<?xml version="1.0"?>
<Events>
 <Event xml:lang="en" id="2010/0125" href="http://www.nyartbeat.com/event/2010/0125">
  <Name>Baron Adolph de Meyer Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/FB9F6C61">
    <Name>Robert Miller Gallery</Name>
    <Type>Gallery</Type>
    <Address>524 W 26th St., New York, NY 10001</Address>
    <Phone>212-366-4774</Phone>
    <Fax>212-366-4454</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="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[Robert Miller Gallery presents an important survey of vintage and modern photographs by Baron Adolph de Meyer. This will be the artist’s first solo exhibition worldwide since the International Center of Photography’s 1994 retrospective, A Singular Elegance: The Photographs of Baron Adolph de Meyer. The exhibition will include many images from De Meyer’s tenure as chief photographer at Vogue and Vanity Fair and from his years at Harper’s Bazaar, as well as exceptional, rarely seen, earlier photographs from the artist’s estate.

Baron Adolph de Meyer (1868-1946) is widely recognized as the founder of fashion photography. He began his career in London as an aristocratic amateur, making society portraits and still lifes in the Pictorialist style. His portraits brilliantly echoed the strategies employed by John Singer Sargent, transmuting aspects of his aesthetic into shimmering black and white or tonal images. ]]></Description>
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  <Karma>0.686568</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-17</DateStart>
  <DateEnd>2010-04-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-02-17" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749875</Latitude>
  <Longitude>-74.003503</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/04B1" href="http://www.nyartbeat.com/event/2010/04B1">
  <Name>Kukuli Velarde &quot;Patromonio&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/1604B624">
    <Name>Barry Friedman Ltd.</Name>
    <Type>Gallery</Type>
    <Address>515 W 26th St., New York, NY 10001</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd St. or 1 to 28th St.</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>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>Screen: Video installation</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[Barry Friedman Ltd. presents contemporary Peruvian artist Kukuli Velarde in her first solo show since joining the gallery. Recently awarded the prestigious USA Knight Fellowship by the Knight Foundation and the United States Artists organization, Velarde will exhibit an installation of ceramic sculptures from her Plunder Me Baby series, figurative paintings on aluminum from her Cadavers series, and a video/drawing performance, Apple of his Eye, that will take place during the first two weeks of the exhibition. 
  
Inspired by pre-Columbian terracotta figures, Velarde's Plunder Me Baby sculptures reveal folk tradition, evoke histories of ornament and craft, and disrupt normal aesthetic hierarchies. Removed from their natural environment and installed as if in an anthropological museum, these figurative characters appear as though awakened for the first time. Each figure exhibits strong reactions to their new surroundings including fear, disdain, and aggressive anger. With pejorative slurs as titles, such as Chola Puteadora, Grabby!! Needs to Be Put in Her Place, or Méndiga Perra Autoctona, Bites. Will Not Trust. Likes Tough Love, Velarde imbues these “plundered” artifacts with references to the struggles of indigenous populations as a result of European colonization. Velarde re-casts these appropriated figures as self-portraits as a means of defiantly reclaiming their ownership while giving them new meaning and context. 
  
Velarde’s Cadavers paintings examine popular culture from the context of a Latin American origin.  Taking images from colonial Peruvian painting and contemporary culture, she infuses them with references to gender roles, flaunted sexuality, religious and political colonization, and Latin America’s expectations of women in society. Often based on self-portraiture as well, the results are intimate and personal. Velarde takes clear cues from art history and the influences of the renowned Cusquenian Baroque School. Parallels can also be drawn to the aesthetics of such culturally aware painters as Diego Velázquez and Frida Khalo. By alluding to indigenous myths through mass media, popular art, and modern religious references, she notes the many guises and archetypes that humans must endure in modern society.  
  
Apple of his Eye, the third component of Velarde’s exhibition, is comprised of both a video and a performance piece. The video, depicting her late father speaking about his hopes and dreams for his daughter, examines the strong paternal relationship that led Velarde to become an artist. In the performance piece, Velarde will draw directly onto a gallery wall daily for two weeks, summoning the 3-year old doodler who first caught her father’s eye. She states, “overt communication makes us vulnerable yet it may strengthen interaction and deepen bonds. I do not mind becoming ‘vulnerable’ if in the process common grounds are established and a relationship is created with the viewer.” At the close of the exhibition, the drawings on the wall will be painted over and, as Velarde describes it, “returned to memory.” 
]]></Description>
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-03-04</DateStart>
  <DateEnd>2010-04-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-03-04" start="17:30:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
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  <Distance>0</Distance>
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  <Latitude>40.749758</Latitude>
  <Longitude>-74.003139</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/1416" href="http://www.nyartbeat.com/event/2010/1416">
  <Name>Ursula von Rydingsvard &quot;ERRĀTUS&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>3D: Sculpture</Media>
  <Description><![CDATA[In her sixth solo exhibition at Galerie Lelong, Ursula von Rydingsvard will present three new monumental works that exemplify the artist as a sculptor in full command of her craft, further developing the vocabulary that she has so thoroughly honed: abstract, architectural forms composed of accretions of wood.  Each of the three works-Bride's Veil, Unraveling, and Blackened Word-is tightly composed around a structured center and unfurls into a more complex, expansive configuration. ERRĀTUS - &quot;wandering&quot; or &quot;roaming&quot; in Latin - will open to the public on March 18th from 6 to 8 pm. The artist will be present.
 
One of von Rydingsvard's recurrent themes is the juxtaposition of organic and structural forms, transforming massive undertakings of carving and building with dense materials into elegant figures expressive of movement and gesture.  Roughly cut pieces of cedar are joined and form an intricate, sensual surface.  von Rydingsvard's figures often allude to everyday objects found in the home, such as a bowl, bonnet, or staircase-simple, universal pieces that are deeply imbued with humanity.
 
For ERRĀTUS, von Rydingsvard has created three epic works in cedar, each remarkable in its vast scale and vision.  Bride's Veil rises up from the floor, unfolding into rhythmic waves.  Under von Rydingsvard's hand, the cedar feels fluid, like fabric.  In Blackened Word, slight tracings serve as the foundation for a nearly seven-foot tall freestanding structure-the tentative handwriting of an elderly woman was laid on the floor, from which von Rydingsvard built upward to create a towering, undulating wall.  The third work in the exhibition, Unraveling, is an elaborate, overwhelming wall &quot;drawing&quot; in cedar.  The largest and most complex among von Rydingsvard's works hung on the wall, features cup-like shapes that protrude and extend downward, forming a giant's drapery.  In ERRĀTUS, von Rydingsvard displays her natural agility in drawing the intimacy, grace, and emotion out of the most primal of elements.
 
Concurrent with ERRĀTUS is the installation of a new work at Storm King Art Center in Mountainville, New York, commissioned for the sculpture park's 50th anniversary in April.  Also opening in April is the new addition to the North Carolina Museum of Art, at which another outdoor commission by von Rydingsvard, entitled Ogromna, will be unveiled.  In 2011, the Sculpture Center, New York, will present a major retrospective of von Rydingsvard's work.  The exhibition will later travel to the deCordova Museum and Sculpture Park, Lincoln, Massachusetts; in 2008, the deCordova presented von Rydingsvard with its renowned Rappaport Prize. 

[Image: Ursula von Rydingsvard &quot;Bride's Veil (detail)&quot; (2008) Cedar, graphite]]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2010/1416-170" width="170" />
  <Karma>1.44841</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-03-18</DateStart>
  <DateEnd>2010-05-01</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-03-18" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>44</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749925</Latitude>
  <Longitude>-74.003667</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/1C81" href="http://www.nyartbeat.com/event/2010/1C81">
  <Name>&quot;Quartet&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/DC290955">
    <Name>Sara Meltzer Gallery</Name>
    <Type>Gallery</Type>
    <Address>525-531 W 26th St., New York, NY 10001</Address>
    <Phone>212-727-9330</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Avenue. 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[Sara Meltzer Gallery presents Quartet, an exhibition of works by gallery artists Felipe Barbosa, Sarah Cain, Stephen Dean and Edgar Orlaineta that portray four diverse voices in the abstraction of materials, concepts, function and forms. 
 
