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<Events>
 <Event xml:lang="en" id="2010/2394" href="http://www.nyartbeat.com/event/2010/2394">
  <Name>Tristram Lansdowne &quot;Refuge&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/2456A56F">
    <Name>Joshua Liner Gallery</Name>
    <Type>Gallery</Type>
    <Address>548 West 28th St., 3rd Fl., New York, NY 10001 </Address>
    <Phone>212-244-7415 </Phone>
    <Fax>212-244-7416</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street</Access>
    <Area areaId="chelsea_28_above">Chelsea 28th - 33rd</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[Joshua Liner Gallery presents Refuge, an exhibition of new paintings in watercolor by the Canadian artist Tristram Lansdowne. Lansdowne’s paintings of architectural ruins focus on themes of permanence, decay, and function inherent in constructed environments. Depicted with the delicacy of Roman frescoes after millennia of wear, these palimpsests carry traces of past lives, such as weathered billboards, chipped paint, graffiti, political campaign posters, or electrical wiring. The lightness of Lansdowne’s watercolors imbues these glimpses into the ravages of time with a gentle patina. Yet there’s ambiguity in his approach. 
An idealistic view of the past is juxtaposed with the emotional vacancy of urban decay, a circumspect view of human progress in which outmoded architectural ideas mix with discarded pieces of the landscape. 

In this new suite of fifteen medium- to large-sized works on paper, Lansdowne depicts decrepit houses, buildings, and barns atop subterranean layers of disparate, sometimes unrelated material and mysterious cavities. These incongruous structures include Sub Comfort, a rickety house with TV and mattress in the basement. In The Bilder, a majestic old barn sits atop the skeletal frame of a wooden galleon. Brush Park situates a boarded-up and crumbling brick edifice above a subterranean cave with access to a body of water. Painted in cross-section like natural history specimens—each building and its lower regions isolated against a pristine field of white paper- these structures have the feel of old teeth, worn down with the rotting network of root, gum, and bone exposed. Their clinical beauty and uncanny combinations make their poignancy not only palatable but also strangely beguiling.
]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2010/2394-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-13</DateStart>
  <DateEnd>2010-03-13</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-02-13" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751297</Latitude>
  <Longitude>-74.003361</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/40BD" href="http://www.nyartbeat.com/event/2010/40BD">
  <Name>Bill Albertini &quot;Space Frame Redux&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/E5EAB56F">
    <Name>Martos Gallery</Name>
    <Type>Gallery</Type>
    <Address>540 W 29th St., New York, NY 10001</Address>
    <Phone>212-560-0670</Phone>
    <Fax>212-560-0671</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street Penn Station.</Access>
    <Area areaId="chelsea_28_above">Chelsea 28th - 33rd</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: Other</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Albertini will be showing two new series of works: a group of sculptures fabricated in ABS plastic using the &quot;fused deposition modeling&quot; process and also several wall mounted, digitally printed, paper collages. Both the sculptures and the collages are developed on the computer using 3D modeling programs.

As with previous work Albertini references art history filtered by personal memory. In both these new series he appropriates a long out of favor modernist device: the &quot;Space Frame&quot;, most notably employed by Giacometti and Bacon.

Albertini notes that, not coincidentally, the computer display or &quot;view port&quot; also functions as a space frame. This becomes apparent in the collages which are comprised of a series of multiple screenshots from the computer display and then recombined in a way that equates with the fractured, time lapse vision of Duchamp's &quot;Nude Descending the Staircase&quot; as well as his acknowledged photographic sources, the works of Etienne-Jules Marey and Eadweard Muybridge.

Bill Albertini, originally from Ireland, lives and works in New York. He has exhibited regularly in Europe and the United States, including: &quot;Mergers and Acquisitions&quot; at The Center for Contemporary Art in Atlanta, Georgia, and &quot;The End(s) of Photography&quot; at the McDonough Museum of Art. ]]></Description>
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-03-20</DateStart>
  <DateEnd>2010-04-24</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-03-20" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>44.9583333333</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751928</Latitude>
  <Longitude>-74.002611</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/4849" href="http://www.nyartbeat.com/event/2010/4849">
  <Name>Callum Innes &quot;At One Remove&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/EEDD4AC1">
    <Name>Sean Kelly Gallery</Name>
    <Type>Gallery</Type>
    <Address>528 W 29th St., New York, NY 10001</Address>
    <Phone>212-239-1181</Phone>
    <Fax>212-239-2467</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street or A/C/E to Penn Station 34th Street</Access>
    <Area areaId="chelsea_28_above">Chelsea 28th - 33rd</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>saturdays openinghour 10:00, saturdays closinghour 18:00</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Other</Media>
  <Description><![CDATA[Sean Kelly Gallery presents upcoming exhibition, At One Remove, an extraordinary body of new paintings and works on paper by Callum Innes. This is Innes's first show with the gallery for three years. 

