quot; (2011) oil on panel, 24 x 32 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0D92-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0D92-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0D92-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749974</Latitude>
  <Longitude>-74.003548</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/119A" href="http://www.nyartbeat.com/event/2012/119A">
  <Name>&quot;A Large Anonymous Artwork&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/CAF7825C">
    <Name>Specific Object </Name>
    <Type>Gallery</Type>
    <Address>601 W 26 St., Room M285, New York, NY 10001</Address>
    <Phone>212-242-6253</Phone>
    <Fax></Fax>
    <Access>Between 11th and 12th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[On the morning of May 14, 2011 I encountered this artwork outside my apartment. At the time it struck me as being a humorous, ironic and ominous statement of where things were heading: on the verge of Occupy Wall Street, prior to the ramp-up of political campaigns, and at the cusp of the United States debt-ceiling debate. Early in the first week of January 2012 it felt like the right time to present it in the gallery, thus Specific Object now presents I've Seen the Future &amp; It Doesn't Look Good.

Spray painted onto a discarded 1/8 inch thick plywood shipping crate lid, I've Seen the Future &amp; It Doesn't Look Good measures 46 1/2 x 113 1/2 inches [108 x 208.5 cm]. The artwork either pokes a stick at Banksy's infamous rats that inhabit SoHo from time to time, comments on cheap consumer commodities sold by Crocs, or maybe it was just painted in the spirit of good fun.

Nevertheless, it's now an artwork, hanging on a gallery wall, within a white cube in Chelsea.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/119A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/119A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/119A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-30</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>50</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751008</Latitude>
  <Longitude>-74.005783</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/1690" href="http://www.nyartbeat.com/event/2012/1690">
  <Name>Kim MacConnel &quot;Pleasure&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/C27F0076">
    <Name>Salomon Contemporary</Name>
    <Type>Gallery</Type>
    <Address>526 W 26th St., #519, New York, NY 10001</Address>
    <Phone>212-727- 0607</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[&quot;Pleasure&quot; comes from &quot;American Responses&quot;, a four-part series organized by Ned Smyth.

[Image: Kim MacConnel &quot;Fishin&quot; 1978 (detail)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/1690-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1690-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1690-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-06</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-06" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749852</Latitude>
  <Longitude>-74.003766</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/1D6C" href="http://www.nyartbeat.com/event/2012/1D6C">
  <Name>Catherine Yass &quot;Lighthouse&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/F6303922">
    <Name>Galerie Lelong</Name>
    <Type>Gallery</Type>
    <Address>528 W 26th St., New York, NY 10001</Address>
    <Phone>212-315-0470</Phone>
    <Fax>212-262-0624</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Film</Media>
  <Description><![CDATA[Galerie Lelong presents the U.S. debut of British artist Catherine Yass's new film &quot;Lighthouse&quot; (2011), a dynamic portrait of the Royal Sovereign lighthouse located off the coast of East Sussex, England. The single large-scale projection offsets the sense of equilibrium as the camera circles, soars, plunges, and hovers over the anomalous structure set in the vast expanse of sea and endless horizon. Complementing the film are a series of atmospheric lightboxes depicting the lighthouse and its surroundings. Lighthouse is Yass's second solo exhibition at Galerie Lelong and will open to the public on Friday, February 3rd from 6 to 8pm. The artist will be present.
 
Five miles out to sea, the Royal Sovereign lighthouse perches at the edge of a massive square platform balanced over a 108-foot concrete column. Yass describes it as &quot;a magnet or siren attracting you in, but also signaling dangerous waters.&quot; The film begins at water level, moving out to sea with the waves, then slowly soaring up and falling down each side of the lighthouse, and finally circling the platform. Eventually, the camera dives down into the sea through the dark, hazardous waters, inducing a sense of drowning. Yass disorientates the viewer and captures these different perspectives by filming from boat, helicopter and underwater. The muted sound and slowed pace also contribute to Yass's aim of displacing the viewer to &quot;somewhere slightly different, either physically or somewhere in their mind.&quot;
 
Equally captivating and alluring, Yass's series of surreal lightboxes draw the viewer into abstracted images of the structure. In this new lightbox series, Yass continues her signature technique of laying a photographic color transparency over a blue negative transparency, taken about 5 seconds apart. As a result, the areas that reflect light come out in vivid blue and the intensity of the sun is shifted to black, as seen in Lighthouse (East), 2011. The line between reality and illusion is blurred, giving the works a disturbingly calm and powerful presence.  
 
Lighthouse is Yass's first major film since High Wire (2008) and joins the ranks of her other critically-acclaimed films, Lock (2006) and Descent (2002). In each of these works, Yass's focuses on a well-known structure and explores both the physical and psychological effects of architectural space. Yass first became fascinated with the Royal Sovereign lighthouse while visiting the De La Warr Pavilion, and thus, chose it as the subject of the film commissioned in conjunction with her mid-career retrospective there in 2011.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/1D6C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1D6C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1D6C-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-03" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749925</Latitude>
  <Longitude>-74.003667</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/27C8" href="http://www.nyartbeat.com/event/2012/27C8">
  <Name>Chris Martin Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/CF258D43">
    <Name>Mitchell-Innes &amp; Nash (534 W 26th St.)</Name>
    <Type>Gallery</Type>
    <Address>534 W 26th St., New York, NY 10001</Address>
    <Phone>212-744-7400</Phone>
    <Fax>212-74407401</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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[Mitchell-Innes &amp; Nash presents its third solo show of Brooklyn painter Chris Martin. The exhibition will feature a group of new paintings, including several from a new series painted on newspaper grids.

Chris Martin was born in 1954 and lives and works in Brooklyn, New York. His current solo exhibition Staring into the Sun at the Kunsthalle Dusseldorf, on view through January 15, is accompanied by a fully-illustrated catalogue. Martin’s first solo museum show took place in 2010 at the Corcoran Gallery of Art in Washington, DC. He has been featured in notable survey shows including “Abstract America” at the Saatchi Gallery in London, “Painting as Fact – Fact as Fiction” at de Pury and Luxembourg, Zurich, and “The Painted World” at P.S.1 Contemporary Art Center, Long Island City, New York. His work is in public collections including the Corcoran Gallery; the Museum of Contemporary Art, Chicago; and the Denver Art Museum. He is represented by Mitchell-Innes &amp; Nash.

Martin is a firm believer in the beauty and surprise of chance operations, in knowing and not being sure of what he is doing at any given moment. His painting materials have included foam insulation, roof cement, glitter, pom-poms, felt, bread, photographs, and newspaper clippings, record albums, and “smoke on canvas,” while he has painted on vinyl, bath towels, aluminum foil, and burlap… His approach is at the same time serious, playful, and playfully serious. … Martin’s vehicle is unquestionably painting, its history and those he identifies with as its key spiritual practitioners, and in quoting from them he is enfolding their visual language with his own, simultaneously conversing with these artists and being inside of his own head. In this sense, painting is equally a means for him to lose and find himself, over and over again.

[Image: Chris Martin &quot;1,2,3…&quot; Mixed media on canvas 77 x 68 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/27C8-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/27C8-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/27C8-170" width="170" />
  <Karma>3.11566</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>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749997</Latitude>
  <Longitude>-74.003789</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/2A4E" href="http://www.nyartbeat.com/event/2012/2A4E">
  <Name>Kakyoung Lee &quot;Dance, Dance, Dance,&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/56604917">
    <Name>Mary Ryan Gallery</Name>
    <Type>Gallery</Type>
    <Address>527 W 26th St., New York, NY 10001</Address>
    <Phone>212-397-0669</Phone>
    <Fax>212-397-0766</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Mary Ryan Gallery presents &quot;Dance, Dance, Dance,&quot; an exhibition of video installations based on drawings and prints by Kakyoung Lee.  This will be Lee's first solo show in New York City, and at Mary Ryan Gallery. Dance, Dance, Dance, is her most ambitious project to date.  Lee's methods are intentionally time-consuming.  She employs repetitive, meticulous techniques, often making more than 100 prints or drawings per project, to translate her repetitious daily routine, what she calls &quot;the monotonous daily ritual.&quot;  Through the exploration of these most basic aspects of her life Lee articulates her own identity.

Like much of Lee's recent work, Dance, Dance, Dance, began as a performance of a mundane or everyday action. Lee documents this initial performance by filming herself with a video camera, and then using drypoint, she deconstructs her performance into single moments.  These individual elements are then put back together using animation and the initial action is reconstructed.  Through this process of deconstruction and reconstruction, new imagery emerges and Lee is able to subtly add to the history of her actions. Dance, Dance, Dance, depicts the artist dancing alone, as one might in their bedroom when they think no one is looking.  The soundtrack was composed for this particular piece by Natacha Diels and the title was inspired by Haruki Murakami's 1994 novel, also called Dance Dance Dance. The video will be shown along with 323 of 342 the prints used to create it.

Brown Circle, a two-channel video of a drawing made using leftover coffee, will also be on view. Lee used the discarded coffee, which darkens over time, to create a circular drawing directly on a wall, which she then photographed to translate into a moving image. The two-channel production allows the viewer to see a detail of each individual figure on a separate smaller screen as it moves through the larger projection on the wall.  Each figure in Brown Circle is slightly different, and the work deals with the cyclical nature of life.  

