<?xml version="1.0"?>
<Events>
 <Event xml:lang="en" id="2011/69D9" href="http://www.nyartbeat.com/event/2011/69D9">
  <Name>Mitch Miller &quot;Natural Selection&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/A7C27FD9">
    <Name>Accola Griefen Gallery</Name>
    <Type>Gallery</Type>
    <Address>547 W 27th St., Suite #634, New York NY 10001</Address>
    <Phone>646-532-3488</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_27">Chelsea 27th</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>
  <Media>3D: Installation</Media>
  <Description><![CDATA[ACCOLA GRIEFEN GALLERY presents – Mitch Miller: Natural Selection. Mitch Miller’s work is rooted in a fraught relationship with the natural world that began in formative visits to the awe-inspiring sites where his father worked as a petroleum engineer. In Natural Selection, creature-like sculptures in reclaimed Styrofoam, perch on pedestals and hang suspended in the air. The largest hanging pieces are literally moving targets. After assembling and painting, the final stage of production involves invited participants shooting the glacial craters with a bow and arrow. This activity causes the structures to spin, gouges the textured surface and splinters off pieces that are then reassembled to create the smaller-scale sculptures. The paintings in Natural Selection also involve chance: to lay down the initial structure the artist starts blindfolded. The work in this series, Bobcat Mountain Studio, at first appears to be dramatic expressionist washes in white, violent red and charcoal.  On closer inspection an architectural fantasy that somewhat resembles the artist’s own mountain residence can be found nestled into what reveals itself to be a sweeping landscape.  Both in format and subject matter, Eastern scroll painting inspires these works, wherein the shifting scale and grandeur of nature often dwarfs the almost invisible mark of man. Miller’s work is a reminder that humans are capable of the most brutal and beautiful of things.

Mitch Miller earned degrees in Biology and Fine Art from the University of Colorado in 1997. After completing an MFA at the University of Kansas, Miller moved to New York in 2000 where he embarked on ambitious projects including the conversion of a former Times Square strip club into a massive art center. Through this project, Miller received grants from Scope International Art Fair and Socrates Sculpture Park, where he completed his first public sculptures in 2004.  The artist has since exhibited widely in the United States and abroad at venues including Marc DePuechredon, Basel, Switzerland; White Columns, New York City; Central Academy of Fine Arts, Beijing, China; Rare Gallery, New York City and ADA Gallery, Richmond, Virginia, among others. Mitch Miller now lives and works on Bobcat Mountain in Colorado.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/69D9-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2011/69D9-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750894</Latitude>
  <Longitude>-74.0036</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/6BCF" href="http://www.nyartbeat.com/event/2011/6BCF">
  <Name>David Kennedy Cutler &quot;Come Back New&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/2F9BCE37">
    <Name>Derek Eller Gallery</Name>
    <Type>Gallery</Type>
    <Address>615 W 27th St., New York, NY 10001</Address>
    <Phone>212-206-6411</Phone>
    <Fax>212-206-6977</Fax>
    <Access>Between 11th and 12th Ave. Subway: C/E to 23rd Street or A/C/E to 34th Street</Access>
    <Area areaId="chelsea_27">Chelsea 27th</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>
  <Description><![CDATA[Derek Eller Gallery presents new sculpture by David Kennedy Cutler.

As an artist whose studio is situated above the Greenpoint Oil Spill, the largest urban oil spill in history, Kennedy Cutler embraces materials fashioned by  petroleum----he considers it as his primary local natural resource (albeit a metaphysical one) amidst an isolated industrial environment of warehouses and former factories. To make these sculptures, he creates molds, lines them with plastic sheeting, pours epoxy resin then integrates elements ranging from clear and tinted plexiglas, acrylic printer's process ink, photographs of oil rainbows on wet asphalt, smashed compact discs, and recycled motor oil.  The results are incandescent towers of shattered beauty.

The modeled undulations of the poured epoxy resin and manipulated plastics interact with light, filtering and distorting it, and destabilizing the sculptures' solidity. This material allows Kennedy Cutler to capture the gestures of his process in hardened sculptural form while giving the appearance of things created through seeping, spreading or sedimentation. Roland Barthes writes that &quot;Plastic is the very idea of its infinite transformation...Plastic remains impregnated throughout with this wonder: it is less a thing than the trace of a movement.&quot; It is no coincidence that plastics share the name of Greek shepherds (polystyrene, polyvinyl, polyethylene), or that the largely forgotten term for physical manipulation of form was once called &quot;The Plastic Arts.&quot; The sculptures preserve incidents, actions, un-doings, and the myriad transformations that occur as Kennedy Cutler grapples with them.

With the progressive tow of digitalization, Kennedy Cutler posits that there is a defiant need to reemphasize the physical in the world while addressing aesthetic changes as a result of the navigation of digital spaces. In Kennedy Cutler's work damage and material distress are strategies of renewal that allow for a reengagement with the skin and viscera of daily experience. These sculptures engage both the corporeal and the aesthetics of our world of plastics and technological ephemera; they act simultaneously as artifacts and as chemical totems of a propositional future. 

David Kennedy Cutler lives and works in Brooklyn, New York. His work has been included in exhibitions at Kate Werble Gallery, New York, Nice &amp; Fit, Berlin, Socrates Sculpture Park, New York, D'Amelio Terras, New York, and Portugal Arte '10, Lisbon amongst others. This will be his second exhibition with the gallery.]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2011/6BCF-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-13" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
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  <Latitude>40.751575</Latitude>
  <Longitude>-74.005528</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/70A5" href="http://www.nyartbeat.com/event/2011/70A5">
  <Name>Janet Culbertson &quot;Possible Peril&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/A7C27FD9">
    <Name>Accola Griefen Gallery</Name>
    <Type>Gallery</Type>
    <Address>547 W 27th St., Suite #634, New York NY 10001</Address>
    <Phone>646-532-3488</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[ACCOLA GRIEFEN GALLERY presents –Janet Culbertson: Possible Peril.   For more than four decades Janet Culbertson’s paintings and drawings have been infused with a passionate concern for our planet’s ecology. In her most recent series, Industrial Park, Culbertson imagines a future of disastrous consequences. By mixing mica and iridescent pigments into her paint the artistsimulates the appearance of broken glass, mine tailings, and oil spills.The resulting surfaces lend a lustrous yet threatening quality to her subject matters - jungles of twisted roads, acres of concrete cylinders, massive oil rigs and an unnaturally scorched earth. Primates often appear amidst these dark landscapes as poignant reminders of the many species we have threatened in striving for a rich future with little mind to sustainability.