Brazilian artist Felipe Barbosa (born 1978, lives in Rio de Janeiro) re-contextualizes common materials and accentuates their formal qualities by creating repetitive yet dynamic compositions. Although constructed manually, his sculptures are indicative of the mass-production process used to manufacture the materials. A plane of ties are sewn together along their edges to create a staggering field of color and patterns that embody a playfulness and fluidity contrary to the common affiliations of these garments. Pinned to the wall, the ties sag and flop, re-situating themselves from something ordinary into a rhythmical movement of fabric and color.
 
Moving fluidly between works on paper, paint – on and off the canvas and wall, as well as site-specific installation, Sarah Cain (born 1979, lives in Los Angeles) makes adept use of her materials. Geometric abstractions at first glance, Cain's drawings and paintings disrupt the legacy of modernist abstraction by combining or juxtaposing ostensibly incongruent color, shapes and materials – doilies, sand, fabric, synthetic flowers, beads, paints of all kinds and gold leaf on paper, books or sheets of music. Cain's approach to color, pattern, movement and a use of objects that she describes as having &quot;found&quot; their way into her life, subvert and deny easy categorization. Instead, Cain creates unique visual atmospheres in which the more lyrical and emotive qualities of such polar opposites as abstract painting and craft, for example, collapse into a distinctive form of communication.
 
The work of Stephen Dean (born 1968, lives in New York) is engaged with color and its existence in cultural rituals and formal structures. His sculptures and works on paper interject color into pre-existing systems of organization and transform them into abstract compositions. In this ongoing series the artist uses weather maps from newspapers as templates for unexpected arrangements. Painting within the confines of the map’s graphic lines seems a simple gesture, yet by doing so, the artist confuses the familiarity of the image and subordinates both the idea and physical manifestation of the maps. Reminiscent of miniature paintings in scale and illuminated manuscripts in their use of saturation of hues and bold lines, these drawings continue the artist’s consideration of notions of painting and the inherent ability of color to convey information.
 
In the series Chance Encounters, Edgar Orlaineta (born 1972, lives in Mexico City) combines ideas and forms drawn from modernist art and design. The title of the series is borrowed from the pre-surrealist writer Comte de Lautréamont's famous line &quot;as beautiful as the chance meeting on a dissecting table of a sewing machine and an
umbrella!&quot; Drawing from this example of surrealist dislocation and the ready-made tradition, Orlaineta positions seemingly dissimilar objects - iconic pieces of modern art and Italian design combined with swatches of 1980's popular graphic design – into a single visual composition. Orlaineta posits random encounters and formal coincidences to examine the cultural values that shape our perception of the objects around us.]]></Description>
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-03-05</DateStart>
  <DateEnd>2010-04-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-03-05" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
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  <Latitude>40.749975</Latitude>
  <Longitude>-74.003653</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/1CC3" href="http://www.nyartbeat.com/event/2010/1CC3">
  <Name>Ian Ingram &quot;Divining&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/1604B624">
    <Name>Barry Friedman Ltd.</Name>
    <Type>Gallery</Type>
    <Address>515 W 26th St., New York, NY 10001</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd St. or 1 to 28th St.</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[Barry Friedman Ltd. presents the New York debut of contemporary artist Ian Ingram featuring his newest body of self-portraits. Ingram has spent the past 2  years working on this highly anticipated series of large-scale drawings. The exhibition, Divining, will be accompanied by a full-color catalogue with a feature essay by Garth Clark, published by Barry Friedman Ltd. 
 
Ian Ingram’s work is often about moments of transition, points in life when change occurs. His self-portraits are autobiographical reflections of meaningful events, such as his wedding, or the birth of his child. Ingram describes these emotional moments as “times when a decision or an action changes your entire worldview.  The image is of leaving one world and pushing through to another.” His hyper-realistic and intensely emotional self-portraits arrest the viewer with a direct gaze that at times seems almost uncomfortably intimate. Art critic Kristin Barendsen states, “Viewing these intense self-portraits isn’t like looking at another person-its like being another person looking in the mirror, searching for meaning inside your own brilliant eyes.” Drawings are often considered the most direct connection between an artist and his ideas, and Ingram’s self-portraits are no exception. Beyond serving as a vehicle to relay his feelings to the outside world, Ingram’s drawings become unflinching windows into his subconscious, and serve as a tool for his own self-reflection and rumination.  
 
Ian Ingram’s tightly rendered canvases are realistic yet dreamlike, and demonstrate a range of techniques. From dramatic contrasts of light, dark, and line, to organic methods of cross contours, grids, and blending, each method plays a role in building the subtleties, nuances, and porous surfaces of the human face. Working with a base of charcoal, pastel, ink, and watercolor, Ingram also incorporates more unconventional materials, such as beads, beeswax, metallic thread, silver leaf, string, and even butterfly wings. The embrace of these organic patterns and mediums has become a critical component to Ingram’s creative process and has increased the 
aesthetic complexity of his finished works. ]]></Description>
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  <Karma>0.981543</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-03-04</DateStart>
  <DateEnd>2010-04-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-03-04" start="17:30:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
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 </Event>

 <Event xml:lang="en" id="2010/229F" href="http://www.nyartbeat.com/event/2010/229F">
  <Name>Chris Coffin &quot;Montauk&quot;</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>2D: Drawing</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Mixed Greens announces a site-specific window installation by Chris Coffin. He will use Mixed Greens’ exterior windows to create one large, glowing Duratrans piece depicting the undulating coastline of Montauk. 

The water has always inspired Chris Coffin. Influenced by his childhood on Long Island and his background as a lifeguard, swimmer and surfer, his overall body of work is comprised of a wide variety of media including photography, video, installation, performance and drawing. For his window installation, Coffin expands upon a current drawing series, Islands and Coastlines, in which he depicts the water’s edge in rippling, repetitive graphite lines reminiscent of waves, seismic maps and electrocardiograms. 

In order for Coffin to draw an area, he must have first experienced that stretch of coastline either by swimming, kayaking or surfing the distance. The final drawing, which appears as a bird’s eye view, is in fact tracing the artist’s path. It documents his personal connection to the water and the space where ocean meets land. He uses the languages of science, cartography and technology to create relationships with nature while addressing his own autobiographical history and geography.]]></Description>
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-03-18</DateStart>
  <DateEnd>2010-05-28</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-03-18" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>71</DaysBeforeEnd>
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 </Event>

 <Event xml:lang="en" id="2010/2A1E" href="http://www.nyartbeat.com/event/2010/2A1E">
  <Name>Chris Martin and Joe Bradley 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 a two-person exhibition of New York painters Joe Bradley and Chris Martin in the Chelsea gallery. Both artists will present a group of new works. The exhibition was conceived as part of an ongoing dialogue between the two painters.

JB: … You know, wishful thinking is the way things start. It kind of seeps into reality after a while.

CM: I wish we could all wish for not knowing what we are doing. But in a good way. I think there's a sense of freedom that comes from everybody not being too sure what they're doing. Someone once said about New York in the early 1950s, late '40s, after Expressionism was sort of bursting onto the scene, &quot;There was a moment, maybe six weeks or so, when no one had any idea how to make a painting.&quot; And that's a lovely idea, that we don't know what we're doing…

JB: There's this Guston quote that I think is brilliant, that when you're in the studio, your friends and family are there and the ghosts of art history are there, your contemporaries are there. If you stay long enough they all leave, and if you're lucky you leave…

CM: Right, so the real discipline is that one goes to the studio or one goes to a space where one is available to the muse. There are no preconditions, only that you go there and you move colored dirt around. The discipline is listening to the colored dirt telling you what to do. So the discipline is showing up and staying…

JB: It's really hard to articulate but I do think that that's the place to be when you're making art. I mean you need one foot on turf, on land, and one foot in the cosmos. 

CM: It's like being inside and outside at the same time. On the one hand you are in trance, on the other hand you are watching yourself paint. And I think the key is that when you are watching yourself paint you don't judge, you just watch. The less I judge the more I can actually create and see what I'm doing. 

JB: The stuff that always sticks with me is the work that I see and I'm like, &quot;I want to make something.&quot; You know what I mean? You're allowed to keep doing it. It's not like an end game sort of thing where this is throwing down the gauntlet. You know, it is open-ended. 

CM: Yeah, that's right. God, we sound like a couple of old Beats. If you are reading this now, we don't know what we're talking about, and we don't know where this is going. Just like our best paintings. 

The above dialogue is excerpted from an interview published in The Journal in Fall 2009. 