[Image: Kakyoung Lee video still from &quot;Dance, Dance, Dance,&quot; (2011)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/2A4E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2A4E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2A4E-170" width="170" />
  <Karma>0</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="16:00:00" end="18:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749928</Latitude>
  <Longitude>-74.003539</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/2E40" href="http://www.nyartbeat.com/event/2012/2E40">
  <Name>&quot;Desperately Seeking Susan&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/A6731464">
    <Name>Kathleen Cullen Fine Arts</Name>
    <Type>Gallery</Type>
    <Address>526 W 26th St., #605, New York, NY 10001</Address>
    <Phone>212-463-8500</Phone>
    <Fax>212-463-8501</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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>Summer Hours: Monday through Friday</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[&quot;Desperately Seeking Susan&quot; revisits the 1980’s from the perspectives of a diverse group of artists active throughout the decade. It is in the details of the work gathered here that common threads begin to emerge and display a world in transition. Quotidian objects of modernity become the focus of landscapes and still lifes. Abstractions hover between the organic and the synthetic. The authority of the media is questioned, while an empty wheelchair provides a haunting reminder of the failure of modern medicine during the height of the AIDS crisis. Here we see records of varied reactions to a corporeal society enhanced, strangled or disappointed by the artificial. As our natural world continues to be increasingly mediated by technology, a look back to these artists concerns in the 1980’s becomes strikingly relevant.  ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/2E40-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2E40-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2E40-170" width="170" />
  <Karma>1.52778</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-02-28</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>19</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.74986</Latitude>
  <Longitude>-74.003766</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/2E43" href="http://www.nyartbeat.com/event/2012/2E43">
  <Name>&quot;Voices of Home&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/A1B420BA">
    <Name>Jenkins Johnson Gallery</Name>
    <Type>Gallery</Type>
    <Address>521 W 26th St., 5 Fl., New York, NY 10001</Address>
    <Phone>212-629-0707</Phone>
    <Fax>212-629-4255</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Jenkins Johnson Gallery, New York, presents &quot;Voices of Home&quot;, featuring works by various artists. Each of these artists visually articulates works inspired by their diverse and rich cultural and ethnic backgrounds. Featured events include the opening reception and a panel discussion in February coinciding with Black History Month.

Elaine Bradford, Zak Ové, Lisa Schmaltz, and Devin Troy Strother use mixed media, and draw on their childhood experiences to reference the paradoxes of their current environments. Representative of the approach is Trinidadian artist Zak Ové, who uses sculpture, film, found objects and photography to reinterpret lost culture and explore his Caribbean identity. His work emanates from an anthropological interest in African mythology, diaspora, tribalism and history, including the origins of the Trinidadian Carnivale.

[Image: Kajahl Benes &quot;Freedom in a Smooth Space&quot; (2011) oil and mixed media on canvas 90 x 80 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/2E43-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2E43-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2E43-170" width="170" />
  <Karma>1.24183</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-28</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>19</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750028</Latitude>
  <Longitude>-74.003458</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/2F90" href="http://www.nyartbeat.com/event/2012/2F90">
  <Name>Guenther Foerg Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/F57C976F">
    <Name>Greene Naftali Gallery</Name>
    <Type>Gallery</Type>
    <Address>526 W 26th St., 8 Fl, New York, NY 10001</Address>
    <Phone>212-463-7770</Phone>
    <Fax>212-463-0890</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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[Greene Naftali presents a solo exhibition of new paintings by Guenther Foerg, marking the first gallery presentation of the artists work in New York in over a decade. This exhibition, comprised of twelve large-scale paintings completed from 2007 to 2009, is Foerg's first at the gallery. His work has been shown at Galerie Max Hetzler, Galerie Gisela Capitain, and Galerie Barbel Grasslin as well as major museums including the Stedelijk Museum, MusdArt Moderne de la Ville de Paris, and Kunsthaus Bregenz. Foerg's work was last exhibited in New York at Luhring Augustine in 2000.

A well-known figure in the 1980s, Foerg is a key member of an influential generation of German artists including Martin Kippenberger, Albert Oehlen, and Georg Herold. His distinct investigations into the Bauhaus and Modernism take painterly issues into the realms of architecture, sculpture, and photography to reflect on both individual experience and historical memory. Foerg took the Cologne school sensibility, associated with an embrace of ironic distancing, to his own ends by pursuing an intellectual painting practice that offers the possibility of subjectivity and autonomy, stating that abstract art today is what one sees and nothing more.

The recent paintings in this exhibition mark a stylistic departure from Foerg's signature lead paintings of the 80s, which have been widely exhibited in the US. His commitment to pure painterly abstraction coupled with a longstanding dialogue with Minimalism is evident in the canvases on view. By reducing the act of painting to its most elemental gesture, monumentalized on a human scale, Foerg activates his floating, rhythmic brushstrokes with a physical presence. His vibrantly colored marks are repetitive yet singular, doing away with shape and focusing instead on the total abstraction of the brushstroke.  

The nuanced dynamism of the three gray paintings included in this exhibition speaks to Foerg's skillful use of color. The limited palette of these works, which the artist has likened to erased chalkboards, suggests a tension between presence and absence that challenges our threshold of perception. Foerg's visually rich compositions explore intricacies of color and mark, addressing classical issues in painting while testing the limits of pictorial composition. 

Guenther Foerg was born in Fussen, Germany in 1952 and studied at the Akademie der bildenden Kunst, Munich.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/2F90-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2F90-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2F90-170" width="170" />
  <Karma>0</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>
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  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749853</Latitude>
  <Longitude>-74.003767</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/38C6" href="http://www.nyartbeat.com/event/2012/38C6">
  <Name>Amy Wilson &quot;We Dream of Star Fish and Geodesic Domes&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/6EC80A67">
    <Name>BravinLee Programs</Name>
    <Type>Gallery</Type>
    <Address>526 W 26th St., #211, New York, NY 10001</Address>
    <Phone>212-462-4404</Phone>
    <Fax>212-462-4406</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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[BravinLee programs presents Amy Wilson’s sprawling exhibition, We Dream of Star Fish and Geodesic Domes.  Incorporating a wide variety of media, including watercolor on paper, acrylic on panel, collage, fabric, sewing, clay, and an interactive Flash animation, the artist reveals an ambitious set of works that center around the themes of utopia and building a new world.

Wilson is best known for her small watercolors that depict a cast of young girls who communicate the artist’s diaristic thoughts via text bubbles. In We Dream of… the girls are back, but they take on a new dimension as they roam around a landscape inspired by Hieronymous Bosch and contemplate the works of R. Buckminster Fuller, Paolo Solari, Murray Bookchin, and others. The girls wonder aloud: If we could build the perfect society from the ground up, what would it look like? What kind of values and ethics would we reward, and which ones would we shun? What kind of culture would we create, if we got to do it all over – and this time, do it right?

Highlights of this exhibition include: 
* a 9’ drawing with over 6,000 words, titled A Utopian Vision (After Bosch); 
* a series of fabric geodesic domes which represent the architecture of the artist’s proposed new society, complete with tiny handmade bedroom sets and even tinier shoes; 
* an interactive web-based game, It’s Like This Every Day, in which players pick up limited edition albums (available for free at the gallery) and play online from home, competing to win works of art.

[Image: Amy Wilson &quot;How We Came To Know We Were Ready (we felt excluded by high culture)&quot; (2011) watercolor, pencil, walnut ink on paper 7 x 5 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/38C6-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/38C6-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/38C6-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-10</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>40.749828</Latitude>
  <Longitude>-74.003467</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/3C10" href="http://www.nyartbeat.com/event/2012/3C10">
  <Name>Juergen Teller Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/5569D53D">
    <Name>Lehmann Maupin (540 W 26th Street)</Name>
    <Type>Gallery</Type>
    <Address>540 W 26th St., New York, NY 10001</Address>
    <Phone>212-255-2923</Phone>
    <Fax>212-255-2924</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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>Open mondays by appointment only.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Presented in three parts, this exhibition highlights three recent series, demonstrating Teller’s dynamic and diverse oeuvre. Featuring the controversial photographs of Kristen McMenamy and seductive portraits of Vivienne Westwood, juxtaposed with intimate portraits of his family and close friends, this exhibition displays an amalgam of subjects and personalities. The exhibition starts with Teller’s controversial series of photographs featuring Kristen McMenamy, shot in the home of Carlos Mollino. Drawing inspiration from the eccentric architect, Teller recalls Mollino’s fascination with the erotic, capturing McMenamy in provocative poses. Although the series garnered controversy for its alleged “pornographic” nature, it demonstrates Teller’s skilled storytelling and fearless approach to his medium.

The exhibition continues with a selection of images from “Keys to the House.” Composed of recent photographs taken in and around his home in Suffolk, the series includes deserted landscape shots alongside intimate portraits of Teller’s family and closest friends. 

The third section of the exhibition features photographs from “Men and Women,” including portraits of Vivienne Westwood and photographer William Eggleston, as well as Teller’s son, Ed. As a whole, the series has been read as a representation of masculinity at two stages –coming of age and loss of virility – contrasted with a strong feminine power.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3C10-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3C10-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3C10-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-10</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>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750039</Latitude>
  <Longitude>-74.003931</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/5CEA" href="http://www.nyartbeat.com/event/2012/5CEA">
  <Name>Hassan Sharif Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/446933D8">
    <Name>Alexander Gray Associates</Name>
    <Type>Gallery</Type>
    <Address>508 W 26 St., #215, New York NY 10001</Address>
    <Phone>212-399-2636</Phone>
    <Fax>212-399-2684</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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>
  <Media>2D: Photography</Media>
  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[Alexander Gray Associates presents Emirati artist Hassan Sharif's first solo exhibition in the United States. To introduce his work to a New York audience, the Gallery has organized a micro-retrospective of works spanning 30 years, including rare photo-documentation of early performance- and process-based projects, experimental works on paper, and two sculptural installations. Of note are photo-documents of the artist’s 1983 durational work, performed in the Hatta Mountain desert in Dubai.

Recognized as a pioneer of conceptual art and experimental practice in the Middle East, Sharif's artworks move beyond the limits of discipline or singular approach, encompassing performance, installation, drawing, painting and assemblage. Since the late 1970s, he has maintained a practice as a cultural producer and facilitator, moving between roles as artist, educator, critic, activist and mentor to contemporary artists in the United Arab Emirates and the broader MENASA (Middle East-North Africa-South Asia) region. 

In her analysis of the cultural context for Sharif’s artistic practice, curator Catherine David notes, “...the overdue recognition of Hassan Sharif’s body of work is not lacking in ironies and misconstructions, especially given the different ways–the local and the international–in which the processes and the stakes involved in his oeuvre were met...if some think of Sharif today as ‘the father’ of modern art in the U.A.E., it is certainly from a viewpoint that takes into account the pioneering artistic experience and process that the artist developed amid (or, more accurately, on the margin of) a society where the conditions for the production and exposure of ‘modern art’ were not there.”