Janet Culbertson is a pioneering eco-feminist artist. She attended Carnegie Mellon University and earned her Master’s Degree at NYU.  She had her first solo exhibit in New York City in 1969. During the 1970’s Culbertson had four one-woman shows in New York City, received a C.A.P.S. NY state award and wrote and edited for Heresies magazine.  Since that time, Culbertson has received grants from The Pollack-Krasner Foundation, The Vogelstein Foundation and The Puffin Foundation and has exhibited her work at such significant institutions as The National Museum of Women in the Arts in Washington DC.  Culbertson has work in the permanent collections of museums including National Academy of Sciences, Washington D.C.; Hunterdon Art Museum, NJ; National Museo de los Ninos, San Jose, Costa Rica; Telfair Museum, Savannah, GA; Library of Congress, Washington, DC; Fogg Art Museum, Harvard University, Cambridge, MA; Long Island Museum of Art, Stony Brook, NY; National Museum of Women in the Arts, Washington, DC; St. Petersburg Museum of Art, St Petersburg, FL; Zimmerli Art Museum, Rutgers University, New Brunswick, NJ; Guild Hall Museum, East Hampton, NY and Islip Museum, East Islip, NY among others.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/70A5-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2011/70A5-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750894</Latitude>
  <Longitude>-74.0036</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0041" href="http://www.nyartbeat.com/event/2012/0041">
  <Name>Regina Walker &quot;New Work&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/3DFCE83B">
    <Name>Ceres Gallery</Name>
    <Type>Gallery</Type>
    <Address>547 W 27th St., Suite 201, New York, NY 10001</Address>
    <Phone>212-947-6100</Phone>
    <Fax>212-947-6100</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>thursdays closinghour 20:00</ScheduleDetails>
    <ScheduleNote>August 9-August 31, 2009   Gallery Closed for the summer break, to reopen September 1, 2009.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[&quot;To me, photography is an art of observation. It's about finding something interesting in an ordinary place... I've found it has little to do with the things you see and everything to do with the way you see them.&quot;. - Elliott Erwitt]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0041-30" width="30" />
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  <Karma>1.43236</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-31</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750694</Latitude>
  <Longitude>-74.003639</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0083" href="http://www.nyartbeat.com/event/2012/0083">
  <Name>Elizabeth Yamin &quot;Wallabout&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/1EC68E01">
    <Name>The Painting Center</Name>
    <Type>Cultural Center</Type>
    <Address>547 W 27th St., Suite 500, New York, NY 10001</Address>
    <Phone>212-343-1060</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street Station</Access>
    <Area areaId="chelsea_27">Chelsea 27th</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[My studio location on Wallabout Bay in the Brooklyn Navy Yard has strongly influenced my work: the dry docks, the river, the tugs and barges that make up the shifting scene. Looming as backdrop to the Yard’s day-to-day activities, the relics of shipbuilding and repairing on the grandest scale still stand and rust. The paintings are concerned with the seemingly solid blackness of barges, the thrust of cranes, the tenuous delicacy of worn-out metal. They incorporate the element of time in their allusions to the industrial past, as well as in the interplay between layers of perception, Poised between confusion and resolution, they invite the viewer into the process of their own composition.

In his review of Yamin’s 2007 show in AbstractArtOnline, Joe Walentini wrote: These paintings feel playful even as they present a tension between chaos and order ... . While composition in these pieces is tight there is a feeling that by pulling a thread they could explode in your face. Herein lies the content of the work – the push-pull between the forces of the open and closed space, variety of contrast and a democratic mix of earth tones and brighter hues. Yamin pulls it all together magnificently in an equilibrium between consistency and individuality.

Yamin has exhibited at St. John’s University, NY; The Brooklyn Museum; Haverford and William and Mary Colleges; as well as at The Painting Center. She was included in the 183rd Invitational at the National Academy Museum and has received Fellowships from the New York Foundation for the Arts and the Getty Foundation. Concurrently with Wallabout, she is included in MIC:CHECK (occupy) at the Sideshow Gallery, Williamsburg, Brooklyn.]]></Description>
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  <Karma>2.86472</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-31</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750899</Latitude>
  <Longitude>-74.003599</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/1756" href="http://www.nyartbeat.com/event/2012/1756">
  <Name>Fré Ilgen &quot;Shaping Presence&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/DA84F137">
    <Name>Sundaram Tagore Gallery</Name>
    <Type>Gallery</Type>
    <Address>547 W 27th St., New York, NY 10001</Address>
    <Phone>212-677-4520</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_27">Chelsea 27th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Sundaram Tagore Gallery presents Shaping Presence, an exhibition of abstract metal and wood sculpture and works on paper by Berlin-based Dutch artist Fré Ilgen. 

Shaping Presence introduces the latest developments in Ilgen’s work, which are the result of the artist’s intense interest in the mechanics of the creative process. Ilgen has delved into the realm of neuroscience in order to learn more about creativity, in particular the conscious decision-making and the unconscious reflexes—motions learned by the body through long repetition—that form artistic expression.

With his sculpture, the artist aims to challenge viewers’ visual memory and encourage them to think about visual perception. Many of his sculptures are based on the complex movements of his own arms and hands that are part of the fabrication process. He uses concrete and wood in combination with stainless steel and industrial paint to create free-standing sculpture, wall constructions, and mobiles that vary in size from modest to monumental.

Working on paper is for Ilgen, as for many other artists, a useful method to prepare for working in other media. But for Ilgen, working on paper is also a type of physical training that prepares the body to respond by reflex when elaborating similar subjects in other media.

Fré Ilgen is a unique figure in the world of contemporary art. He is not only a sculptor and a painter, but also a theorist and curator. Ilgen lives and works in Berlin. His work is exhibited widely in the United States, Europe, South America, Russia, Asia, and Australia. He has created many site-specific pieces for private, corporate, and public collections in The Netherlands, Germany, Switzerland, Japan, Korea, and the United States. Ilgen’s work is in the collections of the Museum of Modern Art, Hünfeld, Germany; NOKIA, Dallas, Texas; and the Merzbacher Collection, Zug, Switzerland.