Innes's new works represent a significant departure from his iconic &quot;Exposed Paintings&quot; and are an exciting development in his continuing investigation into the making and unmaking of abstract painting. Innes still methodically prepares the paintings' surfaces with size and gesso (as in the &quot;Exposed Paintings&quot;), yet in these new works, the picture plane is split vertically in half. Innes applies two separate colors across the entire surface and then rigorously removes the paint on one side. This process is repeated, leaving one half of the painting covered in layered, complex color whilst the other half of the painting is cleansed as much as possible back to the original gesso. Inevitably, the cleaned half retains a palimpsest of the colors that were absorbed into the gesso; as a result, the artist's palette exists outside of the realm of traditional painting and instead suggests a far more unique chromatic vocabulary.

The tactile quality of Innes's paintings continues in his new works on paper, a number of which will be included in the exhibition. In these works, the paint is applied to large sheets of waxed paper; as a single line, or multiple lines of color, is removed using a thinning medium, the contrast of the waxy, luminous nature of the support emerges. These works on paper represent some of the most sophisticated explorations of color that the artist has achieved in recent years, and create a sense of visual immediacy that act as a powerful counterpoint to the &quot;slow-burn&quot; complexity of the paintings on canvas.]]></Description>
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  <Karma>0.696476</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-05</DateStart>
  <DateEnd>2010-03-20</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="3" date="2010-02-04" start="18:00:00" end="20:00:00">Reception For The Artist</Party>
 <DaysBeforeEnd>9.95833333333</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751781</Latitude>
  <Longitude>-74.002267</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/8012" href="http://www.nyartbeat.com/event/2010/8012">
  <Name>Ryan Wallace &quot;GLEAN&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/20A51708">
    <Name>Morgan Lehman Gallery</Name>
    <Type>Gallery</Type>
    <Address>317 10th Ave., New York, NY 10001</Address>
    <Phone>212-268-6699</Phone>
    <Fax>212-268-6766</Fax>
    <Access>Between W 28th and W 29th Street. Subway: A/C/E to 34th Street or C/E to 23rd Street</Access>
    <Area areaId="chelsea_28_above">Chelsea 28th - 33rd</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[Morgan Lehman presents GLEAN, a solo exhibition of new works by Ryan Wallace. In his first exhibition with the gallery, Wallace continues his exploration of current trends and advancements in science, technology and consciousness. His research draws from books, websites, trade and mass media publications, industry reports, television and seminars. He uses this data and theories as starting points for his paintings and drawings, which act as visual solutions to his curiosity and meditations on these themes.

Much of the data mined for paintings like &quot;Quest (Higgs Boson) 1&quot; was culled from the European Organization for Nuclear Research (CERN) website, specifically charts and reports related to the Large Hadron Collider. This multi-billion dollar experiment has drawn much public attention and speculation. It has been called the greatest scientific gamble of all time as it searches to find the &quot;God Particle&quot;, reveal the scaffolding of the cosmos, explain the Big Bang, and threatens to engulf the universe. Frequent breakdowns of the machine have lead to recent theories that something from the future has gone back in time to sabotage it and other projects. Wallace finds a strong parallel to the hyperbole, fear, excitement and wonder surrounding the sciences and what it means to be a conscious person amongst broader personal concerns and desires in modern times.