[Image: Hassan Sharif &quot;Paper, Cardboards and Glue 2&quot; mixed media (1996)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5CEA-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5CEA-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5CEA-170" width="170" />
  <Karma>3.86342</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749679</Latitude>
  <Longitude>-74.003355</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6194" href="http://www.nyartbeat.com/event/2012/6194">
  <Name>Food &amp; Wine Related Vintage Posters Auction Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/EC657B99">
    <Name>International Poster Center</Name>
    <Type>Gallery</Type>
    <Address>601 W 26th St., 13 Fl., New York, NY 10001</Address>
    <Phone>212-787-4000</Phone>
    <Fax>212-604-9175</Fax>
    <Access>Corner of 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>09:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>During exhibitions also open on Saturdays and Sundays 11am- 6pm.</ScheduleNote>
  </Venue>
  <Media>2D: Graphics</Media>
  <Media>2D: Prints</Media>
  <Description><![CDATA[This visual feast covers every facet of gastronomica, including original advertisements from the past 150 years for wine, beer, champagne, bitters, liqueur, bottled water, juice, coffee, tea, port, bread, sugar, canned goods, fruit, olive oil, ketchup, cereal, biscuits, crackers, fish, butter, yoghurt, cheese, chocolate, and a myriad of other delectable treats.
 
Posters advertising food &amp; wine are some of the most iconic designs of the 19th and 20th centuries, visually expressing the universal joy of eating. Whether you are a college student surviving on Ramen noodles or a seasoned foodie, we all love the experience of enjoying good food. The original art in this auction embraces that shared delight, reveling in all that is tasty.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6194-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6194-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6194-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-27</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote> On Sunday, February 12, Poster Auctions International will host a specialty sale of over 400 food &amp; wine related vintage posters.</ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747339</Latitude>
  <Longitude>-73.986303</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/7620" href="http://www.nyartbeat.com/event/2012/7620">
  <Name>&quot;Second City Psychasthenia&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/24414933">
    <Name>Andrea Meislin Gallery</Name>
    <Type>Gallery</Type>
    <Address>526 W 26th St., Suite 214, New York, NY 10001</Address>
    <Phone>212-627-2552</Phone>
    <Fax>212-627-1216</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[&quot;But they will teach us that Eternity is the standing still of the present time, a nunc stans (as the schools call it); which neither they, nor any else understand, no more than they would a hic stans for an infinite greatness of Place.&quot;
–Leviathan, IV, 46. As quoted by Borges in Aleph

What does it mean to pass through a city? How long does one stay? What is the residue left behind? Perhaps it is we who compose the residue while our doubles flee the scene leaving us in the lurch. Perhaps we are the residue. The Second City was all about passing through. Here commodities really knew how to dance. They danced to the music of the future. A future that existed as long as it could be bought and sold. By river, rail, road and air nothing was static, nothing remained in place. Anything that did not move was torn down.

What happens when the music stops? Do those passing through get stuck? Do we continue in the perpetual nowtime of a graceful ghost dance or do we stagger like zombies tripping over one another's feet? In the Second City the Louis Sullivan Stock Exchange is in the museum. As a sign of lost élan vital or evidence of an uncanny collective clairvoyance.

Motion and stability are still up for grabs. The Second City conjures trans-millennial debates on cosmology in their current vogue as urban theory. We inadvertently slip back and forth between the rival camps - Ptolemy and Copernicus. &quot;Every photograph is a still life&quot; Garry Winogrand once remarked, with camera to patrol the border between self and other. The supercooled liquid of the glass lens and the camera's electro mechanical guillotine shutter still bear the brunt of negotiating the present collapse into our surroundings. 

The artists in this exhibition met in a City Within a City; in a grid of depersonalized confessionals, the networked interior of oversized cubicles that constitute the studios at The School of the Art Institute of Chicago. Part brothel and part clinic in both form and function. Accumulating and manufacturing symptoms.

[Image: Steve Daly &quot;Moth on Fake Marble Tile Rendered in Halftone&quot; Archival Pigment Print (2011)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/7620-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7620-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7620-170" 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>40.749828</Latitude>
  <Longitude>-74.003467</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/7628" href="http://www.nyartbeat.com/event/2012/7628">
  <Name>Jonathan Lasker &quot;Sketchbooks&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/6EC80A67">
    <Name>BravinLee Programs</Name>
    <Type>Gallery</Type>
    <Address>526 W 26th St., #211, New York, NY 10001</Address>
    <Phone>212-462-4404</Phone>
    <Fax>212-462-4406</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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[Jonathan Lasker’ sketchbooks reveal the initial stage of his process the proto-permutations of the glyphs, color fields and arrangements that will later occupy his finished work.  Some motifs are cursory, notational and tentative while others show Lasker to be marching decisively towards fully formed pictures that strongly resemble his finished paintings.  If Jonathan Lasker’s small oil studies on cardboard are like the rehearsals for his paintings, his sketchbooks are like the casting couch.  From page to page Lasker evolves his images, colors, lines and compositions; for viewers familiar with Lasker’s work it is interesting to turn the pages and try and recognize images that made the cut. An exhibition of paintings dating from 1977-1985 opens at Cheim and Read on February 23rd.  Spending time with these sketchbooks is good groundwork to see this show of his seminal early work.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/7628-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7628-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7628-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-06</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-06" start="17:00:00" end="19:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749828</Latitude>
  <Longitude>-74.003467</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/776D" href="http://www.nyartbeat.com/event/2012/776D">
  <Name>Erin Raedeke &quot;Things Left&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/49E8379D">
    <Name>First Street Gallery</Name>
    <Type>Gallery</Type>
    <Address>526 W 26th St., Suite 209, New York, NY, 10001</Address>
    <Phone>646-336-8053</Phone>
    <Fax>646-336-8054</Fax>
    <Access>Between 10th and 11th Ave Subway: C/E to 23rd Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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[In her first solo exhibition in New York City, Erin Raedeke explores complex relationships by observing the detritus of everyday life. In &quot;Things Left,&quot; the still life becomes a vehicle for grappling with unresolved thoughts and memories. The viewer enters the paintings as if they were entering a play mid-scene. The elusive plot is not unlike the subconscious. Fragments are not connected in an ordered way. Patterns are observed and dynamics play out as the motivations of characters emerge. Is the whimsical bird in a painting an innocent witness or does it play a more complicit role? These are the things that are left in the residue of daily life.
 
Erin Raedeke received her BFA from Indiana University and her MFA from American University.

[Image: Erin Raedeke &quot;The Victim&quot; oil on board 12 x 16 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/776D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/776D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/776D-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-31</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
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 <Event xml:lang="en" id="2012/7923" href="http://www.nyartbeat.com/event/2012/7923">
  <Name>Frank Schwere &quot;Detroit&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/7B2FB6F2">
    <Name>Schroeder Romero &amp; Shredder</Name>
    <Type>Gallery</Type>
    <Address>531 W 26th St., New York, NY 10001</Address>
    <Phone>212-630-0722</Phone>
    <Fax></Fax>
    <Access>Between 11th and 12th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 11:00</ScheduleDetails>
    <ScheduleNote>Viewing also by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[On view with Marsha Pels's sculpture are four photographs by Frank Schwere from his series Detroit. Shown in New York for the first time, these large C-prints depict the ruinous state of America's once great motor city. Photographing in 2008-2009, at the height of the national recession, these images are absent of people and movement and become silent monuments to the industry and metropolis that was. They are not, however, merely epitaphs to a lost city and the passing of American industrialization but in their scale and composition they are elevated records of what still exists-what continues to be grand and what can return. Carefully positioning his view camera, such as in the flat abstracted matrix of broken windows in the Fisher Body Plant 21 or the extended perspective of the vaulted ceiling and arches of the Michigan Central Depot, Schwere creates environments that are both completely contained and seemingly endless, forcing us to question whether we are looking back to the past or looking forward to a rebirth. Schwere was born in Flensburg, Germany in 1966. He studied at Freie Kunstschule Stuggart, and Photography at Fachhochschule fuer Gestaltung, Bielefeld in the early 1990s. He also studied at the International Center of Photography, New York in 1997, living and working in New York until 2009. He currently lives and works in Auckland, New Zealand.

[Image: Frank Schwere &quot;Arcade (Michigan Central Depot, 240 West Vernor Street)&quot; Detroit, MI (Detail), 2008, c-print, 50 x 40 in.]]]></Description>
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  <Karma>0</Karma>
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  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-11</DateEnd>
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 </Event>

 <Event xml:lang="en" id="2012/830B" href="http://www.nyartbeat.com/event/2012/830B">
  <Name>Takashi Tomo-oka Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/AB922123">
    <Name>Ippodo Gallery</Name>
    <Type>Gallery</Type>
    <Address>521 W 26th St., New York, NY 10001</Address>
    <Phone>212-967-4899</Phone>
    <Fax>212-967-4889</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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[Tomo-oka's photographs can be described as contemporary Nihonga-style pictures. They represent a new form of painting that is carried out not with ink and brushes, but using a digital camera then printing the resulting image on handmade paper. From traditional painting, as represented by woodblock prints, to contemporary manga or anime, one element common to all Japanese art culture is that all the works are what the artist, Takashi Murakami, refers to as 'superflat', which is to say they do not utilize perspective but present instead a two-dimensional space. Tomo-oka's photographs share this characteristic of appearing flat, but another reason why 'it is difficult to tell whether they are paintings or photographs', is that all extraneous matter has been eliminated, the true essence of the plant being accentuated within the space in the form of lines. As with Japanese family crests or kimono design, the motifs have been simplified to the extreme; in Tomo-oka's words, he 'photographs the space', and the 'composition' this creates can be truly described as embodying the Rimpa style. Another feature of Tomo-oka's work is the reality imbued into the flowers and trees. A tiny wormhole in a petal, a leaf that has been reversed, a rotting berry, he presents a true image of nature and moreover, once the photograph has been exposed, he makes virtually no alterations to the image. From early childhood he devoted himself to painting, but the reason why he decided to use the camera as his tool of expression was because he realized that its ability to capture a single moment in time made it ideally suited to depict the ephemeral life of a flower.