[Image: Fré Ilgen &quot;Nothing Changes, Everything Changes&quot; (2011) stainless steel, industrial paint, 82 1/4&quot;H x 68 1/2&quot;L x 55 1/2'W]]]></Description>
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  <Karma>1.48148</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
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  <Datum>wgs84</Datum>
  <Latitude>40.750789</Latitude>
  <Longitude>-74.003658</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/1963" href="http://www.nyartbeat.com/event/2012/1963">
  <Name>&quot;Corporations Are People Too&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/90D87E54">
    <Name>Winkleman Gallery</Name>
    <Type>Gallery</Type>
    <Address>621 W 27th St., New York, NY 10001</Address>
    <Phone>212-643-3152</Phone>
    <Fax>212-643-2040</Fax>
    <Access>Between 11th and 12th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_27">Chelsea 27th</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>2D: Prints</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Winkleman Gallery presents Corporations Are People Too, a group exhibition of artists whose work has touched on corporate culture and our love-hate relationship to these powerful organizations. In a time where protesters across the country, and the world, are objecting to the influence corporations have over democratically elected governments and one leading candidate for the Republican nomination for President, Mitt Romney, was roundly criticized for claiming during a campaign stop that “Corporations are people too,” a bright spotlight is being shined on the complicated role they play in contemporary life.

The exhibition begins with a selection of vintage photographs by Berenice Abbott, Louis Faurer, Lewis Hine and Dorothea Lange, showing the arc of attitudes in America about the relationship between huge companies and the average person. From Depression-era images of child laborers and migrant workers up through post-WWII images of happy shiny Americans enjoying all the conveniences that modernized manufacturing brought them in their new age of posterity, these black-and-white photos set the stage for a relationship that continues to ebb and flow with the changing economics of the nation.

The exhibition continues with works by contemporary artists that flesh out the complexity of corporate culture as it has evolved to influence, if not define, many of our political and cultural ideologies. A 2005 installation by Yevgeniy Fiks offers a broader look at how we have come to recognize corporations’ individual identities. Fiks sent 100 US corporations a copy of Lenin’s book Imperialism: The Highest Stage of Capitalism as a gift for their library, asking only that they acknowledge receipt. The 34 letters he received, some accepting the gift, others returning it, provide a series of fascinating and, in turns, hysterical portraits of the corporate personalities.

Kota Ezawa’s series of IKEA lightbox works (2008), in which he redraws the pages from the international home furnishing store’s catalog, stem from his mixed feelings about our need for furniture chosen not as an object to be kept or cherished but rather as an inexpensive solution to a living problem. Within these paired-down renderings, the catalog pages lose their function as advertisements and their staged domestic interiors become instead theater stages for the drama of contemporary life. In Ian Davis’ small paintings (2011), scores of men in black suits populate landscapes or auditoriums devoid of any clear hierarchy or leaders. In unison they raise their hands as if making a pledge or collaborate to mug other suited men, suggesting armies of blindly obedient Yes Men, answering to a particular culture more so than an obvious power figure.

In Jacqueline Hassink’s “The Table of Power” series (1993-1995), photographs of uninhabited boardrooms of well-known corporations are completely absent the executives who usually meet there, but still communicate an intimiating degree of order and control. One of the images, totally black, reflects the refusal of Shell Oil to let their excutive boardroom be photographed. People are also absent in the photographs from Phillip Toledano’s “Bankrupt” series (2001-2003), but traces of their having been there remain in the emptied offices of corporations that went out of business. Toledano has described these abandoned objects as “signs of life, interrupted,” and they speak to how the corporate experience is a big part of who they are for many people.

The exhibition concludes with an installation by Chris Dorland incorporating large- and small-scale paintings as well as video. The way that many corporations market their (often banal) products to the public by associating our collective ideals and hopes with their corporate brands is one of the themes connecting Dorland’s various series. From his well-known toxic-colored landscapes insinuating the failure of Modernist architecture to realize its promise of a utopian future, to his newer series of decontextualized, muted logotypes and mixed media paintings of sexy, happy people so interchangeable we recognize them as part of an advertising language even without any hint of their ad’s original product, to a new video titled “Restoration Hardware”, these works, seen in dialogue with one another, bring full circle his exploration of the cynical association of progressive values with consumption and desire. Dorland’s work deals head on with how, as he has said, “'Progress' gets aestheticised and then ultimately instrumentalized by Capitalism.”

[Image: Louis Faurer &quot;Times Square Convertible, New York&quot; (1949) Silver gelatin print (printed in 1980), 11&quot; x 14&quot;]]]></Description>
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  <Karma>2.73469</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-04</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-04" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751797</Latitude>
  <Longitude>-74.005731</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/1D5F" href="http://www.nyartbeat.com/event/2012/1D5F">
  <Name>&quot;Cerberus&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/DE782929">
    <Name>Bold Hype Gallery</Name>
    <Type>Gallery</Type>
    <Address>547 W. 27th St., 5th Fl., New York, NY 10001</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street Station</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[New works by three young artists from across the country. San Francisco based BAGGER43, DAVID HOSKINS from Florida, and Brooklynite DOUGLAS HOFFMAN.

The three artists are long time friends, joining forces for the first time in producing a single cohesive exhibit, like the three heads on the mythological beast Cerberus. Influenced by graffiti, science fiction, horror, and urban life, a definite darkness prevails in each of the artists' surreal work, alleviated by the contrast of vibrant playful colors. Be prepared for technicolor nightmares, neon mysteries, and candy coated abominations]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/1D5F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1D5F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1D5F-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-19" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.7509</Latitude>
  <Longitude>-74.0036</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/2BDA" href="http://www.nyartbeat.com/event/2012/2BDA">
  <Name>Emna Zghal &quot;Plato/Pineapple&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/9BF2AE29">
    <Name>MIYAKO YOSHINAGA art prospects</Name>
    <Type>Gallery</Type>
    <Address>547 W 27th St., 2 Fl., New York, NY 10001</Address>
    <Phone>212-268-7132</Phone>
    <Fax>212-268-7132</Fax>
    <Access>Between 10th and 11th St. Subway: A/C/E to 34th Street or C/E to 23rd Street</Access>
    <Area areaId="chelsea_27">Chelsea 27th</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>By appointment only in August. </ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>2D: Prints</Media>
  <Description><![CDATA[MIYAKO YOSHINAGA art prospects presents Plato/Pineapple, a solo exhibition of new works on paper by Emna Zghal.
 