Joe Bradley was born in 1975 and lives and works in Brooklyn. He received his BFA from the Rhode Island School of Design in 1999. He has had solo exhibitions at P.S.1 Contemporary Art Center and Canada in New York, and at Peres Projects in Los Angeles and Berlin. His work was included in the Whitney Biennial in 2008. He is represented in New York by Canada.

Chris Martin was born in 1954 and lives and works in Brooklyn. He received his BFA from the School of Visual Arts and attended Yale University. Recent group shows have included &quot;Abstract America&quot; at the Saatchi Gallery in London, &quot;Painting as Fact – Fact as Fiction&quot; at de Pury and Luxembourg, Zurich, and &quot;The Painted World&quot; at P.S.1. His work is represented in the collections of the Corcoran Gallery in Washington, D.C. and the Museum of Contemporary Art, Chicago. He is represented by Mitchell-Innes &amp; Nash. ]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2010/2A1E-170" width="170" />
  <Karma>1.87683</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-25</DateStart>
  <DateEnd>2010-03-27</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-02-25" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749997</Latitude>
  <Longitude>-74.003789</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/320A" href="http://www.nyartbeat.com/event/2010/320A">
  <Name>Lesley Dill &quot;Paper and Bronze&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>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[During February and March the GEORGE ADAMS GALLERY presents an exhibition of new work by LESLEY DILL. The exhibition, Paper &amp; Bronze, consists of large and small-scale figurative sculptures in cast bronze, sculpted paper, as well drawings in charcoal and collage. Included in the exhibition are two large unique bronze figures, eight small unique bronze sculptures, four small paper sculptures, one large-scale and two small-scale drawings. The work incorporates language taken from Charles Dickens, Emily Dickinson, Salvador Espriu, and Franz Kafka. Accompanying these works is the film version of Dill’s opera, “Divide Light,” which combines the language of Emily Dickinson with music, costume and video projection. 

The two largest sculptures, both unique casts, are “Rapture” and “Faith” from 2010.  “Rapture” is a nearly six foot high perforated bronze figure of a woman in a billowing dress, a bird perched on her head and the words “raptures“ and “germination,” spelled out in bronze letters extending up from each arm. “Faith” is a darkly-patinaed male figure that is mounted on the wall and posed as if about to leap into the air. On his chest appears, in contrasting, polished letters a phrase taken from Kafka, “Was he an animal that music had such an effect on him?”

The large works are complemented by a series of smaller – 13 to 18 inches high – unique cast bronze figures made in 2009 and 2010. Among them “Ecstasy,” and “Every Utterance” mount directly on the wall, while others rest on pedestals or, like “Spit Bite,” hang from the ceiling. In various ways music is the source of inspiration behind many of the works in the exhibition, especially the seated figures, posed as if in full voice, which were inspired by the chorus that performed in “Divide Light.” 
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/320A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/320A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/320A-170" width="170" />
  <Karma>3.14221</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-18</DateStart>
  <DateEnd>2010-03-27</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-02-25" start="17:30:00" end="19:30:00">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="2010/37DF" href="http://www.nyartbeat.com/event/2010/37DF">
  <Name>Joseph Smolinski &quot;Beginning Of The End&quot;</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>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Mixed Greens presents Joseph Smolinski’s second solo exhibition with the gallery.  He will exhibit drawing, sculpture, and video related to the environment and the power struggles between nature and technology.

This new body of work marks the expansion of Smolinski’s focus.  Over the past few years, Smolinski created a world in which cellular communication towers disguised as trees infiltrated the landscape. There, technology proved victorious through these hybrid forms.  In the new works, Smolinski visualizes a turning of the tide, where animals and nature play more active roles in their fate.

A new series of drawings, titled Disconnected, directly pits animals against the parasitic cell-tower trees. Here Smolinski envisions a time when the animals decide to reclaim their habitats. And in related projects such as Taking Back the Jetty and Cemetery (no doubt influenced by oil companies' recent attempts to exploit the site of Robert Smithson's Spiral Jetty), Smolinski questions both the history and preservation of art and the environment as we exhaust our supply of cheap fuel.

Finally, in an installation titled Broken Bough, a tree limb with an attached cell tower seems to have crashed through the gallery wall.  Still blinking, the tower appears a casualty, struggling to survive; it’s metal leaves wilted and crumbling.

Beginning of the End brings these projects together to reflect on our current interactions with the landscape. It poses questions related to our constant struggle to control the environment and imagines an optimistic, though sometimes apocalyptic, view of the future.

Joseph Smolinski lives and works in New Haven, CT.  He received his BFA from the University of Wisconsin and his MFA from the University of Connecticut, Storrs (2001).  In 2009 alone, he was featured in eleven exhibitions. Group exhibition venues include Diverse Works in Houston, TX (2009); MASS MoCA, North Adams, MA (2008/2009); the Aldrich Museum of Contemporary Art, Ridgefield, CT (2004, 2008); McDonough Museum of Art, Youngstown, OH (2007); the Wadsworth Athenaeum Museum of Art, Hartford, CT (2007); The Cleveland Institute of Art (2005); and the Yale University School of Art, New Haven, CT (2004). Solo exhibition venues include Swarm Gallery in Oakland, CA (2009); Seton Gallery at the University of New Haven in CT (2009); Real Art Ways in Hartford, CT (2006); and ArtSpace in New Haven, CT (2004). His first solo exhibition in New York City was at Mixed Greens in 2007.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/37DF-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/37DF-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/37DF-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-03-18</DateStart>
  <DateEnd>2010-04-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-03-18" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749975</Latitude>
  <Longitude>-74.003653</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/45FC" href="http://www.nyartbeat.com/event/2010/45FC">
  <Name>James Hyde &quot;Redi_Mix&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/A6731464">
    <Name>Kathleen Cullen Fine Arts</Name>
    <Type>Gallery</Type>
    <Address>508 West 26th St., Suite 5A, 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>2D: Photography</Media>
  <Description><![CDATA[Kathleen Cullen presents Redi-Mix, an almost-solo-project of works byJames Hyde.  Along with Hyde's paintings, a constantly evolving group show will take place.

Hyde will present his recent paintings-- photographic prints which form the physical ground but also the image-space on which Hyde builds his painterly compositions. Styrofoam, papier-mache, blocks of wood, tape, as well as paint-- matte &amp; glossy; thick &amp; thin-- form Hyde's painting kit.  Hyde's emphatically material painting slathers and dissects pictures of unfinished building sites, late night reveries, and fragmented views of nature. Often startling, these paintings show Hyde engaging the world through the technical and emotional framework of abstract painting.

During the show the gallery will be in constant flux-- Hyde's paintings-on-photos will cycle in and out.  Every week the gallery and artist will organize a salon of works alongside Hyde's paintings. Sculpture, photography, paintings, drawings, prints and multiples by emerging, established and historical artists will appear every week like guests to a cocktail party. 

Photographs by Jan Groover, Lucas Blalock and Curtis Mann; sculpture by Fabienne Lasserre and Paul Lee; paintings by Joe Fyfe and Thomas Lindvig and prints byDieter Roth and Bridget Riley will be on view.  With this show we hope to transform the gallery to an intimate salon—a place to make unexpected connections between the familiar and the new.

[Image; James Hyde &quot;BUILT UP&quot; (2008) Acrylic on wood on archival inkjet print, 9.5 x 12.25 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/45FC-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/45FC-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/45FC-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-26</DateStart>
  <DateEnd>2010-03-31</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-02-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>13</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749683</Latitude>
  <Longitude>-74.003047</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/474B" href="http://www.nyartbeat.com/event/2010/474B">
  <Name>&quot;The Hendersons Will All Be There&quot; Exhibition</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: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Other</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[The Hendersons Will All Be There includes collage-based work by Dianna Frid, Jason Gringler, Matthew Rich, Steve Roden, Letha Wilson and Halley Zien. The title of this show is taken from the Beatles song “Being For The Benefit of Mr. Kite,” a flowing sound collage that was the most musically complex song from the seminal 1967 Sgt. Pepper’s album. During a phase in which the Beatles were experimenting with alternatives to strictly linear compositions, “Mr. Kite” was spliced together from eclectic sources utilizing modernist concepts rooted in the notion and practice of collage.

Dianna Frid will include four works from her Releases series in which she uses material from earlier projects: aluminum, mylar, and fragments of cloth left over from her artist’s books. In this work, Frid began with the premise of the circle at the center of a square and created different compositional possibilities that arose from this idea. She lives and works in Chicago and exhibits at devening projects and editions.  She will have a solo show this spring at Neues Kunstforum, Cologne.