'I wish to express the beauty of 'kaboku', which is to say, flowers and trees, using photographic techniques to create an image resembling a painting. I want to be able to feel the unadorned beauty of the plants, using a composition consisting solely of the plant and empty space, making the picture as simple as possible.'
-Takashi Tomo-oka-

On March 11 it will be one year since the Great East Japan Earthquake struck. We would like to offer our sincere gratitude to all the people of the world who offered their help in the aftermath, and hope that spring, the first of the four seasons, will prove to be beautiful for them all.

[Image: Takashi Tomo-oka &quot;Snow on the Mountain&quot; Digital photo printed on Japanese washi paper 9-1/4 x 18-1/4 in.]]]></Description>
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-10</DateEnd>
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 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
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 </Event>

 <Event xml:lang="en" id="2012/8B94" href="http://www.nyartbeat.com/event/2012/8B94">
  <Name>&quot;Alex Doolan's Mud Doctors: a story in two chapters, told with paint (Chapter One)&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/81CED815">
    <Name>The ArtBridge Drawing Room</Name>
    <Type>Gallery</Type>
    <Address>526 W. 26th St., Studio 503, New York, NY 10001</Address>
    <Phone>917-720-5742</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>00:00:00</OpeningHour>
    <ClosingHour>00:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[ &quot;I've been thinkin' about the future. I could be a mud doctor. Checkin' out the eart'.  
                       Underneat&quot;.                                                                      - Days of Heaven &quot;1978&quot; 

The ArtBridge Drawing Room debuts the work of artist Alex Doolan and his whimsical six-painting narrative series, Mud Doctors. Doolan's large, loose, colorful canvases catapult the viewer into the thick of the high stakes drama taking place inside his weird and extraordinarily sincere world, where mud, (yes, mud) is rushed to a hospital underneath the earth's surface with a mystery ailment whose remedy only the mud doctors can supply. 

Taking its cues from his affection for storytelling, The ArtBridge Drawing Room will present Doolan's Mud Doctors in two, three-painting, chapters. Join us for the opening reception of Chapter One on Thursday, January 12 from 6-8PM. Chapter Two and the story's conclusion will be told in February, 2012.
                   
Alex Doolan was born in Singapore and has lived all over the world, from Hong Kong to Belgium to New Jersey. First a psychology major at Manhattanville College, Purchase, he switched to the BFA track with a concentration in painting after taking an art class during his first semester. He is currently a candidate for his MFA in Painting and Drawing at Brooklyn College. Mud Doctors is the first solo exhibition of his work. ]]></Description>
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-09</DateEnd>
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 <Event xml:lang="en" id="2012/8E21" href="http://www.nyartbeat.com/event/2012/8E21">
  <Name>David Febland &quot;Bringing it Home&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/04E999AD">
    <Name>George Billis Gallery</Name>
    <Type>Gallery</Type>
    <Address>521 W 26th St., B1, New York, NY 10001</Address>
    <Phone>212-645-2621</Phone>
    <Fax>212-645-2397</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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" />
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  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8E21-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8E21-80" width="80" />
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-07</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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 </Event>

 <Event xml:lang="en" id="2012/9A7B" href="http://www.nyartbeat.com/event/2012/9A7B">
  <Name>&quot;New Selections: South Asia&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/1C82646F">
    <Name>Thomas Erben Gallery</Name>
    <Type>Gallery</Type>
    <Address>526 W 26th St., 4 Fl., New York, NY 10001</Address>
    <Phone>212-645-8701</Phone>
    <Fax>212-645-9630</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street or A/C/E to 34th Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Thomas Erben Gallery presents work by a selection of artists related to the larger South Asian field, whose wide variety of concerns, media, and practices have recently garnered our attention.

Ehsan ul Haq’s (b. 1983, Lahore, Pakistan) sculptures, installations and videos are carefully considered arrangements of simple elements like rubble, cinderblocks, furniture, houseplants, light bulbs and, occasionally, live animals. His work transcends the symbolic and avoids flippancy, creating empathic poetry from everyday objects, which he organizes into flawed systems. The photographs included in the show document studio installations. One features a donkey, whose ability to roam is hampered by a tethered weight; the other, a rooster tied by the ankle to a feed-covered floor, resulting in a perfect circle of empty floor space over time. 

Ul Haq received his BFA from the Beacon House National University, Lahore (2008). Most notably, his work was included in Resemble/Reassemble, Devi Art Foundation, New Delhi (2010) curated by Rashid Rana. He had solo shows with Rohtas (2009) and the National College of Art Gallery (2010), both in Lahore, and has been included in exhibitions in the UK, Pakistan, and Germany.

The primary concern of interdisciplinary artist Sreshta Rit Premnath (b. 1979, Bangalore, India) is how “political and economic power produces [an] unequal distribution of knowledge” and “how paradigms of power produce and constitute our relationship to objects and events in the world.” Rhizome – a photo series of manipulated roots, linked together with crimped metal inserts - focuses on the ginger rhizome, a household cooking ingredient with locally well know medicinal uses in India and China, whose genes have been patented by pharmaceutical corporations for commercial use. The ways in which systems of knowledge have been, and continue to be colonized is an underlying theme.

Premnath, founder and editor of Shifter Magazine, is based in New York. He completed his BFA at The Cleveland Institute of Art (2003), his MFA at Bard College (2006), and attended the Whitney Independent Study Program (2008). Solo shows include: Galerie Nordenhake, Berlin (2011) and Gallery SKE, Bangalore (2004, 2008, 2010), which also presented his work at Statements, Art Basel (2010).

Schandra Singh’s (b. 1977, Suffern, NY) saturated, large-scale oil paintings executed on linen, feature lounging tourists enclosed in their own watery paradise. Built of faceted shapes as if their muscles and fascia were exposed, her figures threaten to disintegrate into the surrounding, equally fractured pool water. Singh’s work, incongruously full of buzz and anxiety, exposes an agitation resulting from the psychological, and subsequently political, implications of leisure in an era of global crisis.

Singh completed her BFA (1999) at the Rhode Island School of Design and went on to receive her MFA in Painting (2006) at Yale. She had solo exhibitions at Nature Morte, Berlin (2011), Bose Pacia, New York (2010), Galerie Bertrand &amp; Gruner, Geneva (2008) and has shown internationally, most notably in The Empire Strikes Back, Saatchi Gallery, London (2010).

Vinod Balak (b. 1982, Kerala, India) are excessive in terms of aesthetics as well as social norms. Constructing his social allegories in the tilted, flattened space of miniature painting, Balak’s human and/or animal protagonists are rendered in - and surrounded by - a brash, synthetic palette and jarring patterns. Loud yet static, the classical compositions allow for the hedonist impulse of contemporary consumerism to be perceived on a more reflective level.

Balak received his BFA from The Government College of Fine Arts, Thrissur, Kerala (2007) and his MFA from the S.N. School of Fine Arts, Hyderabad (2009). His work was included in Roots in the Air, San Jose Museum of Art, CA (2011) and a solo-exhibition was held at Galerie Mirchandani + Steinruecke, Mumbai (2010). He currently lives and works in Hyderabad.

Koshal Hamal’s (b. 1988, Mugu, Nepal) works are engaged in a synthesis of appropriation, combining Western art with the historical format of miniature painting. Working in oil, he copies Western art historical works (and their gilded frames), in diminutive size, onto larger scale primed canvases. He grants these works the specialness of singularity, while simultaneously reevaluating and taking ownership – conceptually as well as culturally – through the act of appropriation and miniaturization.

Hamal received his BFA from Beaconhouse National University, Lahore (2011) on a South Asia Foundation Scholarship. His graduating exhibition was reviewed by Atteqa Ali: “The star of the show is a Nepalese artist Koshal Hamal. […] His paintings examine complicated concepts; however, Koshal does not reduce the significance of the form. Instead, his visually compelling technique is a kind of foil for heavy ideas. It’s a powerful trait found in the most interesting art made in Pakistan.” Hamal lives and works in Kathmandu, Nepal.

Faiza Butt (b. 1973, Lahore, Pakistan) composes her midsize drawings from collages of journalistic, personal and advertising images, touching on issues of cross-cultural integration, including sex/gender, religion, and aesthetics. She works slowly, incrementally growing imagery through innumerable colored felt-tip-pen dots on Mylar, which are then exhibited backlit, akin to advertisements. At the core of her practice is the hybridization of media – for example, a meticulous handmade drawing resembles a coarse offset print of a photographic image, glowing in a public ad display.

Faiza Butt received her BFA from the National College of Arts (1993) and her MFA from the Slade School of Art (1999), both in London. Her work was exhibited in Hanging Fire: Contemporary Art from Pakistan, Asia Society, New York (2009) as well as at venues in the UK, France, Hong Kong, Dubai, Pakistan, and India. Solo exhibitions include: Grosvenor Vadhera Gallery, in London (2010) and at Art Dubai (2011); Rohtas Gallery, Lahore (2009, 2008, 1996); Green Cardamom, London (2008). She lives and works in London.

The densely patterned, abstract paintings of Anoka Faruqee (b. 1972, Ann Arbor, MI) are composed of tripods and asterisks. Her chromatically gradated, hand painted surfaces recall warped pixelated spaces, Islamic tile geometry, and abstract color-fields. Adhering to a diligently methodical process, Faruqee has supplanted spontaneity and dramatic gesture through controlled repetition, thus finding self-expression within the potential of geometric space.

Faruqee received her BA from Yale (1994) and her MFA from Tyler School of Art (1997). She attended the Whitney Independent Study Program, the Skowhegan School of Art, and the PS1 National Studio Program. Her work has been exhibited at Hosfelt Gallery, PS1, Max Protetch and Apexart, among others.