Throughout his process, Wallace manipulates the inherent properties of paints, papers, plastics and tapes to affect the varied surface of his works. A precarious nature of final outcomes is embraced and exploited. While obsessively arranged, each work is an articulation of arbitrary marks and mildly controlled accidents. Material is gathered laboriously, bit-by-bit, found in intentional creations as well as haphazard residue and remnants from the studio. These bits are accumulated, mulled over, reworked and composed into entireties as a universal shape manifests, repeatedly revealing itself throughout the exhibition. Layers of Mylar are glued over entire surfaces. Mild relief beneath yields an atmosphere of subtle trapped air pockets creating a hazy visage. In other works the plane finds itself slashed and oozing. Opalescent powder is thrown at thickly applied polyvinyl acetate and jade adhesive, clumped and matte in areas simultaneously sparkling wildly in the light and shadow of others.]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2010/8012-170" width="170" />
  <Karma>2.05568</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-11</DateStart>
  <DateEnd>2010-03-20</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-02-11" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9.95833333333</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751028</Latitude>
  <Longitude>-74.001758</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/87EC" href="http://www.nyartbeat.com/event/2010/87EC">
  <Name>&quot;The Visible Vagina&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/C759D2E1">
    <Name>David Nolan Gallery</Name>
    <Type>Gallery</Type>
    <Address>527 W 29th St., New York, NY 10012</Address>
    <Phone>212-925-6190</Phone>
    <Fax>212-334-9139</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street, A/C/E to 34th Street</Access>
    <Area areaId="chelsea_28_above">Chelsea 28th - 33rd</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>saturdays openinghour 11:00</ScheduleDetails>
    <ScheduleNote>Monday by appointment only.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>2D: Prints</Media>
  <Description><![CDATA[In conjunction with Francis M. Naumann Fine Art, &quot;The Visible Vagina,&quot; the show is designed to make visible a portion of the female anatomy that is generally considered taboo―too private and intimate for public display. If shown at all, this part of a woman's body is usually presented in an abject fashion, generally within the context of pornography, intended, in almost all cases, for the exclusive pleasure of men. The goal of this exhibition is to remove these prurient connotations, implicit even in works of art, ever since the pudendum was prudishly covered by a fig leaf. This gesture of false modesty, it should be noted, was devised and enforced entirely by men (not only in the case of classical sculpture, but also in the Bible, in which, immediately after their disobedience in the Garden of Eden, Adam and Eve cover their genitalia with fig leaves). Indeed, until recently, men made virtually all depictions of the frontal nude female figure, but as this exhibition will demonstrate, that has changed dramatically in recent years. Inspiration for both the show and its catalogue came from Eve Ensler's &quot;The Vagina Monologues,&quot; a stage play that premiered off-Broadway in 1996, and was followed by various productions throughout the world (it appeared as a book in 1998). Ensler gave voice to countless women worldwide, honoring the complexity and mystery of their sexuality, basically encouraging them to consider their vaginas as powerful and expressive components of their physical selves, something not to be ashamed of, but to be proudly protected as an assertive and positive manifestation of their being. The idea for this show came from realizing that there was no better group to give vision to this goal than artists, many of whom had already incorporated imagery of the vagina in their works. Because of Ensler's pioneering work in this field, the catalogue is dedicated to her, and proceeds from its sale shall be donated to V-Day, the organization she founded to end violence against women and girls throughout the world.]]></Description>
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  <Karma>3.35733</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-01-28</DateStart>
  <DateEnd>2010-03-20</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-01-28" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9.95833333333</DaysBeforeEnd>
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  <Distance>0</Distance>
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  <Latitude>40.751972</Latitude>
  <Longitude>-74.002417</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/9539" href="http://www.nyartbeat.com/event/2010/9539">
  <Name>Konstantinos Stamatiou &quot;Refused Reused&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/9DF5DCE2">
    <Name>Black and White (Chelsea)</Name>
    <Type>Gallery</Type>
    <Address>636 W 28th St., New York, NY 10001</Address>
    <Phone>212-244-3007</Phone>
    <Fax>212-244-3312</Fax>
    <Access>Between 11th and 12th Ave. Subway: A/C/E to Penn Station 34th Street or C/E to 23rd Street</Access>
    <Area areaId="chelsea_28_above">Chelsea 28th - 33rd</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: Other</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[The exhibition is comprised of an installation, collages and light boxes created with non-traditional materials. Like a modern-day maze, each of the works draws us into a multilayered labyrinth of social issues and various forms of physical interaction between the work of art and its viewer.

In AIRBOX (2003-2006), Stamatiou creates a bunker-like monochromatic futuristic monument housing various domestic appliances and structures that come straight from the pages of science fiction. To recast these almost forgotten future-pasts, the artist uses unglamorous materials - semi-transparent industrial plastics, foam and paper to build the bunker and its content thus blurring the line between public and private, collective and individual where the past ideals of collective action led the forward march of history.