Jason Gringler’s large-scale works utilize industrial materials such as cut plexiglas, mirrors, wood, acrylic and spray enamel. Through a process of construction, deconstruction and reconstruction, Gringler creates a complex and reflective work that becomes, as the viewer moves, an almost cinematic environment.  Jason Gringler is represented by Galerie Stefan Röpke in Cologne and has upcoming solo exhibitions at Parisian Laundry in Montreal and Galerie Andreas Binder in Munich.

Matthew Rich’s work is made piecemeal taping together separate painted paper shapes and growing his piece gradually in size and complexity. In this body of work, Rich explores painting as a method of building a surface based compositional structure without traditional brushwork and without a unifying backing structure.   Mathew Rich lives and works in Boston and is represented by samsøn.   He has exhibited at devening projects and editions in Chicago, IL and Project Row Houses in Houston, TX.

Steve Roden works in a variety of different media using various systems and scores. Of Frozen Music and Liquid Architecture 8 uses a self-devised translation system to allow a page of classical music notation to generate a visual work. Also exhibited will be works in which Roden steps away from systems and scores to create collage with magazine cuts ups and colored pencil marks. He is represented by Susanne Vielmetter Gallery and his upcoming projects include: an artist residency and exhibition at the Chinati Foundation in Marfa, Texas and solo exhibitions at The Armory Center for the Arts in Pasadena, CA and Pomona College Museum of Art in Claremont, CA.

Letha Wilson uses imagery from the natural world to investigate diverse relationships between architecture and nature and between the gallery space and the American wilderness.  She embraces a range of media including photography, sculpture and collage.  Her artwork has been shown at many venues including the Bronx Museum of the Art, Socrates sculpture park, Fredrieke Taylor Gallery and the Aldrich Museum of Art.

Halley Zien’s paintings seek to establish a visual language that portrays the emotional inner life of its characters. She begins with automatic sketches and then adds magazine cut outs and paint, allowing for a dialog between these elements to grow organically.  She creates distorted forms to incite an exaggerated drama. Halley Zien’s collages and drawings are currently included in the flat files at Pierogi Gallery.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/474B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/474B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/474B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-03-19</DateStart>
  <DateEnd>2010-04-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-03-19" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749828</Latitude>
  <Longitude>-74.003467</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/54CA" href="http://www.nyartbeat.com/event/2010/54CA">
  <Name>Keith Haring &quot;20th Anniversary&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/E7C2AC06">
    <Name>Tony Shafrazi Gallery</Name>
    <Type>Gallery</Type>
    <Address>544 W 26th St., New York, NY 10001</Address>
    <Phone>212-274-9300</Phone>
    <Fax>212-334-9499</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>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Prints</Media>
  <Description><![CDATA[[Image: Keith Haring &quot;Untitled (be Mine)&quot; (1987), Silkscreen ink on paper, 6 x 6 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/54CA-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/54CA-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/54CA-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-13</DateStart>
  <DateEnd>2010-04-03</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750069</Latitude>
  <Longitude>-74.003997</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/6C17" href="http://www.nyartbeat.com/event/2010/6C17">
  <Name>&quot;Burning Desire&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/5C41009E">
    <Name>Michael Mazzeo Gallery</Name>
    <Type>Gallery</Type>
    <Address>526 W 26th St., Suite 209, New York, NY 10001</Address>
    <Phone>212-741-6599</Phone>
    <Fax></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>
    <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: 11 am - 5 pm, Tuesday - Friday.</ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>2D: Prints</Media>
  <Media>3D: Sculpture</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Spring fever is here and we welcome it with Burning Desire, an exhibition of photographs, video, works on paper, sculpture and books.

Whether figuratively or metaphorically, this innovative and diverse group of artists address the nature of burning through personal and unique strategies.

[Image: Caleb Charland &quot;Silhouette with Matches&quot; (2009)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/6C17-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/6C17-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/6C17-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-03-13</DateStart>
  <DateEnd>2010-04-24</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749852</Latitude>
  <Longitude>-74.003766</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/81AB" href="http://www.nyartbeat.com/event/2010/81AB">
  <Name>William Kentridge &quot;Nose&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/182D12FE">
    <Name>David Krut Projects</Name>
    <Type>Gallery</Type>
    <Address>526 W 26th St., #816, New York, NY 10001</Address>
    <Phone>212-255-3094</Phone>
    <Fax></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>2D: Prints</Media>
  <Description><![CDATA[David Krut Print Workshop announces the publication of a new suite of prints by William Kentridge. ‘Nose’ is a suite of thirty prints, each plate measuring roughly 15 x 20 cm (5 x 8 inches). The prints explore a number of techniques but rely primarily on Kentridge’s strong drypoint marks, softened by sugarlift aquatint and punctuated, in several plates, with red. Each plate is engraved with a number signalling its place in the series. There are fifty prints in each edition and they have been editioned by Jillian Ross, Niall Bingham and Mlungisi Kongisa. This series will be exhibited at the Museum of Modern Art, New York from February 24 to May 17, 2010, at David Krut Projects, Johannesburg and David Krut Projects, New York in February 23 to April 10, 2010.

The ‘Nose’ series arose out of Kentridge’s preparation for his production of the Shostakovich opera &quot;The Nose&quot; for the Metropolitan Opera in March 2010. Shostakovich’s opera is based on one of the most famous stories in Russian literature, Nikolai Gogol’s The Nose, published in 1837. The story follows the adventures of the pompous government official Kovalyov who wakes up one day to find that his nose has left his face and gone walking around St Petersburg. In his interpretation of Gogol and Shostakovich, Kentridge has projected the story forward to the 1917 Russian Revolution and the Russian avant-garde, and then into the twentieth century to include allusions to Stalin’s purges of the 1930s.

[Image: William Kentridge &quot;Nose&quot; (2007—2010), Paper: Somerset Velvet, Soft White 300 gsm, 15.75 x 13.8 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/81AB-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/81AB-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/81AB-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-23</DateStart>
  <DateEnd>2010-04-10</DateEnd>
  <ScheduleNote>Book signing March 13, 10:30am</ScheduleNote>
  <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.7499</Latitude>
  <Longitude>-74.003561</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/864D" href="http://www.nyartbeat.com/event/2010/864D">
  <Name>Sangbin IM &quot;Confluence&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>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[Mary Ryan Gallery announces its first exhibition of new work by Sangbin IM.  IM's photographs are hyper-realistic visions that contrast our utopian desires with voracious consumerism.  Through his dramatic digital manipulation of painting and photography, IM challenges our perceptions of the world around us.
 
To create a single work, IM takes hundreds of digital photographs of a scene or landmark over a period of time, which he then combines seamlessly with digital images of his own paintings of atmospheric elements (sky, water, or flooring, for example), to heighten the drama. The resulting image is an idealized and subtly enhanced view of our urban environment.  At a first glance, these familiar settings may look real, but upon close inspection, the artifice becomes apparent. IM's work aims to blur the boundaries of illusion and verisimilitude through exaggeration of scale, color saturation and painterly textures.
 
Lush greenery surrounds a turquoise lake filled with boaters, set against a magnificent, if over-abundant, New York City skyline in Central Park-NY-2 (2009). This painterly photograph, an idealized rendering of a site familiar to so many New Yorkers, is a prefect example of the dualities that inform IM's work: the real and the virtual, the original and the manipulated, the analog and the digital. 
 