Hasan Elahi (b. 1972, Bangladesh) is perhaps best known for his ongoing FBI tracking project. Ten years ago, Elahi was detained by the FBI for suspicion of housing explosives in a Florida storage unit. After an exhaustive investigation, the agents were convinced of their error. To avoid future “complications,” Elahi has since documented every detail of his life by providing a real time map with financial data, communication records and transportation logs. In our exhibition, a photograph of airplane meals demonstrates his interest in the public and investigative value of an overwhelming amount of personal information.

Elahi is currently Associate Professor of Art at the University of Maryland as Director of Digital Cultures and Creativity. Over the past years, his work has been included in exhibitions at venues such as SITE Santa Fe, Centre Georges Pompidou, Sundance Film Festival, Kassel Kulturbahnhof, The Hermitage, and at the Venice Biennale.

[Image: Ehsan ul Haq]]]></Description>
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 <Event xml:lang="en" id="2012/9F34" href="http://www.nyartbeat.com/event/2012/9F34">
  <Name>Craigie Horsfield &quot;Modern Magnificence&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/4ACA141D">
    <Name>Marvelli Gallery</Name>
    <Type>Gallery</Type>
    <Address>526 W 26th St., 2 Fl., New York, NY 10001</Address>
    <Phone>212-627-3363</Phone>
    <Fax>212-627-3368</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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[by Carol Armstrong
October 26, 2011

Photo-tapestry? Isn’t that an oxymoron? And in this day and age? I always thought—probably most people think—that tapestry was a Renaissance art form. And depicting a Russian circus in Barcelona with teetering elephants and a caged tiger in black and white? There is something strange about the conjunction of “photograph,” “tapestry,” “today” and “circus.

Well, yes, strange, but also wonderful, and completely magnificent. Craigie Horsfield is an artist who has decided that we deserve magnificence in our time, and that we can bring the past forward into the present, and sit in wonderment before it, like grown-up children at a magic-show, or for that matter, a circus. And then go away and come back and talk about it, and keep talking about it into the future. Among the things we can talk about as we go away and come back to it are the contradictions involved in it. At the same time we can, as the sensuous and subjective animals that we are, revel in the sensory experience of it, and in the flights it allows our imaginations. For we are stranger beasts than elephants or tigers, in all our peculiar curiosity about other beings, with the combination of cruelty and kindness, detachment and empathy, sensation, emotion and mental abstraction, that that curiosity involves.

The art of tapestry gives the art of the photograph a richness and tactile warmth that it often otherwise lacks. By means of art it brings the “realism” of the photograph home to our senses, and makes the “everyday,” not banal, but splendid. We are heir to two decades of large art photographs made to rival paintings in size and imaginative scope, and as such fit to enter into world-class museums, galleries and ambitious collections. Names like Thomas Struth and Jeff Wall are widely known in this regard. But though less well-known to American audiences, the English artist Craigie Horsfield was already making large-scale photographic pictures in the ‘eighties, first in black-and-white, and now more recently in color, in places like Poland and London, and then Barcelona and Madrid, the Canary Islands, Naples and Belgium. And he has been among the very first to explore the new technical possibilities offered by the large inkjet print.

There are other things in this exhibition besides the two large-scale photo-tapestries in the front room: colored inket prints of human faces and still lifes that beautifully evoke the other times and places we continue to be curious about, in the long here and now. But together the two photo-tapestries form the centerpiece of the show, and suggest that it is we the people, and not just kings and popes of the past, who deserve this modern magnificence. And in fact, there is a perfectly modern pedigree for these tapestries. Indeed, the first computers arose, around the same time as the photograph, out of the jacquard loom with its punch-cards: Horsfield has brought the double strands of the (scanned) analogue photograph and digital media back together in the modern, computer-driven jacquard loom that wove these photo-tapestries in Belgium, the home of fine tapestry-making since the Northern Renaissance. Moreover, in addition to evoking the magic of Georges Seurat’s modern nocturnal entertainments, these tapestries might also serve to remind us that the system of color mixture that drives the contemporary inkjet printer depends on much the same color theory, invented by the director of the Gobelins Tapestry Works in 19th-century Paris, that inspired Seurat—it is not entirely by coincidence that Seurat’s large pointillist paintings were often compared to tapestries. In short, these are thoroughly modern works of art, made for us, today. Yet they are unique; there is nothing else like them being made out there today.]]></Description>
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  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-22</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-16" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>42</DaysBeforeEnd>
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 </Event>

 <Event xml:lang="en" id="2012/A954" href="http://www.nyartbeat.com/event/2012/A954">
  <Name>&quot;Object Fictions&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/145CEA21">
    <Name>James Cohan Gallery</Name>
    <Type>Gallery</Type>
    <Address>533 W 26th St., New York, NY 10001</Address>
    <Phone>212-714-9500</Phone>
    <Fax>212-714-9510</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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>
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  </Venue>
  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[“Fiction reveals truth that reality obscures.”	– Ralph Waldo Emerson

James Cohan Gallery presents &quot;Object Fictions&quot;, a group exhibition curated by Jessica Lin Cox and Elyse Goldberg.

&quot;Object Fictions&quot; assembles a diverse group of artists whose works investigate notions of perception, in its many definitions. Through a variety of media and processes, these artists explore the potential of ordinary objects, historical events, invented narratives and in some cases even other artworks, to expose reality through the lens of fiction. Through sustained looking, the works in this exhibition challenge us to consider what constitutes an object, an image, and in the broadest sense, what constitutes truth.

In her exquisite paintings on raw linen, such as Chopped Leek (2011), Helene Appel focuses her minimalist version of trompe l’oeil on often overlooked common objects, elevating the ordinary to the extraordinary. In a recent essay on Appel, Anna-Catharina Gebbers states: “Her subjects have already been accessories to the performances of the everyday; the chopping of onions, the sweeping up of crumbs. Now, placed on the canvas, the things can act to reveal themselves.” In Appel’s work, it is the careful, painstaking process of crafting the fiction of the object which reveals the intricacies and depth of dimension contained within the object itself. 

Kaz Oshiro and Alison Elizabeth Taylor also employ the ideas and methods of trompe l’oeil in innovative ways. In her recent body of work, Taylor makes paradoxical use of fine materials to carefully reproduce vignettes from the disintegrating foreclosed homes found in her home state of Nevada. The marquetry floor piece she created for this exhibition, Armstrong Congoleum (2011), suggests the illusion of layers of vinyl flooring peeling back in disrepair yet is in fact meticulously composed entirely of wood veneer. Similarly, Oshiro’s Untitled Painting, Upholstery (black / diamond with vertical trim, black and silver duct tape) (2011) might first present itself as a vintage car seat cushion, complete with an improvised repaired edge after years of use. Yet upon closer inspection, the object subverts the viewer’s expectations with the discovery that it is in fact a painting. As Christina Valentine has observed of Oshiro’s work, “The idea of the doppelganger, a ghostly double that haunts the physical object, serves as an easy metaphor to define the semiotic theft and switching of signs.”

This moment of subversion and the sudden shift in perception is an important conceit for many works in the exhibition. Patricia Dauder’s 16mm film, March 5th, 1979 (2011), portrays luminous phenomena in the Canary Islands long-rumored to be extraterrestrial in origin until they were recently revealed to be the result of ballistic missiles launched from US Navy submarines. Noriko Furunishi creates mysterious vertical landscapes recalling Chinese and Japanese traditional hanging scrolls, which upon further examination are actually collaged images taken from multiple points of view.

Matt Johnson and Robert Gober are renowned for creating works that thwart our expectations of the objects they appear to resemble. Gober’s X Playpen (1987) references a familiar domestic object known to promise security, but has instead been drastically changed to amplify latent anxieties about childhood and the home. Johnson’s Mother and Child (2011) wryly plays with the sanctity of representing these revered religious figures in art history, transforming Mary and the infant Jesus into a duct-tape sculpture cast in stainless steel.

Appropriation, assumed authorship and invented narrative are the subject of selected works by Harrell Fletcher, Louise Lawler, Trevor Paglen, and the International Necronautical Society. Fletcher’s video, Robert Smithson: The Hotel Palenque (2011), is a video-based appropriation of Smithson’s often referenced lecture from 1969, which Fletcher filmed from the pages of Parkett magazine where the text of the lecture was first reproduced. Also on display is an “authorized copy” of Calling All Agents: Transmission, Death, Technology, General Secretary’s Report to the International Necronautical Society (2011), a document of the fictive society founded by Tom McCarthy in 1999. Though operating as a fiction, the International Necronautical Society nevertheless creates a space for discourse and interventions in art and culture through publications, lectures and other public forums.

[Image: Helene Appel &quot;Chopped Leek&quot; (2011) oil on linen 20 ½ x 13 ½ in. Courtesy of the artist and The Approach, London]]]></Description>
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  <Price free="1">Free</Price>
  <DateStart>2012-01-06</DateStart>
  <DateEnd>2012-02-11</DateEnd>
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 <Event xml:lang="en" id="2012/ACCD" href="http://www.nyartbeat.com/event/2012/ACCD">
  <Name>&quot;Material Magic&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/3E7FD89E">
    <Name>Visual Arts Gallery</Name>
    <Type>Gallery</Type>
    <Address>601 W 26th St.,15th Fl, New York, NY 10010</Address>
    <Phone>212-592-2145</Phone>
    <Fax></Fax>
    <Access>Between 11th and 12th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
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  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[An exhibition of work presented by the BFA Fine Arts Department. Curated by Department Chair Suzanne Anker and faculty member Gunars Prande. ]]></Description>
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-02-18</DateEnd>
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 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
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 <Event xml:lang="en" id="2012/AD59" href="http://www.nyartbeat.com/event/2012/AD59">
  <Name>Mary Corse &quot;New Work&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/5569D53D">
    <Name>Lehmann Maupin (540 W 26th Street)</Name>
    <Type>Gallery</Type>
    <Address>540 W 26th St., New York, NY 10001</Address>
    <Phone>212-255-2923</Phone>
    <Fax>212-255-2924</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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>Open mondays by appointment only.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Having first gained recognition in the 1960s Southern California art scene, working alongside the generation of 'Light and Space' artists, Mary Corse continues to be a prominent and influential figure today. Corse is best known for her exploration of radiant and interactive surfaces and her innovative technique of painting. For her inaugural exhibition at Lehmann Maupin, Mary Corse will exhibit five new paintings. In Corse's work, three outstanding themes are most conspicuous: perception, time, and inner dimensions.