Following Against Reason, her 2009 exhibition at the gallery,Emna Zghal further asserts her interest in poetry, beauty and formal invention in this new exhibition Plato/Pineapple, which presents prints and drawings from her 2010 artist's book: Plato Pineapple Poetry Painting. In it, she draws a parallel between Plato's urge to banish poets from his Ideal City that is run by reason, and a contemporary art establishment that has seemingly expunged poetry from its discourse. In the accompanying essay of her new book published for this exhibition, Zghal questions the subversion often touted by contemporary art institutions as a validating quality of art. Can art be subversive (i.e., can it undermine authority) when it is the authorities themselves who put out such claims? Zghal affirms the role of the artist-poet to dream outside of the world of reason.
 
Zghal's latest daydream is the pineapple, which becomes a visual thread in the prints and drawings of this exhibition. In expanding her interest in the infinite extension and unpredictability of organic patterns, Zghal focuses on an intriguing morphological study that utilizes her observation and unique approaches. She discovers that a pineapple is made of berries that join together to the core, which inspires her to carefully distinguish individual berries in her work. To create Pineapple Sun, a large print featuring two overlaid pineapple slices with dense fibers, Zghal scans a thin slice of the fruit, traces it digitally and then transfers it to a silkscreen/etching using condensed milk and salt. It is through such innovative and tactical processes that Zghal effectively explores not only a heightened sense of materiality but also a new level of biomorphic visual poetry.
 
Emna Zghal is a Tunisian-born visual artist based in New York. Her work has been featured in numerous solo and group exhibitions throughout the United States, Europe and Tunisia. She is the recipient of the American Academy of Arts &amp; Letters Purchase Award (New York), the President of the Republic's Prize for Best Young Artist (Tunisia); fellowships from the Blue Mountain Center (Blue Mountain, New York), Cité Internationale des Arts (Paris), Weir Farm Trust (Wilton, CT) and Vermont Studio Center (Johnson, VT); and residencies from the Newark Art Museum (Newark, NJ) and the Centre des Arts Vivants (Radès, Tunisia). Reviews of her work have appeared in The New York Times, The New Yorker, Art Forum, ARTnews and The Philadelphia Inquirer. Her portfolio of prints The Prophet of Black Folk was acquired by the Schomburg Center for Research in Black Culture in Harlem, NY. Other works are part of the collections at the New York Public Library, Yale University, the Museum for African Art, NY, as well as Grinnell College, IA.

[Image: Emna Zghal &quot;Pineapple Sun&quot; (2011) siilkscreen/etching, 31.5 x 31.5 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/2BDA-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2BDA-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2BDA-170" width="170" />
  <Karma>1.23827</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750789</Latitude>
  <Longitude>-74.003658</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/79C5" href="http://www.nyartbeat.com/event/2012/79C5">
  <Name>&quot;In Their Own World&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/F9D0DBB0">
    <Name>Tache Gallery</Name>
    <Type>Gallery</Type>
    <Address>547 W 27th St., No. 602, New York, NY 10001</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:30:00</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: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Curator: D. Dominick Lombardi]]></Description>
  <Image src="http://www.nyartbeat.com/resources/images/nopic" width="30" />
  <Image src="http://www.nyartbeat.com/resources/images/nopic_80" width="80" />
  <Image src="http://www.nyartbeat.com/resources/images/nopic_170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750899</Latitude>
  <Longitude>-74.003599</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/86D1" href="http://www.nyartbeat.com/event/2012/86D1">
  <Name>&quot;Phases&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/F36F8707">
    <Name>Wallspace</Name>
    <Type>Gallery</Type>
    <Address>619 W 27th St., New York, NY 10001 </Address>
    <Phone>212-594-9478</Phone>
    <Fax></Fax>
    <Access>Between 11th and 12th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_27">Chelsea 27th</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>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/86D1-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/86D1-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/86D1-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751522</Latitude>
  <Longitude>-74.005594</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/87EC" href="http://www.nyartbeat.com/event/2012/87EC">
  <Name>Susan Post &quot;Color Balance&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/1EC68E01">
    <Name>The Painting Center</Name>
    <Type>Cultural Center</Type>
    <Address>547 W 27th St., Suite 500, New York, NY 10001</Address>
    <Phone>212-343-1060</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street Station</Access>
    <Area areaId="chelsea_27">Chelsea 27th</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[Susan Post finds ways for paint to “behave”, in paintings where simultaneous contrast and ambiguous space create surfaces both flat and deep. The work in “Color Balance” derives from a single composition called Seven Lines – a 2008 pencil drawing of stripes of contrasting values set perpendicularly against a third value. In 2010 a fourth color arrived and in 2011 it stuck around, affording ample complexity for Post’s idiosyncratic study of the interactions of color and edge. The composition dictates that an equal amount of each color is distributed, so that any perceived imbalance is purely a function of the colors, their relative values, and the way that they butt up against one another. Each patch or strip of color in these paintings acts as part of two of the four distinct vertical or horizontal structural elements, and every part of the painting hovers between figure and ground.

In 2007 Susan Post earned her MFA from Massachusetts College of Art and Design, where she was a member of their inaugural class in residence at The Fine Arts Work Center in Provincetown. Post’s work has been featured on the cover of Carnegie Hall’s Playbill, and has shown at OK Harris Gallery and The Painting Center in New York City, and at the Woman’s Museum in Dallas. She has exhibited at the Barbara Krakow Gallery, The Kingston Gallery and Samson Projects in Boston, and is represented on Cape Cod by The Schoolhouse Gallery in Provincetown. Post lives and works outside Boston.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/87EC-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/87EC-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/87EC-170" width="170" />
  <Karma>2.86472</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-31</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750899</Latitude>
  <Longitude>-74.003599</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9EC8" href="http://www.nyartbeat.com/event/2012/9EC8">
  <Name>Carlyle Chaudruc &quot;Ecotone&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/3DFCE83B">
    <Name>Ceres Gallery</Name>
    <Type>Gallery</Type>
    <Address>547 W 27th St., Suite 201, New York, NY 10001</Address>
    <Phone>212-947-6100</Phone>
    <Fax>212-947-6100</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>thursdays closinghour 20:00</ScheduleDetails>
    <ScheduleNote>August 9-August 31, 2009   Gallery Closed for the summer break, to reopen September 1, 2009.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[This exhibit of contemporary nature painting and sculpture explores the zone where the forest meets the clearing.   Ecotone examines human shelter at the edge of the forest through imagery of tee pees, unpeeled logs, and abstracted leaves.  Paintings of old growth oaks pay homage to the trees felled in making homes for people on the margin of woods.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9EC8-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9EC8-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9EC8-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-31</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:30:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750694</Latitude>
  <Longitude>-74.003639</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/B3FC" href="http://www.nyartbeat.com/event/2012/B3FC">
  <Name>&quot;Bauer. Croxson. Lichty. Wood.&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/10FFBAD5">
    <Name>Foxy Production</Name>
    <Type>Gallery</Type>
    <Address>623 W 27th St., New York, NY 10001</Address>
    <Phone>212-239-2758</Phone>
    <Fax>212-239-2759</Fax>
    <Access>Between 11th and 12th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_27">Chelsea 27th</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>3D: Sculpture</Media>
  <Description><![CDATA[This group exhibition balances the elaborate, enigmatic paintings of Michael Bauer and Joel Croxson, with the hypnotic, streamlined sculptures of Stephen Lichty and Sarah E. Wood. With intriguing shapes and materials, and odd juxtapositions and references, the works defy, in varying ways, the empty signs of contemporary abstraction. Echoing, perhaps, the response of the New Realists to Abstract Expressionism, the artists here generate unexpected experiences for the viewer by inflecting abstraction with poetic and figurative notes.