People-MoMA (2009) depicts a mass of people, photographed from several floors up, all making their way toward the entrance of the Museum of Modern Art, which itself is suggested only by barely visible glass doors and the edge of MoMA's atrium balcony.  The people--brightly colored strategically placed against IM's enhanced backgrounds-seem to be rushing toward the gap between the two panels of the diptych. With the museum's collection removed from view, the work shifts its focus to the relationship between people and architectural space, the cultural site, and the collective museum-going experience--as the artist says, &quot;the modern spectacle of appreciating art.&quot; 
 
Three examples from IM's &quot;Metropolitan Museum Project,&quot; a series of nine works, will also be on view.  In a different approach to commenting on the modern museum, IM, acting as 'curator,' completely reconfigures different portions of the museum's permanent collections.  He re-sizes the works based on his personal preference, changes the displays, lighting, and color saturations, while hanging the works in a massive salon-style grouping that nearly fills the picture plane.  IM makes each of the works in the series the same size, which gives each cultural collection equal attention.  Here IM explores the role of the museum and its effects on the public's perception of art history.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/864D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/864D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/864D-170" width="170" />
  <Karma>0.620995</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-11</DateStart>
  <DateEnd>2010-03-27</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-02-11" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749928</Latitude>
  <Longitude>-74.003539</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/8D57" href="http://www.nyartbeat.com/event/2010/8D57">
  <Name>&quot;The Mothership Has Landed&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/EB90A652">
    <Name>Rush Arts Gallery</Name>
    <Type>Gallery</Type>
    <Address>526 W 26th St, #311, New York, NY 10001</Address>
    <Phone>212-691-9552</Phone>
    <Fax></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>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>Screen: Video installation</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[The title of the show borrows from the infamous George Clinton + Funkadelic and their decades-long experimental movement combining music, fashion, illustration and performance. Their phrase, &quot;The Mothership Has Landed&quot; can roughly translate to &quot;The shit is about to hit the fan!&quot; and illustrates the collective nature of the group's overall expressive and raw quality.

A similar expressive and raw quality can be seen in this group of artists. Their works are cultural hybrids borrowing from the familiar and inspired by their investigation of media transformed through personal experience, resulting in a cosmic array of images, objects and performance. &quot;Here's a chance to dance our way out of our constrictions…with the groove our only guide, we shall all be moved.&quot;

One Nation Under A Groove -George Clinton + Funkadelic

Live Performance Dates: Saturdays 4-5pm

Lainie Dalby: February 13th
Jacolby Satterwhite: February 27th
Glendalys Medina: March 6th

Guest Curator: Derrick Adams

[Image: Jacolby Satterwhite &quot;Adam For Adam&quot; (2009) video, 20 minutes]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/8D57-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/8D57-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/8D57-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-01-29</DateStart>
  <DateEnd>2010-03-20</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.7499</Latitude>
  <Longitude>-74.003561</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/8F85" href="http://www.nyartbeat.com/event/2010/8F85">
  <Name>Norbert Brunner &quot;Fuck Luck&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>16:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Austrian Norbert Brunner’s inaugural American exhibition, Fuck Luck uses the gallery space as a reflection area for self actualization.  By juxtaposing large scale crystal embedded mirrors with iconic photo-portraits, the artist empowers the viewer to take charge of his own destiny and allows him to choose a positive attitude.  Brunner’s mirror objects reflect not only the viewer in the space, but superimpose the imbedded text across all in its path, insisting we become an interactive part of the installation.  The artist forces the viewer squarely into the center of the work, asking that they formulate their own interpretation of reality.  A mirror is not an exact reflection of reality, but a distorted reading which readily offers back to the viewer an interaction with his own preconceived prejudices, strengths, hopes and experiences.

[Image: Norbert Brunner &quot;I Am (detail)&quot; (2010), digital C-print, mounted under plexiglass, Swarovski crystals, 79.6 x 33.5 x 3  in., Courtesy of Claire Oliver Gallery, New York]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/8F85-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/8F85-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/8F85-170" width="170" />
  <Karma>1.33548</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-03-11</DateStart>
  <DateEnd>2010-04-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-03-11" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
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  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749761</Latitude>
  <Longitude>-74.003139</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/A679" href="http://www.nyartbeat.com/event/2010/A679">
  <Name>John Griefen &quot;Recent Paintings&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/46738584">
    <Name>Gary Snyder Project Space</Name>
    <Type>Gallery</Type>
    <Address>250 W 26th St., 4 Fl., New York, NY 10001</Address>
    <Phone>212-929-1351</Phone>
    <Fax></Fax>
    <Access>Between 7th Ave. and 8th Ave. Subway: 1 to 28th 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>
  <Description><![CDATA[One might think it easier to photographically reproduce a recent monochromatic painting by John Griefen than a 50’s painting by Ad Reinhardt, as the acrylic paint on a Griefen is textured and thick in contrast to Reinhardt’s matte application. But both Reinhardt and Griefen defy reproduction, and that is just one of the things they have in common. Both demand that the viewer powerfully and authentically engage the actual painting, and both are inextricably bound to the physical act of painting.

This physicality is probably why Griefen prefers a motorcycle to a car, his rustic home in Northern France to Brooklyn, or wine to water. Life is lived fully in the art of John Griefen, and the viewer can sense this in front of his paintings.

Griefen has been showing in New York City since the 1960s, with numerous exhibitions at Kornblee Gallery, Salander-O’Reilly Galleries, and others. His work is in major public and private collections, and has been discussed by writers as diverse as Rosalind Krauss (Artforum, 1969) Hilton Kramer (NY Times, 1973) and Terry Fenton, 1981. Gary Snyder/Project Space is pleased to present its first exhibition of John Griefen’s paintings.

[Image: Gary Snyder at John Griefens Studio, November, 2009]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/A679-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2010/A679-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-03-04</DateStart>
  <DateEnd>2010-05-01</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-03-04" start="19:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>44</DaysBeforeEnd>
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 </Event>

 <Event xml:lang="en" id="2010/B123" href="http://www.nyartbeat.com/event/2010/B123">
  <Name>&quot;Announcing Magnan Metz&quot; Exhibition</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>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Formerly Magnan Projects, Magnan Metz Gallery announces our new gallery space featuring a selection of gallery artists, including:

DUKE RILEY named one of the “Artists to Watch” in the February issue of ArtNews and exhibiting at the Historical Society of Pennsylvania as part of Philagrafika 2010  ALEXANDRE ARRECHEA  currently part of Philagrafika 2010 Independent Project at The ICE Box, Crane Art. On March 2nd he will be projecting a video on the NASDAQ through the Times Square Alliance.  SOFIA MALDONADO  will be unveiling a 92 foot long mural on 42nd Street as part of the Times Square Alliance on March 2nd and is covered in New York Daily News.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/B123-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/B123-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/B123-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-19</DateStart>
  <DateEnd>2010-03-27</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-02-19" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750028</Latitude>
  <Longitude>-74.003458</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/B40F" href="http://www.nyartbeat.com/event/2010/B40F">
  <Name>Larry Zox &quot;Paintings&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/3001F0ED">
    <Name>Stephen Haller Gallery</Name>
    <Type>Gallery</Type>
    <Address>542 W 26th St., New York, NY 10001</Address>
    <Phone>212-741-7777</Phone>
    <Fax>212-741-3444</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[LARRY ZOX: PAINTINGS includes key paintings from the late artist’s personal collection, including rare works from the Round Centers and Loops Series.  
 
Represented in nearly every major museum in the country, Larry Zox achieved art world prominence in 1973 as the subject of a major retrospective at the Whitney Museum of American Art. Zox’s signature style – the splicing of a color field to give the sensation of shifting planes was pivotal in his early collage paintings, and evolved into the graceful looping patterns of his later work. The paintings on view in this exhibition reveal the individualism and brio that are the hallmarks of Zox’s contribution to American art.  
 
Arriving in New York as a young man, Zox quickly emerged as a talented master of painting and a gifted colorist. Those were the heady days of the 60’s and 70’s when artists from across the arts jostled one another in the bawdy, boozy, smoky atmosphere of art bars such as Max’s Kansas City. Zox distinguished himself among artists who sought to analyze painting as a thing in itself and to experiment with the reductive purity of color, line, and form. 
 
In its heyday, Zox’s studio on 20th Street was known as a colorful gathering place for artists, jazz musicians, bikers, and boxers. His love of jazz may have influenced his work. Critic Peter Schjeldahl wrote of Zox’s early paintings in the New York Times: “the result of such lavish, daring execution, within straightened circumstances, is a feeling of improvisation and fortuitous balance something like that of jazz. Maybe Mondrian, in attempting ‘Broadway Boogie-Woogie,’ was dreaming of Zox.” 
  
In 2005 the exhibition Larry Zox: Five Decades at Stephen Haller Gallery returned Zox’s name to prominence. New York Times art critic Grace Glueck hailed the exhibition as “a welcome return for Mr. Zox.” Art in America’s Edward Leffingwell wrote of his early work in the show: “Zox’s geometric abstractions of the 1960’s are as probing and engaging today as they ever were.” Of his 2006 exhibition New York Sun critic John Goodrich wrote: “the painting brims with arguments about symmetry and its violations.&quot; There is a sense of energy, freshness, vitality in the work that is palpable. Distinguished art critic Peter Schjeldahl characterized this quality as Zox’s “exuberant sensibility.” 