Because Mary Corse's works change before our eyes with the slightest shift in viewing position or ambient light, in situ they have no fixed objective appearance independent of a dynamic individual perception. The works therefore do not depict perception, but reveal the nature and operation of the perceptive act in progress. They enact rather than represent our experience of reality. Since this dynamic quality reveals itself in time as the light changes or as one traverses the field of view, the work also poses a temporal dynamic wholly contrived by the artist. A vision of adjacent works in the gallery space compounds this effect. Since, traditionally, paintings are “frozen” with respect to time while real time never stops, this dynamic addresses the nature of realism in a more fundamental way. Even though the artist employs a two-dimensional surface, one's changing perception of that surface constantly yields multiple inner dimensions in dynamic tension with each other. Since these tensions most often may be grouped under the general categories of Minimalist flatness, and painterly abstraction, the works implicitly subsume and transcend two earlier art historical epochs, Abstract Expressionism and Minimalism. The works' integration of these three themes both expresses and renders tangible the perceptive faculty.

Born in Berkeley, CA in 1945, Mary Corse received her B.F.A. from the University of California in 1963, and her M.F.A. from the Chouinard Art Institute in 1968.

Lehmann Maupin Gallery is presents Mary Corse's inaugural exhibition at Lehmann Maupin Gallery, entitled &quot;New Work&quot;.]]></Description>
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  <Karma>2.47655</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-10</DateEnd>
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 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
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 <Event xml:lang="en" id="2012/B2B4" href="http://www.nyartbeat.com/event/2012/B2B4">
  <Name>Anthony Caro &quot;New Small Bronzes&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/CF258D43">
    <Name>Mitchell-Innes &amp; Nash (534 W 26th St.)</Name>
    <Type>Gallery</Type>
    <Address>534 W 26th St., New York, NY 10001</Address>
    <Phone>212-744-7400</Phone>
    <Fax>212-74407401</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
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  <Media>3D: Sculpture</Media>
  <Description><![CDATA[[Image: Anthony Caro &quot;Blossom&quot; (2012) Bronze case and welded 5-7/8 x 12-3/8 in.]]]></Description>
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-03-01</DateStart>
  <DateEnd>2012-04-05</DateEnd>
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 <Event xml:lang="en" id="2012/B36E" href="http://www.nyartbeat.com/event/2012/B36E">
  <Name>Glenda Leoìn &quot;Listening to Silence&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/CE0D27DC">
    <Name>Magnan Metz Gallery</Name>
    <Type>Gallery</Type>
    <Address>521 W 26th St.,  New York, NY 10001 </Address>
    <Phone>212-244-2344</Phone>
    <Fax>212-244-7544</Fax>
    <Access>Between 10th and 11th Aves. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>11:00:00</OpeningHour>
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  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[Magnan Metz Gallery presents &quot;Listening to Silence&quot;, the first U.S. solo exhibition for Cuban artist, Glenda León.

True listening—that in which we empty ourselves of thought and ego, to let in the word and the presence of another entirely, is becoming more and more rare. In a world filled with haste, stress, and an increasing disconnect between human and nature- a sense of blindness and deafness is building greater with each day. To listen totally and completely is to leave behind our inner noise, brought on by desires, preoccupations, fears and frustrations that too often invade our minds. It is a deeper way to approach and understand the other, the world, and ultimately ourselves. In Listening to Silence, the artist tries to influence the acts of looking and listening from a new point of view: seeing the sounds, hearing the images.
 
León’s artwork spans from drawing to video art, including installation, objects and photographs.  She is interested in the interstices between sound and silence, the visible and invisible, the ephemeral and eternal - visual poetry.  The focal piece in the show, Objeto Mágico Encontrado #5 (Magical Found Object) presents a broken Baby Grand piano resting on the ground, missing one leg, with flowers growing out of its interior.  The work exemplifies the artist’s optimism: the piano in ruins brings forth flowers, a metaphor of music’s power to continue to blossom in ones soul. Escuchando las estrellas/Listening to Stars, a sound installation comprised of a music box and video projection, in which the stars are musical notes, symbolizes an attempt to increase Man’s connection with Nature and the Cosmos.  It is a reminder that although these things are far away and unattainable, neither should we forget that they are a part of our being. 
 
Glenda León (Havana 1976) graduated from the Academy of Superior Art and New Medias, Cologne, Germany in 2007.]]></Description>
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  <Karma>1.0061</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
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 <Event xml:lang="en" id="2012/BCB4" href="http://www.nyartbeat.com/event/2012/BCB4">
  <Name>Marsha Pels &quot;Detroit Redux&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/7B2FB6F2">
    <Name>Schroeder Romero &amp; Shredder</Name>
    <Type>Gallery</Type>
    <Address>531 W 26th St., New York, NY 10001</Address>
    <Phone>212-630-0722</Phone>
    <Fax></Fax>
    <Access>Between 11th and 12th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 11:00</ScheduleDetails>
    <ScheduleNote>Viewing also by appointment.</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[In Detroit Redux, Marsha Pels has created a personal metaphorical landscape with an ensemble of five sculptures dealing with decay, frailty and rehabilitation in relation to the fall of a great American city. Pels continues to merge autobiographical narratives within the larger context of global concerns. Consisting of deconstructed surrogates of the artist herself, these sculptures fuse images of destruction with images of resurrection to make us question the body as a working machine, aging vs. fertility and the animal as savior.
 
Pels spent 2008-2010 as a Sculpture Professor in Detroit. In 1932, Diego Rivera was commissioned by Henry Ford to make the great fresco murals for the Detroit Institute of Art. Rivera described the city as &quot;the great saga of the machine and of steel.&quot; In contrast, his wife, the painter Frida Kahlo, described Detroit as &quot;a shabby village.&quot; This dialogue remains today as Detroit attempts to resurrect itself from political and economic devastation through a cultural &quot;Renaissance.&quot;
 
Inspired by ruins of America's most famous post-industrial city while she endured a traumatic cervical fusion, Pels has created an open-ended narrative that is never didactic; a surreal and dramatic bildungsroman relating to the feminine experience of aging to the monumental Zietgeist of Detroit.
 
Pels' sculptural practice involves making these inspirations corporeal through labor-intensive, materially complex objects and installations in a masterful range of materials including: cast bronze and iron; glass and resin; marble and found objects. Images of anatomical structures blend into iconic architectural and mechanical forms. Engines become organs, concrete becomes bone and domestic animals become signifiers of resurrection.
 
In the tradition of her mentor, the late Louise Bourgeois, Pels' material language has become increasingly more complex over the past three decades. Cerebral and psychosomatic, Pels's installations force us to examine our impending mortality through dark humor and visceral imagery.
 
An important voice in New York for three decades, Pels has been exhibiting internationally since winning the prestigious Prix de Rome in 1984. This is her fourth exhibition with the gallery. Recently, Marsha Pels was the only American sculptor to participate in the 2011 Lorne Biennale in Lorne, Victoria, Australia. She is the recipient of a Pollock Krasner Award and a Fullbright Scholarship to Germany among others. Her work is in The Olbricht Collection, Berlin, Germany and the National Museum of Gaborone, Botswana, Africa. Her outdoor site-specific sculpture is in the public collections of Grounds For Sculpture, Hamilton, NJ; The Pratt Sculpture Park, Brooklyn, NY; Smith Gilbert Gardens, Kennesaw, GA, and the Hebrew Home Museum, Riverdale, NY. Her work will also be featured in a forthcoming issue of Sculpture magazine. This exhibition is accompanied by the catalogue, Detroit Redux: Recent Sculpture 2009-2011.

[Image: Marsha Pels &quot;To Fly, To Drive&quot; (2009-2011) Cast epoxy resin and fiberglass, fluorescent lights, 1997 V8 Lincoln engine, plastic chains, steel cable, 7 x 16 x 18 ft.]]]></Description>
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  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-11</DateEnd>
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 <Event xml:lang="en" id="2012/C157" href="http://www.nyartbeat.com/event/2012/C157">
  <Name>Jennifer Poon &quot;Strange Blooms&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/EF0C5F09">
    <Name>Claire Oliver</Name>
    <Type>Gallery</Type>
    <Address>513 W 26th St., New York, NY 10001</Address>
    <Phone>212-929-5949</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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" />
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  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[When conveyed with a delicate hand, dark, heavy subject matter becomes tractable enough for us to approach it, reflect on it, and digest its message. Jennifer Poon accomplishes this in her upcoming solo exhibition “Strange Blooms,” creating a provocative dialogue by juxtaposing her meticulous watercolors with her obsessively crafted fabric sculptures. Mining the relatable from both human and animal subjects, Poon’s studio practice is at once intellectual and emotional; she maximizes the feminine nature of her media while allowing it to express compelling and bleak themes. Cut and sewn paper, gouache, and watercolor along with densely stitched, stained, and sculpted fabrics narrate the Artist’s personal relationship with sorrow, death, and decay. These somber and beautiful meditations on mortality constitute Jennifer Poon’s third solo exhibition with the Gallery.

[Image: Artist: Jennifer Poon “Untitled” Watercolor and gouache on paper 41 x 53.5  in. (2011) Courtesy of Claire Oliver Gallery, New York]]]></Description>
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  <Karma>0.946915</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
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 <Event xml:lang="en" id="2012/D1DB" href="http://www.nyartbeat.com/event/2012/D1DB">
  <Name>Yinka Shonibare MBE &quot;Addio del Passato&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/145CEA21">
    <Name>James Cohan Gallery</Name>
    <Type>Gallery</Type>
    <Address>533 W 26th St., New York, NY 10001</Address>
    <Phone>212-714-9500</Phone>
    <Fax>212-714-9510</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>Screen: Film</Media>
  <Description><![CDATA[James Cohan Gallery presents an exhibition of new works by British born, Nigerian artist Yinka Shonibare MBE. In this multi-part exhibition of new sculptures, photoworks and the premiere of a new film, Shonibare explores the concept of destiny as it relates to themes of desire, yearning, love, power and sexual repression.