The CORPORATE CHARTS SERIES (2008 - 2009) examines themes of faltering economies and environmental deterioration. Stamatiou attacks the corporate mentality with an art of unconventional materials and style, focusing on charts as systems of classification. To recreate the stock price charts of two ‘penny stock’ companies producing alternative energy (BLVD) and biotechnology (PLSO), he builds elaborate collages with found objects of consumer waste – plastic water bottles, plastic drinking straws and electrical wires. In the light box titled CEO, Putting Pay For Performance First (analysis of 2006 compensation for top executives of major US corporations), he reuses glass from a broken window of a bank where he saw the original chart. Other works include ZINC, ATMOSPHERIC PRESSURE and WIND BURST light boxes (2009), each of which documents a different natural phenomenon revealing the artist’s interest in the relationship between chance and order and focus on the transformative powers of energy as well as on the possibilities and limitations of chance. ]]></Description>
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  <Karma>1.19746</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>16.9583333333</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.752333</Latitude>
  <Longitude>-74.005633</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/B8B6" href="http://www.nyartbeat.com/event/2010/B8B6">
  <Name>SUPERFLEX &quot;Flooded McDonald's&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/BBB4D093">
    <Name>Peter Blum Gallery (Chelsea)</Name>
    <Type>Gallery</Type>
    <Address>526 W 29th St., New York, NY 10001</Address>
    <Phone>212-244-6055</Phone>
    <Fax>212-244 6054</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street or A/C/E to Penn Station 34th Street</Access>
    <Area areaId="chelsea_28_above">Chelsea 28th - 33rd</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Summer Hours (July 8 - August 1): Monday - Friday, 10 am-6 pm. Closed August 2-25.</ScheduleNote>
  </Venue>
  <Media>Screen: Film</Media>
  <Description><![CDATA[SUPERFLEX is a Danish collective, founded in 1993 by Bjørnstjerne Christiansen, Jakob Fenger, and Rasmus Nielsen. The group has gained worldwide recognition for their projects that deal with such issues as financial and economic markets, democratic production conditions, self-organization, and environmentalism. SUPERFLEX bases their international projects on what they describe as “counter- economic strategies,” which aim to question power structures, agency and ownership by prodding at their limitations.

The exhibition Flooded McDonald’s comprises three of SUPERFLEX’s most recent film projects. In Flooded McDonald's (2009), the centerpiece of the show, a meticulously reconstructed true-to-life replica of the interior of a McDonald's restaurant gradually floods with water - no customers or staff are present. Slowly, the water level rises until eventually the space becomes completely submerged. The 21-minutes film is not a specific critique of McDonald’s or the workings of a multinational company, but instead examines the consequences of consumerism. While the film remains open to interpretation it touches on such issues as climate change and natural disasters.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/B8B6-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2010/B8B6-170" width="170" />
  <Karma>0.924744</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-01-22</DateStart>
  <DateEnd>2010-03-20</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-01-22" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9.95833333333</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
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  <Latitude>40.751758</Latitude>
  <Longitude>-74.002208</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/BFE8" href="http://www.nyartbeat.com/event/2010/BFE8">
  <Name>&quot;Ben Berlow  and Graham Caldwell&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/E5EAB56F">
    <Name>Martos Gallery</Name>
    <Type>Gallery</Type>
    <Address>540 W 29th St., New York, NY 10001</Address>
    <Phone>212-560-0670</Phone>
    <Fax>212-560-0671</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street Penn Station.</Access>
    <Area areaId="chelsea_28_above">Chelsea 28th - 33rd</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: Other</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Martos Gallery presents a two-person exhibition of works by Ben Berlow and Graham Caldwell, organized by Bob Nickas.

Ben Berlow's works on paper are mostly abstract meditations on the act of painting and drawing as a spontaneous event. His history as a writer of short prose and poetry links his visual art with the inscription of language, as if painting is a kind of automatic writing. Berlow works on found pieces of paper, including newspaper, exhibition announcements and the envelopes in which they were mailed, as well as on pages torn from old books. Gesture, chance, and accident are welcomed, and he, like a number of other artists working today — foremost among them Richard Aldrich, Xylor Jane, Chris Martin, and Josh Smith — can be thought of as an inside outsider, someone who is well-aware of contemporary art and art history and at the same time inhabits a world of his or her own making. Historical figures such as Blinky Palermo and Richard Tuttle also inevitably come to mind. The breadth of Berlow's visual repertoire encompasses Dada, Surrealism, Expressionism, lyrical abstraction, Minimal, and Tantric art. His work is almost always modest in scale, relating the paper to something held in the hand, something meant to be perceived in close proximity. He foreshortens the space between surface and viewer, an intimacy that is part of his subject matter as well. There is humor and pathos, elegance and irreverence, and a continuous will to misfit.