[Image: Larry Zox &quot;Yours and Mine&quot; (1993)  acrylic on canvas, 72 x 76 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/B40F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/B40F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/B40F-170" width="170" />
  <Karma>0.822263</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-25</DateStart>
  <DateEnd>2010-04-10</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
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  <Latitude>40.750092</Latitude>
  <Longitude>-74.004017</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/B603" href="http://www.nyartbeat.com/event/2010/B603">
  <Name>Shih Chieh Huang &quot;Pepe and Popcorn&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/C547EAD8">
    <Name>Virgil de Voldère Gallery</Name>
    <Type>Gallery</Type>
    <Address>526 W 26th St., #416, New York, NY 10001</Address>
    <Phone>212-343-9694</Phone>
    <Fax>212-537-6226</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>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[In his third exhibition at Virgil de Voldère Gallery, Shih Chieh Huang introduces us to Pepe and Popcorn, two new creatures in his resplendent cosmic sculptural ecosystem. Resembling magical sea anemones and pulsating bioluminescent jellyfish, these works, with their categorically nonorganic parts, also evoke clunky interstellar spacecrafts. Hung like baroque chandeliers, Pepe and Popcorn-which are constantly clicking, bleeping, turning, whirring, whistling, bubbling, and breathing-seem curious and alive. What are they so excited about? Are they chatting with each other in some kind of creaky, squeaky robotic language, passing time in the gallery with idle conversation? It sometimes feels as if they're looking at us, perhaps in the same inquisitive way we gaze upon them. Are Pepe and Popcorn trying to speak to us?

As two vast, extreme locations with seemingly endless possibilities for exploration, the deep sea and outer space have much in common. Art is a third region of tremendous imaginative discovery. Combining all three, Huang the artist plays both the Jacques Cousteau explorer (he held a recent residency at the Smithsonian Museum of Natural History studying ocean life) and the amateur rocket scientist. To build his works, he rummages though the Electric Towns of Japan and Taiwan-districts of shops selling all sorts of electronics, toys, gadgets, and circuitry-while also scouring the Internet for ordinary household devices. Garage-door openers, miniature fans, timers from Christmas lights: he acquires such things only to pick them apart and repurpose them completely. The moving parts and deceptively simple technologies that bring Huang's works to life look fresh and significant in the face of slick digital movies or high-end electronics.

Viewers and critics have connected Huang's use of plastic bags and bottles to a stance on ecology or environmentalism-understandably so, as his work looks like the miraculous spawn of an aquatic invertebrate and the refuse from the fabled plastic continent floating in the Pacific Ocean. Yet he actually chooses his bottle from the grocery shelf, not the recycling bin, and he's interested in the aesthetic value of its shape and design. (Likewise, he also requests his bags new from the store, often befuddling the cashier.) Huang removes the object from its normal circulation and transforms it in a way that eclipses its utilitarian origins.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/B603-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2010/B603-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-26</DateStart>
  <DateEnd>2010-03-27</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-02-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
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 </Event>

 <Event xml:lang="en" id="2010/BA11" href="http://www.nyartbeat.com/event/2010/BA11">
  <Name>&quot;Animate Matter&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>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Thomas Erben Gallery presents Animate Matter, an exhibition of works by Pia Maria Martin, Dona Nelson, Richard Staub and Rose Wylie. Although from vastly different generations, all four artists are seemingly entrenched in their chosen medium, animating with their available tools and formal vocabularies the materiality and (art) historical references in order to engage the viewer in ways of looking at what ought to be inanimate objects. One can sense a pleasure for drawn-out process and aesthetic experimentation in the work of the participating artists.

In her stop-motion animation For Olga, Pia Maria Martin brings to life random objects strewn throughout an abandoned office building. Like in her earlier works, the empty rooms, closed off from public view, do not only become the site of production but source of inspiration for a play-a make-believe-taking place on the stage it offers. The eerie, while witty result is a guided tour through animated spaces, infusing the film with a personality rather than a narrative.

Dona Nelson's paintings, many of which have moved off the wall into the space of the room, possess a similar quality of the animated inanimate object. The images moving across the face (and back) of her paintings-far from being purely material-are charged with imaginative implications that never supercede their factual material reality: the canvas, the paint, the stretcher, the glued cloth and stitched cord. Nelson's paintings overrule the distinctions implied in the words: imagination / image / materiality.

The works assembled by Richard Staub repurpose the ordinary of everyday life in ways that simultaneously suggest fetish objects, Dior's New Look, baroque tableaux and memento mori. Suspended from the ceiling or fixed to the wall, these combinations of packing tape, paper, foil, and plastic bags stand in for different pneuma. Their very materiality gives them gravity and evokes states of energy that extend from stasis to an errant dynamism. By gathering, spray painting, compressing and tearing, Staub gives his material an immediate presence, pinning his work to the viewer's world.

British artist Rose Wylie captures in her drawings our preconceptions of the world by replacing them with childhood-like wonder. These could be hilarious and silly, or anxious and nightmarish - but always subjective, informal and direct. Her quirky drawings are richly associative, mixing numerous different and often clashing source materials that fuse ancient, modern and contemporary references into a bold and gutsy whole.
]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2010/BA11-170" width="170" />
  <Karma>3.48168</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-25</DateStart>
  <DateEnd>2010-04-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-02-25" start="18:00:00" end="20:30:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
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  <Latitude>40.749853</Latitude>
  <Longitude>-74.003767</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/C72C" href="http://www.nyartbeat.com/event/2010/C72C">
  <Name>Tala Madani &quot;Pictograms&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/AD9ABBF6">
    <Name>Lombard-Freid Projects</Name>
    <Type>Gallery</Type>
    <Address>531 W 26th St., 2 Fl., New York, NY, 10001</Address>
    <Phone>212-967-8040</Phone>
    <Fax>212-967-0669</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="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 11:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Lombard-Freid Projects presents Pictograms, Tala Madani’s third solo exhibition at the gallery, which premieres new paintings and animations by the Iranian born artist.

Interested in the complexities and histories related to how we read a painting, she obscures perceptions and veils meaning by transforming the symbols of written language into the subject of her darkly comic visual games.

The diversity of her painterly language takes on a new facet with this series in which she introduces a graffiti-like spray-paint technique. In some works, she makes a grid of sprayed ‘spotlights’ in order to highlight certain scenes of a narrative, while in others the spray creates a halo effect around the characters as a riff on the tradition of illuminated manuscripts.

Madani hints at important connections between power structures and language with Leviathan, one of the large canvases in the show, which depicts a giant whose body is constituted entirely of fluorescent nude male contortionists in the shapes of anatomically suggestive letters. Madani’s version of this biblical monster recalls the frontispiece of Thomas Hobbes’ seminal doctrine of the same title (1651), which portrays a crowned Leviathan (a personification of the Commonwealth) whose torso is made up of hundreds of smaller figures.

Another large-scale painting, Camo, with its composition of jumbled and interlocking ‘letter-people’, makes reference to Warhol’s iconic camouflage works, while with similar irony defeats the concept with its electric palette. With characteristic humor, the act of concealment is achieved by clothing the figures.

In Eye Exam, she renders the familiar vision chart entirely null with each letter already blurred, while in another smaller canvas, the efficacy and functionality of language is questioned as the letter ‘A’ pushes an empty wheelbarrow.

Madani’s latest stop-motion video animation, The Dancer, created by painting and repainting a single canvas, features a lone figure improvising dance moves ranging from ballet to hip-hop. With each movement, the dancer twists and bends into extreme positions, generating shapes that allude to the paintings in the show.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/C72C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/C72C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/C72C-170" width="170" />
  <Karma>1.74084</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-25</DateStart>
  <DateEnd>2010-04-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-02-25" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749975</Latitude>
  <Longitude>-74.003653</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/D67B" href="http://www.nyartbeat.com/event/2010/D67B">
  <Name>Nari Ward &quot;LIVESupport&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: Other</Media>
  <Media>3D: Sculpture</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Nari Ward's first solo exhibition at the gallery, features a new body of work consisting of sculptures, works on paper, and video, Ward articulates a dialogue surrounding the idea of support– physical, spiritual, social, and judicial– while introducing contemplation of everyday objects. Employing varying forms of the silhouette, Ward expands on the two-dimensional form, creating three-dimensional and also transparent incarnations to tell a story that not only highlights what is declared, but what is withheld. 