Yinka Shonibare, well known for creating multi-faceted, conceptual art work, continues to draw our attention to patterns of history and how they are repeated in our own time. Following the installation of the artist’s widely-acclaimed work Nelson’s Ship in a Bottle, on the Fourth Plinth in Trafalgar Square, London, Shonibare continues his explorations of Lord Nelson, the figurehead of the British Empire at its apotheosis. Nelson’s destiny was to fall a hero at the Battle of Trafalgar just as the British Empire’s ultimate destiny was its inevitable demise. Shonibare sees a similar fate reflected on the front pages of today’s newspapers, “The Imperial West is in decline at a time of great economic challenges as we see the rise of the East. The old world is in decline and new worlds are emerging through the economic successes of China and India and the revolutions in the Arab world. We are re-experiencing a new Age of the 'Decline and Fall of the Roman Empire'.”

The main gallery will feature a series of five new photoworks entitled Fake Death Pictures. The artist refers to this series as “a re-enactment of suicide through the history of death in Painting.” Shonibare imagines a dramatized vision of the tragic event of Nelson’s death as played out over a series of five photographic allegories based on classic scenes in painting. The series brings together painting, stage design and photography to create works in the manner of The Suicide by Leonardo Alenza y Nieto (1839) and Edward Manet, (1877) and The Death of Chatterton by Henry Wallis (1856), Death of St. Frances by Bartolomé Carducho (1593) and Death of Leonardo da Vinci by François-Guillaume Ménageot (1781).

Two sculptural installations of costumes constructed in period details with Shonibare’s signature fabric will be displayed in the main gallery space. These costumes were worn by the actors in the film projected in the back gallery. Although the fabric has become a signifier of “Africaness” it is in fact a textile produced by the Dutch with patterns influenced by Indonesian batiks. And therein lays the irony: despite the misunderstanding surrounding the fabric’s cultural origins, it has come to represent a true African identity. The significance of the fabric has provided a conceptual underpinning in Shonibare’s work since his early work.

In the back gallery on view is the film Addio Del Passato (so closes my sad story) in which the character of Frances Nisbet, Lord Nelson’s estranged wife sings the eponymous aria from the last act of Verdi’s opera La Traviata. Shonibare finds a parallel in the story of Nelson’s betrayal of his wife and his passionate love affair with Lady Hamilton to the feelings of loss and yearning as expressed by the opera’s heroine Violetta, on the eve of her impending death. 

On display in the front gallery will be three sculptures of fetish objects and sex aids from bygone eras. With characteristic wit, Shonibare presents his audience with two reproductions of anti-masturbation devices—one for women and one for men—fascinating objects of beauty and horror. Complimenting the array will be a pair of fetish boots whose improbable proportions connote both domination and submission.

Yinka Shonibare, MBE (b.1962) lives and works in London, UK. Shonibare received the prestigious Fourth Plinth Commission in Trafalgar Square from the mayor of London in 2009.

[Image: Yinka Shonibare MBE &quot;Fake Death Picture&quot; (The Death of Chatterton - Henry Wallis), (2011) digital chromogenic print 50 X 62 5/8 inches, Edition of 5]]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2012/D1DB-80" width="80" />
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-16</DateStart>
  <DateEnd>2012-03-24</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="3" date="2012-02-16" start="18:00:00" end="20:00:00">Reception For The Artist</Party>
 <DaysBeforeEnd>44</DaysBeforeEnd>
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 </Event>

 <Event xml:lang="en" id="2012/D246" href="http://www.nyartbeat.com/event/2012/D246">
  <Name>Eva Zeisel &quot;Important Works of 20th Century Design&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/7B2FB6F2">
    <Name>Schroeder Romero &amp; Shredder</Name>
    <Type>Gallery</Type>
    <Address>531 W 26th St., New York, NY 10001</Address>
    <Phone>212-630-0722</Phone>
    <Fax></Fax>
    <Access>Between 11th and 12th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 11:00</ScheduleDetails>
    <ScheduleNote>Viewing also by appointment.</ScheduleNote>
  </Venue>
  <Media>3D: Product</Media>
  <Media>3D: Ceramics</Media>
  <Description><![CDATA[&quot;Eva Zeisel: Important Works of 20th Century Design&quot; extends our previous exhibition celebrating Zeisel's long career on the occasion of her passing, December 30, 2011. Born in Hungary in 1906, Zeisel was one of the most important industrial designers of the 20th century with an over 80 year career. About Zeisel, art critic Jed Perl wrote, &quot;There are elements of the magician, the poet, and the joker in everything that Eva Zeisel does. Seeing her objects next to one another, I know that stories are unfolding. Zeisel is a philosopher of the table top; she imagines all the relationships that can develop in a community of forms.&quot; This exhibition features works ranging from her early Bauhaus-influenced geometric designs for the Schramberg factory in the late 1920s to the rare small edition reissued designs produced in the late 1990s. In this context, Zeisel's designs are showcased for being continuously fresh and vibrant. Underscoring Zeisel's uniquely fluid form and self-confessed commitment to the s-curve, on view are her famous room dividers, iridescent Zsolnay vases, sterling silver bud vases and well-known ceramic pieces such as the Schmoo salt and pepper shakers, among many other pieces.  Zeisel's designs are included in the collections of the Museum of Modern Art, the Metropolitan Museum, and many others around the world.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D246-30" width="30" />
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</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>
 <DaysBeforeEnd>2</DaysBeforeEnd>
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  <Distance>0</Distance>
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  <Latitude>40.750125</Latitude>
  <Longitude>-74.003686</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/E93E" href="http://www.nyartbeat.com/event/2012/E93E">
  <Name>&quot;Point of Entry&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/3FB35CE4">
    <Name>Ana Cristea gallery</Name>
    <Type>Gallery</Type>
    <Address>521 W 26th St.,  New York, NY 10001</Address>
    <Phone>212-904-1100</Phone>
    <Fax>212-904-1171</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street Station</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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[Ana Cristea Gallery presents &quot;Point of Entry&quot;, a group show that brings together the work of three remarkable artists: Oliver Clegg, Daniel Pitin and Nicola Samori. The artists are all figurative painters concerned with the relationship between the surface they paint on and the subjects they depict. Each painter approaches this way of working from his own unique perspective, but each is concerned with how the viewer becomes implicated in the journey of the expression and resolution of the artist's ideas and feelings. Art, particularly painting has the ability to render that which is invisible, visible. Atmospheres and memories can be translated into a form that can not only be seen but also felt. With this in mind, the question of how the viewer can 'enter' a painting becomes even more pertinent.

In the case of Oliver Clegg, the process is enabled through the associative power of the found object and its 'ready-made' history. Child's play is a motif that runs throughout Clegg's work. His paintings of discarded toys are executed on objects such as found drawing boards or school desks. Clegg is sensitive to the significance of ordinary objects transformed in the hands of writer or artist.  While still at school Clegg collected old drawing boards, prizing them for their scratchings, doodles, and unique history of someone else's life. By working with these and other artefacts such as blanket boxes, chess sets, old diaries and more recently, prayer desks, Clegg allows the viewer to wander between narratives and worlds, uniting extant references with new images, or creating entirely new ones, recalling Duchamp. Clegg is also inspired by past masters and movements, particularly the Baroque period, as can be seen from his depictions of dramatically lit figures and still lifes. The elements one associates with this era: vanitas, chiaroscuro and a dramatic sense of theatre, run a vivid course through Clegg's work, situating his practice in the curious position of classically inspired conceptualism.

Daniel Pitin's darkly brooding paintings pan from dreamy landscapes to emotionally charged interiors to figures lounging on dingy sofas in dimly lit rooms. It is not hard to see that both film noir and old school detective dramas have been key sources of inspiration for Pitin. For Pitin crime films are particularly interesting because of the role of the detective who is someone with access to all levels of society while not belonging to any of them. He has the power to subvert the social strata and unearth secrets, in a way, the detective is similar to the position of the painter; he too can enter all levels of society. More than this, he can pare down the image he works with, leaving only a trace of its original essence behind like a clue in a crime scene. This glimpse allows the viewer to assume the role of detective, prompting the questions of what is happening, wh­at has taken place. This knowledge with the artist's deliberate decision to disrupt the surface of his paintings with abrasions, scrawling and charred fragments of burned paper and canvas, provide us with the means of entering Pitin's twilight world. The artist is attracted to situations where, he says 'you are neither here nor there'. The 'normal' rules no longer apply.

It is impossible to look at Nicola Samori's paintings without thinking of skin. The works are lushly painted in the fashion of an old master, but rather than simply aping the greats of the High Renaissance or the Baroque by repeating grand motifs of history painting, he chooses to disrupt the images he depicts by focusing on the process inherent to making painting.  Samori opens his surfaces as a surgeon would a body with a knife.  This 'skin' itself is sometimes comprised of skin - rabbit skin glue - a size which tightens the surface.  He treats the surface of his paintings as a skin: sometimes he pulls it, sometimes he uses perspective and chiaroscuro to create three dimensionality and drama. At other times he fuses subject with material imitating the act of flaying and actually creating stringy folds by cutting the canvas.  His work focuses on the corporeal: every part of his practice is about teasing and testing the skin and the flesh.  Samori's figures peel like skinned oranges, the floral still lifes grow skins of their own and sometimes, as if in a frenzied need to break through the skin into the puddled flesh beneath, he uses his fingers to push and scrape at the paint; the disruption of the surface being the point of entry.