The work of Graham Caldwell, with craft as central to his endeavor, might also register as somehow inside and outside at the same time. His sculptural practice is based on hand-blown glass, and he produces works that often feature a constellation of elements, both large and small, with myriad associations — to science, science fiction, and worlds both natural and unnatural, molecular and menacing: stalactites, crystalline structures, teardrops, arteries, bulbs, globes, convex and concave mirrors, antlers, talons, claws. Although they are materially fragile, some of Caldwells' works appear dangerous, capable of drawing blood. They are both beautiful and gnarly, able to attract viewers and to keep them at a distance. If it's difficult to link Caldwell to other contemporary artists, or even to a history of artists employing mirrors and glass, it's precisely because his work doesn't immediately remind us of things we've seen before. Although his mirrored pieces have an affinity with the Narcissus Garden of Yayoi Kusama, and his glass sculpture with the work of Josiah McElheny, as they take perception elsewhere, positing a world that extends from the work and the body outwards, Caldwell's is a more fragmented world, one that can only be perceived discontinuously. In terms of what has come before, his work in glass — forensic, cool, and clear — seems utterly al ien and seductive.

[Image Left: Ben Berlow &quot;Untitled&quot; (2005) Burned card 8 ½ x 6 in., Image Right: Graham Caldwell &quot;Glimpse Mechanism&quot; (2010) Glass, Epoxy, Steel, Hardware 35 x 44 x 22 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/BFE8-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/BFE8-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/BFE8-170" width="170" />
  <Karma>1.36994</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-04</DateStart>
  <DateEnd>2010-03-13</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-02-04" start="18:00:00" end="20:00:00">Opening Reception</Party>
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 <Event xml:lang="en" id="2010/F082" href="http://www.nyartbeat.com/event/2010/F082">
  <Name>Tat Ito and Hiro Kurata &quot;From Kojiki to Modern Heroism&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/2456A56F">
    <Name>Joshua Liner Gallery</Name>
    <Type>Gallery</Type>
    <Address>548 West 28th St., 3rd Fl., New York, NY 10001 </Address>
    <Phone>212-244-7415 </Phone>
    <Fax>212-244-7416</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street</Access>
    <Area areaId="chelsea_28_above">Chelsea 28th - 33rd</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[Joshua Liner Gallery  presents From Kojiki to Modern Heroism, a two-person exhibition of new paintings by the New York-based Japanese artists Tat Ito and Hiro Kurata. As invoked by the exhibition’s title, the two artists draw from Japan’s earliest narratives to layer their thoroughly contemporary painting with a rich lexicon of visual and historical motifs. Tat Ito has created a unique pictorial style that combines high-color, graphic abstraction with echoes of Edo-era history painting. In his acrylic-on-canvas works, finely rendered scenes of court life, village squares, and columns of military figures are depicted from an elevated, detached perspective. Yet, jostling the picture plane forward and back are flat, decorative passages of Day-Glo grids, camouflage, and other graphic patterns. In the panoramic painting Kagutsuchi (“fire god” in ancient Japanese mythology), columns of orange-suited figures dodge explosions and atmospheric clouds of polka-dotted, Yayoi Kusama-style smoke. The artist describes this approach as “a metaphor for Japanese contemporary art and culture upon which the Western viewpoint is floating,” if not entirely mixing.
]]></Description>
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  <Karma>1.37018</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-13</DateStart>
  <DateEnd>2010-03-13</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-02-13" start="18:00:00" end="21:00:00">Opening Reception</Party>
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 <Event xml:lang="en" id="2010/F480" href="http://www.nyartbeat.com/event/2010/F480">
  <Name>&quot;Knock Knock: Who's There? That Joke Isn't Funny Anymore&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/6AF88F88">
    <Name>Fred Torres Collaborations</Name>
    <Type>Gallery</Type>
    <Address>527 W 29th St., New York, NY 10001</Address>
    <Phone>212-244-5074</Phone>
    <Fax>212-244-5075</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street, C/E to 23rd Street</Access>
    <Area areaId="chelsea_28_above">Chelsea 28th - 33rd</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[Humor in all of its forms, including social satire, wordplay, games and jokes, has been an underlying theme in art, throughout the 20th century. Dada's playfulness is the precursor of this thread, born as a response to the destruction wreaked on a global scale during WWI. KNOCK KNOCK explores how artists have drawn on this strategy, using humor as a hook to tackle more complex social, sexual, and political issues. The resulting historical exhibition, mounted over two venues, is superficially all farce, gaffs, puns and parody, and exposes the embedded tensions inherent in the work when the laughter dies down.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/F480-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/F480-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/F480-170" width="170" />
  <Karma>0.96128</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-24</DateStart>
  <DateEnd>2010-05-15</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-03-04" start="18:00:00" end="20:00:00">Opening Reception</Party>
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  <Latitude>40.751946</Latitude>
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 </Event>

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