[Image: Nari Ward &quot;Ambulascope&quot; (2010) stencil ink, walking canes, and telescope 82 x 23 x 19 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/D67B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/D67B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/D67B-170" width="170" />
  <Karma>0.83133</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-25</DateStart>
  <DateEnd>2010-04-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-02-25" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750039</Latitude>
  <Longitude>-74.003931</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/DBE3" href="http://www.nyartbeat.com/event/2010/DBE3">
  <Name>Yun-Fei Ji &quot;Mistaking Each Other for Ghosts&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: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[James Cohan Gallery announces their second gallery exhibition by Chinese expatriate artist Yun-Fei Ji. The exhibition will include new works on paper as well as Ji's artist's book, Migrants from the Three Gorges Dam, recently published by the Library Council of The Museum of Modern Art, NY. 

Yun-Fei Ji was born and raised in China during the Cultural Revolution. Separated from his parents at the age of two, Ji grew up on a collective farm outside Hangzhou where, in the absence of TV and radio, he was kept entertained by his grandmother's telling of ghost stories and folk tales. At the Central Academy of Fine Arts, Beijing, Ji studied traditional painting techniques with mineral pigments on mulberry paper in the style of Song Dynasty landscape painting. After relocating to the United States in 1986 on a fellowship from Fulbright College at the University of Arkansas, Ji found his voice as an artist who reinvents the system of symbolic structures found in classical Chinese painting to expose the dark side of industrial development on contemporary life. As Ji states, &quot;I use landscape painting to explore the utopian dreams of Chinese history, from past collectivization to new consumerism.&quot; 

In this new body of work, Ji continues to reference the historical in order to connect with the contemporary. For instance, Ji revisits the treasure chest of folk legends he grew up with while also exploring classical texts such as Strange Tales from a Chinese Studio, a collection of ghost stories by the 18th century author Pu Songling. His paintings are therefore populated by fantastical creatures, animal spirits and ghosts—rude, lusty, slippery and greedy ghosts, who take their inspiration from these tall tales to offer a subtext or critique on the fallibility and corruption seen in Chinese leadership. As in the ancient stories, Ji's ghosts are stand-ins, free to express themselves in ways not allowed to people living under tightly controlled social and political hierarchies. 

Ji's interest in the French libertarian writer, the Marquis de Sade, has also provided inspiration for his new works. Ji draws parallels between the debauched noblemen in de Sade's tales and the Chinese communist leaders, whose hubris caused them to fall prey to sexual mis-conduct and other vices while the public were expected to be self sacrificing. However, in the painting Pleasures of the Party Boss (2009), Ji's use of bamboo in the foreground alludes to a traditional symbolic power, representing purity, humbleness and the upstanding moral qualities that are extolled in Confucius philosophy. 

Also on view is Ji's new artist book, Migrants from The Three Gorges Dam, which is presented in the form of a scroll. This work is another representation of Ji's continuing endeavor to portray the social and psychological upheaval caused by the building and subsequent flooding of the Three Gorges Dam on the Yangtze River in China. This 32-foot long, gradually unfolding narrative tells the story of the tragic effects of the project on those dispossessed by the Dam and the resulting loss of the rich culture from the Three Gorges region. The scroll consists of hand-printed paper mounted on silk that was made with over 500 hand carved, pear wood blocks. It was printed at the famous Rongbaozhai studio (the 'Studio of Glorious Treasures'), which was once closely associated with Beijing's imperial enclave in the Forbidden City. Rongbaozhai studio still makes prints and scrolls in the style it developed over a thousand years ago and has been declared a &quot;rare intangible cultural property&quot; by the Chinese government. Like Ji's paintings, this edition is populated with naturalistic and symbolic images of places and people, from 'floating weeds,' an ancient Chinese phrase for displaced people to phantasmagoric beasts. At end of the scroll, Ji 's calligraphy tells the long history of Chinese ambitions to tame the Yangtze. 

[Image: Yun-Fei Ji &quot;Mistaking Each Other for Ghosts&quot; (2007) Watercolor and ink on Xian paper, 14 1/2 X 27 1/2 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/DBE3-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/DBE3-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/DBE3-170" width="170" />
  <Karma>1.97067</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-19</DateStart>
  <DateEnd>2010-03-27</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-02-19" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.75</Latitude>
  <Longitude>-74.003711</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/DCFD" href="http://www.nyartbeat.com/event/2010/DCFD">
  <Name>Wendy Gittler &quot;Unmoorings – Displacement in Time &amp; Space&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/49E8379D">
    <Name>First Street Gallery</Name>
    <Type>Gallery</Type>
    <Address>526 W 26th St., Suite 915, 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[For years, I have been watching the kaleidoscopic and chameleon face of nature and despaired of ever catching its infinite details. Instead, I chose an alternate route where forms become gestural and iconic and likewise, places are transformed and condensed. These places that were once in specific locations have now become embedded in a temporal-spatial discontinuity similar to that of theater, cinema, and choreographic sequences.

The exception in this exhibit is a diary of revisited Rome and Southern Italy after twenty years absence. These gouaches are part perception, invention, and memory.

[Image: Wendy Gittler &quot;Passage&quot; (2009) Oil on canvas 14 x 14 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/DCFD-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/DCFD-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/DCFD-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-03-02</DateStart>
  <DateEnd>2010-03-27</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-03-06" start="15:00:00" end="17:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.7499</Latitude>
  <Longitude>-74.003561</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/E960" href="http://www.nyartbeat.com/event/2010/E960">
  <Name>James Siena &quot;New Works&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/48E09061">
    <Name>Pace Prints Chelsea</Name>
    <Type>Gallery</Type>
    <Address>521 W 26th St., 3 Fl., New York, NY 10001</Address>
    <Phone>212-629-6100</Phone>
    <Fax>212-629-6113</Fax>
    <Access>Between 10th Ave. 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>saturdays openinghour 11:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Prints</Media>
  <Description><![CDATA[This is Siena’s second solo show with Pace Prints. The exhibition will feature new prints and explorations in Siena’s signature freeform formal constraint patterns. As Siena’s work strongly references abstractions from primitive African and Native American design, his works evoke a symbolist inner monumentality regardless of scale. A highlight of the exhibition, &quot;Sequence Two,&quot; a new woodcut edition of 21, is based on two separate comb sequences interlocking and spiraling in a labyrinthine pattern. In addition, other new woodcuts and wood engravings created at the Pace Editions studios will be shown.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/E960-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/E960-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/E960-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-03-05</DateStart>
  <DateEnd>2010-04-03</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749856</Latitude>
  <Longitude>-74.003367</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/F5B6" href="http://www.nyartbeat.com/event/2010/F5B6">
  <Name>&quot;Now We Are Six&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>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[Andrea Meislin Gallery is marking its sixth anniversary in March 2010. The celebration will commence on Wednesday, February 17th with &quot;Now We Are Six,&quot; a group exhibition featuring artists from the inaugural 2004 show and those who have joined the roster since that time.

[Image: Leora Laor &quot;Untitled #100&quot; (2002)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/F5B6-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/F5B6-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/F5B6-170" width="170" />
  <Karma>0.779513</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-17</DateStart>
  <DateEnd>2010-03-20</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-02-17" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749828</Latitude>
  <Longitude>-74.003467</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/F99A" href="http://www.nyartbeat.com/event/2010/F99A">
  <Name>William Wylie &quot;Stills&quot;</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: Photography</Media>
  <Description><![CDATA[ “When the air is still, then so is the surface of the river. Then it holds a perfectly silent image of the world that seems not to exist 
in this world. Where, I have asked myself, is this reflection? It is not on the top of the water, for if there is a little current the river 
can slide frictionlessly and freely beneath the reflection and the reflection does not move. Nor can you think of it resting on the 
bottom of the air. The reflection itself seems a plane of no substance, neither water nor air. It rests, I think, upon quietness.” - 
Wendell Berry’s afterword to Stillwater 
 
William Wylie’s stunning silver gelatin photographs featured in Stills were made along a stretch of the Cache la Poudre River in 
Fort Collins, Colorado between 1997 and 2001. Wylie’s subject descends from the Rocky Mountain National Forest and flows 
untamed through the Colorado landscape until the Poudre weaves through Fort Collins, where it becomes a marginalized 
wilderness. For the five miles the river flows through the city, it is frequently seen through the development – glimpses of the river 
from the highway or the shopping mall, from parking lots or apartment fire escapes. In many places concrete constrains the river. 
Yet Wylie’s photographs hone in on the tranquility and the raw beauty of the river, almost entirely removing the water from its 
surroundings.  
 