[Image: Nicola Samori]]]></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>
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 </Event>

 <Event xml:lang="en" id="2012/ED7A" href="http://www.nyartbeat.com/event/2012/ED7A">
  <Name>Zak Prekop Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/D12CAB79">
    <Name>Harris Lieberman</Name>
    <Type>Gallery</Type>
    <Address>508 W 26th St., New York, NY 10001 </Address>
    <Phone>212-206-1290</Phone>
    <Fax>212-604-0203</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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: Painting</Media>
  <Description><![CDATA[Harris Lieberman presents Zak Prekop’s second solo exhibition with the gallery.  For the occasion, the artist will present a constellation of new work that fills the gallery with polyphonies of forms and correspondences. Ranging from large blue monochromes to paper-collaged canvases, these paintings hang in delicate suspension between optical, illusionistic and material states. 
 
Several of the works on view find Prekop collaging cut paper to the backsides of raw canvas, in a play of opacities that casts the fabric in bas-relief and projects shadow-like shapes on its surface.  In others, he spreads paint out with a palette knife, as if priming a canvas and stopping short.  These incomplete fields create gestural images, but they are rerouted by various systems and procedures: sets of parallel lines that create grids or a rendering of stretcher bars fall within the edges of the fields, for example; as do forms in pink and red, painted to simulate the paper collaged beneath.  These flat, partly pictorial areas gauge the shallow depths of their armatures, taking stock of the materials that give Prekop’s paintings their physical and visual effect.
 
Colors vibrate at tonal thresholds, inducing optical states that assert the corporeality of viewing.  Standard pigments like cobalt are at turns built up and thinned out to form the palette knifed fields and pattern mesh of a new group of large-scale monochromes.  Layered into these intricate images are stencils from Prekop’s other paintings.  These formal echoes recur, throughout the exhibition, along with punctuation-like paintings of single white dots on aleatoric, red monoprints.  
 
Brown paper-bags take over the surfaces of another group of canvases.  The bags are taken apart and flattened to reveal their two-dimensional form and set into measured relationships with the edges of the canvases they are collaged to.  Prekop paints up against their creases in black or paints lines and shapes that mimic the margins between the bags and the paintings’ edges or the perforations that are part of the bags’ manufacturing and use.  Others lie untouched with paint but are combined into diptychs with columns for raw canvas that confuse the divisions between the panels.  They, too, hang in careful suspension: neither windows nor placeholders but testaments to Prekop’s poetics of method.
 
Zak Prekop (b. 1979) received an MFA from the School of the Art Institute of Chicago in 2008.  He currently lives and works in Brooklyn, New York.  He will have his first solo museum show in Fall 2012 at the Contemporary Art Museum in Raleigh, North Carolina and has had solo exhibitions at Shane Campbell Gallery, Chicago and Galleria Marta Cervera, Madrid.  His work has recently been exhibited in The Pittsburgh Biennial at Carnegie Museum of Art; The Fifth Prague Biennale, Prague, Czech Republic; and Greater New York, MoMA PS1, Queens.  Prekop also makes music and art with Hurray, a collaboration with artists Josh Brand, Peter Mandradjieff and Richard Aldrich.

[Image: Zak Prekop &quot;Untitled&quot; (2011)]]]></Description>
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-18</DateStart>
  <DateEnd>2012-03-15</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-18" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>35</DaysBeforeEnd>
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 </Event>

 <Event xml:lang="en" id="2012/EE4B" href="http://www.nyartbeat.com/event/2012/EE4B">
  <Name>Alfred Leslie &quot;Figure Drawings, 1976 - 1983&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/B47DBB34">
    <Name>George Adams Gallery</Name>
    <Type>Gallery</Type>
    <Address>525 W 26th St., 1 Fl., New York, NY 10011</Address>
    <Phone>212-564-8480</Phone>
    <Fax>212-564-8485</Fax>
    <Access>Between 10th and 11th Ave.  Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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>Mondays by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[In the Drawing Gallery and concurrent with the Lenaghan exhibition is a show of five figure drawings by Alfred Leslie. The exhibition is comprised of four signature portraits in graphite pencil, including two studies for his 9x24 foot triptych “Americans: Youngstown, Ohio” (1978), and a large charcoal study for an unrealized painting.

Leslie was a highly regarded Abstract Expressionist painter who began working figuratively in 1962. Along with Jack Beal and Philip Pearlstein, Leslie was for many years represented by the Allan Frumkin Gallery in New York.

[Image: Alfred Leslie &quot;Janoslaw Leshko&quot; (1976) graphite on paper, 40 x 30 in. (left); &quot;Alla Leshko&quot; (1976) graphite on paper, 40 x 30 in. (right)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/EE4B-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2012/EE4B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
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  <Latitude>40.749974</Latitude>
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 </Event>

 <Event xml:lang="en" id="2012/FB3E" href="http://www.nyartbeat.com/event/2012/FB3E">
  <Name>&quot;End of Days&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/74C7ECF2">
    <Name>Mixed Greens Gallery</Name>
    <Type>Gallery</Type>
    <Address>531 W 26th St., New York, NY 10001</Address>
    <Phone>212-331-8888</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Avenue. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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>Open 11:00-18:00 on Saturday</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[As an introduction to our 2012 schedule, this exhibition explores the notion of revelation—both apocalyptic and transcendent. Each artwork functions as a moment of suspended time, capturing the world in a state of silent reflection, imagined ecstasy, mangled deterioration, or a complicated combination of all three. In a nod to Bosch’s Garden of Earthly Delights and the dozens of end-of-the world scenarios circulating around the year 2012, this exhibition focuses on visual anxieties, and considers an end scenario that is for some a paradise, and for others a paradise lost.	

Brian A. Kavanaugh’s large-scale piece, Three Gardens, depicts three states of the afterlife. The chaotic, collaged scenes use Bosch’s painting structure to re-imagine contemporary imagery in a satirical and over-the-top display of what awaits us on the other side. In a similar fashion, Hilary Pecis’s Kingdom presents an ecstatic version of heaven. The digitally collaged fantasyland combines castles in the clouds with fluffy kittens and doves. Using the results of Internet image searches, Pecis’s paradise is idealized to the point of hysterical whimsy. Erin Dunn’s video is an animated, anxiety-filled journey through a hallucinogenic garden. She presents an alternate otherworld in which vibrant color, painting, unidentified creatures, and plastic bobbles coexist. 

Sophia Narrett and Patrick Jacobs present ambiguous scenes suggestive of the hereafter. Narrett’s painterly embroidery illustrates a gathering of people in a garden. Her elegant and diverse characters are inexplicably brought together in a collective experience 
of the sublime. They appear frozen, suspended in endless anticipation of an imminent event. Jacobs’s sculpture is a glowing porthole onto a landscape depicting an impossible infinity beyond the gallery’s wall. Both works suggest a moment of otherworldly transcendence—both physical and metaphysical. 

A large-scale installation by Valerie Hegarty overtakes a portion of the front gallery and a seemingly long-neglected gallery wall succumbs to overgrowth. Tree branches, foliage, and water damage rupture and rot the artwork-adorned surface. In a similar depiction of growth and its aftermath, Dana Sherwood’s photographic series captures a picture-perfect tableau of cakes and pastries, floating on a pond. The viewer is given glimpses of the Dionysian banquet and subsequent deterioration. In addition, Sherwood presents a vitrine holding a decadent cake and its inhabitants—white mice. Over the course of the opening and then the entirety of the show, the mice will eat through the cake and transform its structure into a functional habitat. What remains of Hegarty’s and Sherwood’s worlds are clues to the overindulgence and exhilaration before collapse. 

Bonnie Collura’s Prince 2 is a large, mixed media sculpture skillfully merging historical figures, pop icons, fairy tales, and Greek mythology into a hybrid character. Seth Scantlen’s mixed media on panel represents a similar conglomeration of bodies. The melting, dancing, tumbling visions of flesh and limbs in both paint and plaster conjure up visions of an Inferno-esque slush in the land of the Gluttons. They both speak to the conflation of religious and secular imagery in our hyper-saturated world.

Jessica Cannon’s acrylic on paper, Echoes of the Future, is a sprawling landscape dotted by bursts of white light. The ambiguous imagery is at once representative of rock concerts, explosions, ghosts of fallen buildings, or perhaps the afterimage one might leave when departing the earth in rapture. Melanie Schiff’s similarly figureless photographs use light, tunnels, bodies of water, and landscape to reference a moment of quiet transcendence where the subject of the photo is bathed in unearthly, meditative light. Finally, Susan Hamburger’s papier-mâché urns are a more direct memento mori. While first appearing to be a banquet full of pitchers and vases, the white funerary vessels, embellished with roaming lizards and other creatures, stand in as markers of existence.]]></Description>
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  <Karma>2.57081</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</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>
 <DaysBeforeEnd>2</DaysBeforeEnd>
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  <Latitude>40.749975</Latitude>
  <Longitude>-74.003653</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/FE63" href="http://www.nyartbeat.com/event/2012/FE63">
  <Name>“The End&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/D8672E08">
    <Name>Vogt Gallery</Name>
    <Type>Gallery</Type>
    <Address>526 W 26th st., #911, New York, NY 10001</Address>
    <Phone>212-255-2671</Phone>
    <Fax>212-255-2827</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Vogt Gallery presents the group exhibition “The End,” featuring works by mostly New York-based artists ranging from sculpture over drawing and painting to video and installation. The show is curated by Michael Bühler-Rose and John Connelly.

&quot;The End&quot; is an open and layered interpretation of the metaphorical meaning of the concluding of one event, affair or matter being a possible beginning of another. What is voided and what is created by change, culmination, destruction, cancellation, etc... The works in the exhibition touch upon broad themes like modernism, classicism, historic preservation, manifest destiny, technological innovation, geography, popular culture, death and spirituality. In &quot;The End,&quot; a narrative and physical construct that suggests finality and permanence becomes a catalyst for change, renaissance and growth. One final event or frontier becomes it’s own dead end or the possible beginning of something unknown but adventurous, a new avenue reflected in basic and broad historical gestures of both fear and relief.

[Image: The Pennsylvania Railroad Station, New York City. 1906-1910]]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2012/FE63-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-06</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-06" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749852</Latitude>
  <Longitude>-74.003766</Longitude>
 </Event>

</Events>