Michael Bauer’s paintings display marks and icons, floating upon a flat field, that come together as spectral portraits whose roots may lay somewhere in Renaissance or Modernist portraiture. His paintings unleash an array of references that modulate from the unknown and nightmarish, to the recognizable and charming.

Joel Croxson’s meticulous, energized paintings mix patterning, lines, and shapes with fields of color. Conjuring almost, but not quite definable images and actions, they possess the visual logic of a dream: With no easily identifiable reason or direction, they make sense in the moment and then change course. Thwarting literal readings, they open doors to subjective spaces.

Stephen Lichty’s sculptures suspend familiar materials in exquisite, sculptural animation. He contours ribbons using armatures, creating relationships between elements that have a powerful and poetic sense of movement. Held in a fine balance between figure and ground, the works traverse the fault-line between representation and abstraction.

Sarah E. Woods’ elegant, sculptural constructions inject everyday materials with a stark and affective lyricism. Her wall-based work, Untitled (Broken Lines), made from wood, steel, and string, is reminiscent of a waterfall or, perhaps, the digital version of one. The theatricality of its simulated movement is matched by its pared-down gracefulness.

Michael Bauer (Erkelenz, Germany, 1973) lives and works in New York. He studied at the Foundation of BROTHERSLASHER, Cologne, with Tim Berresheim and at the Hochschule fur Bildende Kunst Braunschweig, Germany. Exhibitions include: Lisa Cooley, New York (solo)(upcoming 2012); Peter Kilchmann, Zurich (solo); Saatchi Gallery, London; Galerie Chez Valentin, Paris; Norma Mangione Gallery, Turin (solo); Villa Merkel, Esslingen am Neckar, Germany (solo)(all 2011); Linn Luhn, Cologne (two person); Marquis Dance Hall, Istanbul, Turkey (two person)(both 2010); Kunsthaus Baselland, Basel (solo); HOTEL, London (solo); Artleib, Dusseldorf, Germany (two person)(all 2009); Sammlung Südhausbau, Munich (2008); Lehmann Maupin, New York; Timothy Taylor Gallery, London, curated by Emma Dexter; Jack Hanley, San Francisco (solo); Kunstverein, Bonn, Germany (solo); Stadtische Galerie, Delmenhorst, Germany (solo)(all 2007); Städtische Galerie, Wolfsburg (2001); Kunstverein Braunschweig (2000); and Kunsthalle Recklinghausen (1999). His curatorial series The Keno Twins (1-5) was presented across Germany and Italy (2008-2011).

Joel Croxson (1978, Bristol, UK) lives and works in London. He holds a BFA from the University of the West of England, Bristol, and a Post-graduate Diploma Fine Art from the Royal Academy, London. Exhibitions include: Frieze Frame, Frieze Art Fair (solo)(2011); Rob Tufnell Gallery, London (solo)(2011); Dicksmith Gallery, London (solo)(2009); 319 Portobello Road, London; Atelierhaus Mengerzeile, Berlin (both 2007); Bristol City Crypt, Bristol; Three Colts Gallery, London; v22/On, Ashwin Street Gallery, London (all 2006); One in the Other, London (solo)(2005); Summer Exhibition, Royal Academy, London (2003); and Spike Island, Bristol (2001).

Stephen Lichty (Kansas City, MO, 1983) lives and works in Brooklyn, New York. He holds a BSc from the Department of Culture and Communications at NYU. Exhibitions include: Frutta, Rome (2012); The Barber Shop, Lisbon (2011); and School of Development, Berlin (2010). Performances include: Ribbon dance in a thunderstorm at sunset, Socrates Sculpture Park, New York (2011). Publications include: Special Effects, Advances in Neurology, re-release with Neil Marcus and Publication Studio (2011); and Alexander, Bell, Cooper, McCracken, Valentine (1971), re-release with Publication Studio (2010).

Sarah E. Wood (Beckley, WV, 1976) lives and works in Brooklyn, New York. She holds a BFA from The Maryland Institute, College of Art, and an MFA from Rutgers University. Exhibitions include: Grimm, Amsterdam; Francois Ghebaly Gallery, Los Angeles (both 2011); Kate Werble (solo)(2010); Carnegie Mellon University, Pittsburgh; PS122, New York (solo)(both 2008); and Art in General, New York (2004).]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B3FC-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B3FC-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B3FC-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751811</Latitude>
  <Longitude>-74.005769</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/BD37" href="http://www.nyartbeat.com/event/2012/BD37">
  <Name>&quot;African American Art from the Flomenhaft Collection&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/19A3A8B8">
    <Name>Flomenhaft</Name>
    <Type>Gallery</Type>
    <Address>547 W 27th St., Suite 308, New York, NY 10001</Address>
    <Phone>212-268-4952</Phone>
    <Fax>212-268-4953</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[The Black artists’ selections on view share neither an artistic program nor a similar background.  They are all of a different mettle.  All create with an unremitting creative force that issues from their Black heritage, their American heritage, political or societal influences or from a poetic instinct.  What is clear is that out of their shared heroic struggles have come some glorious art that feeds on life.  The Flomenhaft Gallery is proud to have collected works by wonderful Black artists and is pleased to make them available to the public.  In our exhibit are: Emma Amos, Benny Andrews, Romare Bearden, Beverly Buchanan, Jacob Lawrence, Faith Ringgold, Charles Lloyd Tucker, and Carrie Mae Weems.