Wylie’s choice to photograph the water near surface level gives his photographs an abstract quality, making something we are 
supremely familiar with into something we virtually cannot recognize. Wylie also chose to work at varying times of the day, so the 
light on the water is always varying; some negatives were even exposed by the light of the moon, almost completely abstracting 
the landscape. Wylie’s intimate portraits of the Poudre present the viewer with an opportunity to interpret the image in one’s own 
manner. With knowledge of the landscape and the photograph’s context, we can imagine that #01-06 (Stillwater) shows the river’s 
smooth flow being interrupted by subtle inconsistencies just below the surface; however, simply looking at the image presents a 
much more abstract view that could be interpreted in any number of ways. We look forward to the discussions Wylie’s 
photographs will elicit within the gallery. 

[Image: William Wylie &quot;Stillwater&quot; (2001) silver gelatin print, 30 x38 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/F99A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/F99A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/F99A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-11</DateStart>
  <DateEnd>2010-04-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-02-11" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750028</Latitude>
  <Longitude>-74.003458</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/FB6A" href="http://www.nyartbeat.com/event/2010/FB6A">
  <Name>Joris Laarman &quot;Joris Laarman Lab&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/4B8EBD9C">
    <Name>Friedman Benda</Name>
    <Type>Gallery</Type>
    <Address>515 W 26th St., New York, NY 10001</Address>
    <Phone>212-239-8700</Phone>
    <Fax>212-239-8760</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>3D: Sculpture</Media>
  <Media>3D: Furniture</Media>
  <Media>3D: Product</Media>
  <Description><![CDATA[On March 4th, a new body of work by Dutch designer Joris Laarman will be unveiled at Friedman Benda. Laarman's unique aesthetic merges cutting-edge technology and the life-sciences to create work of unexpected beauty. The upcoming exhibition has developed from five years of trial and error, exploratory material research and his continuous quest to translate science into functional objects of beauty, now on a monumental scale.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/FB6A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/FB6A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/FB6A-170" width="170" />
  <Karma>9.44011</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-03-05</DateStart>
  <DateEnd>2010-04-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-03-04" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749783</Latitude>
  <Longitude>-74.003197</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/FE2C" href="http://www.nyartbeat.com/event/2010/FE2C">
  <Name>Courtney Johnson &quot;Glass Cities&quot;</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: Photography</Media>
  <Description><![CDATA[Jenkins Johnson Gallery, New York presents Glass Cities, a solo exhibition by the versatile photographer Courtney Johnson. This will be Johnson’s first solo show with Jenkins Johnson Gallery in New York.
 
Courtney Johnson creates her luminous photographs using a modified version of the technique developed in the mid-nineteenth century by painters looking to transition into the new field of photography, like Corot and Delacroix. Johnson uses 4x5 inch glass plates, on which she creates a negative, painting with nail polish, white out, and drawing ink. From the negatives, she prints a photograph using a slide enlarger or a scanner. Most of Johnson’s photographs are compiled from nine different negatives, one of which is included with the purchase of an edition. The complicated nature of the cliché-verre technique has made it virtually obsolete in the contemporary art world.
 
Johnson began utilizing the cliché-verre (French for glass negative) technique in the late 1990s, first experimenting with abstract ink blots on 35mm film. Around 2000, Johnson turned her cliché-verre practice to the representational, beginning with portraits and later progressing to landscapes, as in Glass Cities. While the glass negatives reference the historical tradition of painting, the final images are photographic and mechanically reproducible; Johnson has secured herself as a link between the arts of the past and the art of the future – a bridge from one medium and time period to the next. While her unique method contrasts ideas of the mechanical and the handmade (similarly detailed by Walter Benjamin in his pivotal “The Work of Art in the Age of Mechanical Reproduction), she specifically selects her subject matter, in this case cityscapes, to explore the seemingly disconnected triangle between nature, technology, and mankind. She breaks down complex forms into more representative shapes, giving the scenes an abstract sensibility while retaining the essence of the city.
 
It is important to note that she paints the negative of her final image, so in Johnson’s photograph Rome, which is composed from nine cliché-verre plates, the light turquoise sky would have actually been a thick yellow drawing ink. Johnson’s use of a scanner can attribute to the particular luminosity of the piece – another bridge between the classical art of painting and the contemporary use of the digital media – as in the glowing, seemingly starry sky above the cityscape in Rome. Similarly, Johnson’s New York perfectly captures the essence of the city, awake and aglow, regardless of the time of night. Her use of varying colors and textures gives the photograph a sense of depth and reality; the black borders between the nine different negatives Johnson created also gives the viewer the sensation of looking out a window over the glowing city below. Johnson’s unique and masterful technique is a vestige of the art of the future, blending styles and media to form her own inimitable view of the city.

[Image: Courtney Johnson &quot;New York&quot; (2009) carbon pigment print from cliché-verre, edition of 9, 48 x 60 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/FE2C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/FE2C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/FE2C-170" width="170" />
  <Karma>0.59389</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-11</DateStart>
  <DateEnd>2010-04-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-02-11" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750028</Latitude>
  <Longitude>-74.003458</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/FE48" href="http://www.nyartbeat.com/event/2010/FE48">
  <Name>&quot;Optical Journey&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/959DA737">
    <Name>PaulaBarr Chelsea</Name>
    <Type>Gallery</Type>
    <Address>508 W 26th St., 9 Fl., New York, NY 10001</Address>
    <Phone>212-691-9482</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Optical Journey carries us through the breathtaking pictures of three artists playing with the infinite possibilities of photography. With this show, PaulaBarr chelsea underlines the power of variation.
 
Kristina Cahn holds a BFA in Photography from the State University of New York.  Art and travel have always been Cahn's strong passions. Through her lense, she captures everything from street riots in Croatia, the beaches of Normandy and the mountain peaks of Oregon.  She currently lives in New York City. She is an artist drawn towards a minimalist approach in her photography. Color and composition are also a key factor in expressing her vision in a more powerful way. Travel affords her the opportunity to capture images of inspiring countries and places.
 
Jack Dzamba brings an international sophistication to photography and design, having traveled and taken pictures in Europe, Russia, China, Canada, South America, and the United States. His work has won numerous awards in juried and international competitions, including in the 2007 Prix de la Photographie Paris, competition. Jack's image Remembrance, taken at the Louvre in Paris, was chosen in a National Juried Competition in 2003.  His work is published in two other books of photography, Like Sand from Orchid's Lips (2006) TCB- Caf� Publishing, San Francisco, and Incredible Eyes (2004) TCB - Caf� Publishing, San Francisco (2004). He has exhibited in group and solo shows in New York, Boston, and San Francisco. His work has been described as having a mystical quality, which draws you in as if the camera was never there. He has exhibited his &quot;Paris in New York, Boston and Paris&quot; series in solo shows at PaulaBarr chelsea. 

Carlos Vanegas was born in La Guajira, Colombia. His work in journalism and photography has been published in different magazines. In this show, he will present &quot;NYC:3N1&quot;, the latest photographic work of a multifaceted artist. It allows us to can take a glimpse through his eyes, the eyes of an immigrant. This work is a reflection of Vanegas' artistic evolution and peculiar way to perceive and explore the landmarks significant for him as immigrant.  &quot;My search as an artist is intertwined with my daily life.  My everyday occurs between the emblematic bridges of the New York, from there I develop my vision and my personal story&quot;, he says. 
 
Lauren Volo grew up in Connecticut. For the last six years, she has been working and living in the East Village of New York mentoring other photographers, and absorbing the industry. Recently she has been working on a few independent projects. Being behind a camera comes more naturally than a conversation.  From a dance, drawing, painting background, she had been drawn to the romantic and graceful side of art, and finds herself captivated by the people that surround her and places she travels.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/FE48-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/FE48-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/FE48-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-03-18</DateStart>
  <DateEnd>2010-03-20</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-03-18" 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>40.749678</Latitude>
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 </Event>

</Events>