Atlanta born artist, Emma Amos once said “For me, a black artist, to walk into the studio is a political act.”  She received her BFA at Antioch College studying fine arts and textile weaving.  She also worked as an illustrator for Sesame Street and as a textile designer for the very prestigious Dorothy Liebes.  She was the only female artist in the Spiral Group formed by Romare Bearden and his peers.  The Spiral group recently was celebrated in a superb show at the Studio Museum in Harlem.  Three of Emma’s works in our exhibit are: Let Me Off Uptown, Josephine and the Ostrich and Beauty. Her pastel painting Josephine and the Ostrich (1984) is a tribute to Josephine Baker, world famed American born French dancer, singer and actress who was carried through a boulevard in Budapest, sitting aloft her carriage and pulled by an ostrich.

Benny Andrews’  ink drawing from 1974, MacDowell Colony/Across the Water, was created 10 years after Congress gave President Lyndon Johnson the right to do whatever he deemed necessary to defend South East Asia.  Those ten years of bloodshed in Vietnam resulted in 50,000 American servicemen coming home in body bags, others coming home disabled, and American pilots and crews of downed aircrafts being taken to horrific prisons.  With terse linear forms, Andrews drew a mother standing at the edge of a cliff screaming perhaps for her son lying dead in a pool of blood across a deep chasm, a black cloud looming above.  It could just as well be a passionate depiction of any mother today bereft because of a son or daughter killed or maimed in Iraq or Afghanistan.

Romare Bearden was born in North Carolina in 1911 and grew up in Harlem.  His centennial is currently being celebrated in many museums and galleries.  His mother was actively engaged in social issues, and great black writers, musicians and politicians often visited their home.  He had a degree in education, but his first love was art.  He is arguably one of the great masters of the collage.  It is worth making a pilgrimage to our exhibit if only to see Up at Minton’s (1980) a collage with painted elements for which Bearden is renowned.  His work offers a microcosmic view of the jazz musician’s life during the Harlem Renaissance days, when after their gigs, they went to Minton’s and played their hearts out by the light of the moon.  It was the work chosen by the Bearden Foundation for a picture puzzle sold in many museums and for their 2005 engagement book cover.   Another work, Maternity/Ancestral Legend (1972), a watercolor and collage on board, is a metaphor for motherhood that freezes the images in our minds. When UNICEF was searching for the essence of a Black Madonna and Child for Christmas cards, at least 20 years ago, they asked to reproduce this one.  It is still used as one of their holiday images.

Beverly Buchanan’s shack architecture in paintings such as Ferry Road Shacks (1988), oil pastel on paper, and her sculptures are poetic works as rich in dignity as they are in complexity. They evoke the spectra of people, places and a culture that was fast disappearing in the byways of North and South Carolina, of people that could neither read nor write but raised children who became doctors, lawyers and all sorts of creative adults.  Each of her makeshift sculptures, created out of scavenged materials, she calls a “portrait,” an homage to people who may have lived in a shack, or for a friend she made along her trek.  Buchanan is also a poet and for a work in our exhibit Coming Home the Back Way, wood and mixed media, 1991, she wrote a poetic legend which will be on view.

Whereas we know Jacob Lawrence best by his socially conscious art, the ink drawing on view in this collection is a nostalgic work.  Done in 1961, it is entitled Chess on Broadway.  The preoccupation of chess players is so carefully depicted in his boldly distinctive style and the groupings orchestrated with the perfection of angular austerity, that it is hard to imagine any artist besting this work to communicate that time, place or involvement in the game.

Faith Ringgold is the quintessential story-teller and a remarkable artist.  Double Dutch on the Golden Gate Bridge (1988), which we are displaying, “is one of four quilts about being free to go and do whatever one can wish for.  In this case, she has drawn young Black girls in Harlem playing a favorite after-school street game.  Although Faith has transferred the game and the girls to the Golden Gate Bridge of San Francisco, of course it is Harlem in the background where Faith grew up.
 
Charles Lloyd Tucker was Bermuda’s first Black professionally trained artist and a dominant figure on the art scene during the 1950s and 1960s. In 1948 he went to London and studied at the Anglo-French Art Centre and then the Bryam Shaw School of Drawing and painting. He soaked up the culture of England and Europe, visiting art galleries always with sketchbook in hand and his talent was recognized early.  When he returned to Bermuda in 1953 he started teaching at the Berkeley Institute, and inspired a generation of artists.  Teaching provided him with the financial freedom to develop as an artist outside of the classroom. He was very fond of his mother, an elegant lady who loved to wear hats and probably inspired our painting, The Lady with the Hat (1960). The influence of his time spent in Europe is clear in this work.  There are remote echoes of Gauguin and Modigliani, artists he must have known from his student days.

Recently, several of Carrie Mae Weems works in our exhibit were borrowed by the Tate of Liverpool for an exhibit entitled “Color.”  On the subject of color, Weems says it all.  From the late 1988 to early 1990 Weems created a series entitled &quot;Colored People” which emphasized the range of skin color hidden behind the color “black.” The images portray the terms the African American community has used to create its own hierarchies by way of color.  We also include a four-part suite from her Sea Island Series of 1992. To create a new kind of historical and cultural chronicle, she visited the unique African American folk of the Gullah dialect who inhabit the Sea Islands of Georgia and South Carolina.  Our work evokes the superstitions of the Gullah people.  This is an important part of African American history because these people were cut off from the melting pot of the mainland and retained a purer version of original customs, language, games and song.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/BD37-30" width="30" />
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  <Karma>1.16936</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-03-03</DateEnd>
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  <DaysBeforeEnd>23</DaysBeforeEnd>
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 </Event>

 <Event xml:lang="en" id="2012/C1A2" href="http://www.nyartbeat.com/event/2012/C1A2">
  <Name>James Nares &quot;1976: Movies, Photographs and Related Works on Paper&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/D2A39B09">
    <Name>Paul Kasmin Gallery (515 W 27th)</Name>
    <Type>Gallery</Type>
    <Address>515 W. 27th St., New York, NY 10001</Address>
    <Phone>212-563-4474</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Film</Media>
  <Description><![CDATA[“Lower Manhattan in 1976 was a beautiful ruin. The crumbling wasteland proved fertile ground for artists though, nurturing the talent of a generation inspired by its vast emptiness.” James Nares

Paul Kasmin Gallery presents 1976: Movies, Photographs and Related Works on Paper, a new exhibition by James Nares. Before he was painting large, single movement brush strokes, Nares’s kinetic investigations took other forms and directions. His preoccupation with movement and bodies in motion was well provided for in what amounted to an enormous, open air, common studio. The post-industrial landscape became the backdrop, subject and the medium during his prolific early career.

The exhibition will feature five films including his 1976 Pendulum, which clocks a large spherical mass as it swings on a wire, strung up high from the footbridge, since dismantled, crossing Staple Street in downtown Manhattan. The exhibition will also feature a series of black and white chronophotographs that reveal the temporal structure of a pendulum’s swing, invisible to the naked eye, along with drawings, diagrams, objects, photos and other related material.

Of Nares’s films, Amy Taubin writes, “Pendulum, like several other of Nares's mid-'70s movies—Hand Notes #2 (1975) and Ramp, Steel Rod, and Poles (all 1976)—was influenced by the films Richard Serra made in the late '60s, primarily Hand Catching Lead (1968). Both films depict a single, repeated action involving the effect of gravity on a heavy metal object. But the comparison stops there. Pendulum has a haunted lyricism, which has nothing to do with Serra's interests. The film evokes an anxiety dream: The entropic movement of the groaning pendulum, the claustrophobic effect of the industrial buildings lining the site on three sides, the slivers of sunlight penetrating the dust-laden air, even the occasionally glimpsed shadow of the filmmaker, suggest that something terrible has taken or is about to take place on this desolate street.”]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C1A2-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C1A2-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C1A2-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-05" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
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 </Event>

 <Event xml:lang="en" id="2012/D0BD" href="http://www.nyartbeat.com/event/2012/D0BD">
  <Name>Santi Moix &quot;Santi Moix on Huckleberry Finn: Watercolors and Wall Drawings&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/7723074C">
    <Name>Paul Kasmin Gallery</Name>
    <Type>Gallery</Type>
    <Address>293 10th Ave., New York, NY 10001</Address>
    <Phone>212-563-4474</Phone>
    <Fax>212-563-4494</Fax>
    <Access>Between 26th and 27th St. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_27">Chelsea 27th</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[Three years after tackling themes and images from the quintessential work of Spanish satirical-heroism, Cervantes' Don Quixote, Santi Moix animates the ultimate allegory of American cultural-heroism, Mark Twain's Adventures of Huckleberry Finn. Moix's series of watercolors, collages, and wall-drawings transcribe the optimism, color, and vernacular panache of Twain's characters and prose. They also represent a witty confrontation between the artist and his adopted land; the works on exhibit are the quasi-autobiographical &quot;Adventures&quot; of Santi Moix. 

Just as Twain described antebellum Mississippi while writing from his home on the Connecticut coast, Moix uses his outsider status to gain perspective on America’s traditions and cultural history. Twain had to return to the Mississippi many years after he began composing &quot;Adventures&quot; in order to be able to conclude it. Similarly, Santi engaged with this archetypically American work after returning to New York from a few years' hiatus in Barcelona. 

Much as the Mississippi is Twain's La Mancha, the book's river is also a deeply-felt symbol for Moix's life and art—a flow of fissile and mutable identities, personal and national; an agent of tension between a fluvial nomadic life and the fixity of civilization. Through Huck and his “Adventures,” Santi Moix illustrates the insight central to all great artists and writers: that art is ever-young and never docile.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D0BD-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D0BD-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D0BD-170" width="170" />
  <Karma>2.68293</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-05" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750114</Latitude>
  <Longitude>-74.002425</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/E8E4" href="http://www.nyartbeat.com/event/2012/E8E4">
  <Name>Whiting Tennis Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/2F9BCE37">
    <Name>Derek Eller Gallery</Name>
    <Type>Gallery</Type>
    <Address>615 W 27th St., New York, NY 10001</Address>
    <Phone>212-206-6411</Phone>
    <Fax>212-206-6977</Fax>
    <Access>Between 11th and 12th Ave. Subway: C/E to 23rd Street or A/C/E to 34th Street</Access>
    <Area areaId="chelsea_27">Chelsea 27th</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>3D: Sculpture</Media>
  <Description><![CDATA[Derek Eller Gallery presents an exhibition of new work by Whiting Tennis. 

Whiting Tennis' assemblages communicate empathy for the worn and neglected, for the histories engrained in objects and structures. Beginning with free-hand geometric sketches, his paintings employ wood-block prints and collage to transmute human and animal figures into architectural forms. Sculptural works, created with utilitarian materials such as plywood and plaster, are similarly anthropomorphized.  Flesh becomes solid, impenetrable, doorless, windowless, shut tight to the world, while the surfaces, the skin, bear the patina of age and experience.  

Works such as Hybrid, Droopy, and Glum evoke both the masculine romanticism of lone figures in desolate landscapes and the endearing quality of the battered and vulnerable. Tennis' compositions contain a brooding solitude and an awkward geometry of clashing planes and collapsing depths. Meticulously cobbled together, the shifting planes and shuffling perspective nod to Cezanne, Schwitters, and Cubism--the giants of Modernity meet American made-in-the-shed familiarity. With dexterity and formal rigor, Tennis's assemblages employ workaday materials to generate a rustling, deeply human world.

Whiting Tennis lives and works in Seattle, Washington and has been included in numerous solo and group exhibitions throughout the United States. He recently had his first solo museum show at the Frances Young Tang Teaching Museum and Art Gallery at Skidmore College. This will be his fourth solo exhibition with the gallery.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/E8E4-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2012/E8E4-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-17</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-17" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751575</Latitude>
  <Longitude>-74.005528</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/EF50" href="http://www.nyartbeat.com/event/2012/EF50">
  <Name>&quot;Grey Full&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/E0C2A7B9">
    <Name>Jeff Bailey Gallery</Name>
    <Type>Gallery</Type>
    <Address>625 W 27th St., New York, NY 10001</Address>
    <Phone>212-989-0156</Phone>
    <Fax>212-989-0214</Fax>
    <Access>Between 11th and 12th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_27">Chelsea 27th</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>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Jeff Bailey Gallery opens the New Year with a large group show of drawings, paintings, sculpture, and photography, an exhibition poised and eager to explore the color Grey in all its moody ramifications. 

In a letter to his brother Theo, Van Gogh wrote that he had mixed 46 shades of grey that morning, just to get a feel for grey's chromatic range. Our own Jasper Johns has been a master of grey since the mid-fifties. Younger artists use grey constantly, whether as graphite, in drawing, or as a mixed color in painting. 

If black is at one extreme, and white the other, does everything that falls between qualify as grey? What makes one grey warm, another cool? Does charcoal belong to black, or is it really grey? Is photography's nostalgia for black and white really a claim for the color grey? What if that rainbow is a bruise on the sky, as Nellie McKay asks in a song? ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/EF50-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EF50-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EF50-170" width="170" />
  <Karma>1.46465</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-13" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
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  <Latitude>40.751828</Latitude>
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 </Event>

 <Event xml:lang="en" id="2012/FAF2" href="http://www.nyartbeat.com/event/2012/FAF2">
  <Name>Seong Kyung Hee Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/E12EC208">
    <Name>ArtGate Gallery</Name>
    <Type>Gallery</Type>
    <Address>520 W 27th St., #101, New York, NY 10001</Address>
    <Phone>646-455-0986-89</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave., Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/FAF2-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/FAF2-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/FAF2-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750414</Latitude>
  <Longitude>-74.003179</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/FC1A" href="http://www.nyartbeat.com/event/2012/FC1A">
  <Name>Howard Buchwald Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/AF00D4EA">
    <Name>Nancy Hoffman Gallery</Name>
    <Type>Gallery</Type>
    <Address>520 W 27th St., New York, New York 10001 </Address>
    <Phone>212-966-6676</Phone>
    <Fax>212-334-5078</Fax>
    <Access>Between 10th and 11th Aves. Subway: E/C to 23rd Street</Access>
    <Area areaId="chelsea_27">Chelsea 27th</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[Nancy Hoffman Gallery presents a show of recent works of Howard Buchwald.  This exhibition includes a wide range of work created during the past five and a half years since his last exhibition at this gallery.

From the beginning, Buchwald’s work has engaged the visual aspects of painting—ALL that is visible, as opposed to all other aspects (verbal or literary, etc.) that are “after the fact” and “interpretative”.  In his recent works, there is a new approach to scale, surface, color and organization of the painting’s structure, evoking a new range of emotional response for the viewer.

His earlier work was de-centered, dispersed as an over-all vista.  The conflict between internal shape and overall unitary surface (as a whole activated field or fabric) was central to these paintings and drawings.

In his new works, Buchwald employs shape differently—the challenge being to evade
the unwanted consequences and/or associations to a particular shape.  The appeal of a shape (or figuration) lies in its clarity and simplicity, tending to fix and pause the eye as it roams the larger field of the work.  It deflects an overall involvement, slowing down, blocking the rhythmic activity of the eye.

The artist has written:

“Painting is not in the service of some purpose, objective, image or idea residing outside, prior to, and independent of the specific work you see.  There is, in my work, no preconceived image, color scheme, composition or arrangement.  The process of invention, discovery and “working out” is part of the work’s meaning.  Painting, for me, is not an instrument of executing, through craft or otherwise, an idea or image.  There is no story, fable, myth or concatenation of material that needs translation and in any case is, if not irrelevant, always after the fact.  I understand the anxiety that direct looking and feeling still produce, it is just that the need to seek resemblances, analogies, or labels is an attempt to overcome this feeling by supplementing what is right there in front of one to be looked at, and is largely beside the point.  It is almost always unnecessary.”

Howard Buchwald was born in Brooklyn, New York in 1943.  He received a B.F.A.
from Cooper Union in 1964 and an M.A. from Hunter College in 1972.  He has been awarded grants from Creative Artists Program Services (CAPS); The Elizabeth Foundation for the Arts; Adolph and Esther Gottlieb Foundation; The Pollock-Krasner Foundation; a fellowship from John Simon Guggenheim Memorial Foundation; and was twice awarded a grant from the National Endowment for the Arts.

The artist’s work has been shown at Arkansas Arts Center, Little Rock; Art Museum, Princeton University, New Jersey; Charlotte and Philip Hanes Art Gallery, Wake Forest University, Winston-Salem, North Carolina; Contemporary Arts Museum, Houston, Texas; Danforth Museum of Art, Framingham, Massachusetts; Hudson River Museum, Yonkers, New York; Hunter College, New York; Lehman College Art Gallery, Bronx, New York; Los Angeles County Museum of Art, California; McNay Art Museum, San Antonio, Texas; Minneapolis Institute of Arts, Minnesota; New Jersey State Museum, Trenton; Philbrook Museum of Art, Tulsa, Oklahoma; University of Virginia Art Museum, Charlottesville, Virginia; and Whitney Museum of American Art, New York.

His work is included in the collections of William Benton Museum of Art, University of Connecticut, Storrs; The Butler Institute of American Art, Youngstown, Ohio; Evansville Museum of Arts, History and Science, Indiana; Flint Institute of Arts, Michigan; Gulbenkian Foundation; Lannan Foundation, Palm Beach; Mead Art Museum, Amherst College, Massachusetts; Miami-Dade Community College Art Gallery, Florida; Whitney Museum of American Art, New York; and Yale University Arts Library, New Haven, Connecticut.

Howard Buchwald resides in New York City.

[Image: Howard Buchwald &quot;Mapped (Large Red)&quot; (2010) acrylic on canvas, 84 x 90 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/FC1A-30" width="30" />
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
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  <Latitude>40.750414</Latitude>
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 </Event>

 <Event xml:lang="en" id="2012/FFCB" href="http://www.nyartbeat.com/event/2012/FFCB">
  <Name>Amee J. Pollack &amp; Laurie Spitz &quot;The Inheritance&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/3DFCE83B">
    <Name>Ceres Gallery</Name>
    <Type>Gallery</Type>
    <Address>547 W 27th St., Suite 201, New York, NY 10001</Address>
    <Phone>212-947-6100</Phone>
    <Fax>212-947-6100</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>thursdays closinghour 20:00</ScheduleDetails>
    <ScheduleNote>August 9-August 31, 2009   Gallery Closed for the summer break, to reopen September 1, 2009.</ScheduleNote>
  </Venue>
  <Media>2D: Prints</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[One-of-a-Kind Constructions and Artists' Books
Pushing the boundaries of what a book can be, we use bookboard as an armature to build constructions  in the form of furniture and household objects whose drawers, flaps and movables tell a new kind of women's history.  Mounted on the wall or freestanding, the structures join our pop-up and carousel books to offer a variety of formats and more than a little wry commentary hidden within.]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2012/FFCB-170" width="170" />
  <Karma>1.43236</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-31</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750694</Latitude>
  <Longitude>-74.003639</Longitude>
 </Event>

</Events>
