<?xml version="1.0"?>
<Events>
 <Event xml:lang="en" id="2009/A104" href="http://www.nyartbeat.com/event/2009/A104">
  <Name>&quot;Chinatown Film Project: How Do You See Chinatown?&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/556D6C14">
    <Name>The Museum of Chinese in America</Name>
    <Type>Museum</Type>
    <Address>215 Centre St., New York, NY 10013</Address>
    <Phone>212-619-4785</Phone>
    <Fax>212-619-4720</Fax>
    <Access>Between Howard &amp; Grand Sts. Subway: N/R/Q/W/J/M/Z/6 to Canal Street.</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>thursdays closinghour 21:00, saturdays openinghour 10:00, sundays openinghour 10:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Film</Media>
  <Description><![CDATA[The Chinatown Film Project (CFP), MOCA's inaugural film exhibition features ten original short films by ten of New York's most exciting filmmakers. 

The Guy with the Cigarette directed by Miguel Arteta; Church Basement Bomb Shelter directed by Patty Chang; New York Night Scene directed by Jem Cohen; Kiwi Lotion directed by Cary Fukunaga; I Can’t Wait directed by So Yong Kim &amp; Bradley Rust Gray; Fortune Cookie directed by Amir Naderi; Chinatown: In Their Own Words directed by Sam Pollard; Five Lessons and Nine Questions directed by Shelly Silver; Sunday at 6 directed by Rose Troche; Tuesday directed by Wayne Wang &amp; Richard Wong with Lonely Alone, a special opening trailer directed by Richard Wong.

The Chinatown Film Project (CFP) tackles Chinatown's elusiveness and its stereotyped representations by constructing new images for the viewer.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2009/A104-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2009/A104-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2009/A104-170" width="170" />
  <Karma>1.79567</Karma>
  <Price free="0">Adults $7, Seniors and Students $4, Children under 12 in groups less than 8 and MOCA Members and on Thursdays Free. </Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote>On view this summer(2009) during Target Free Thursdays. Effective September 22, on view during regular museum hours. </ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.719194</Latitude>
  <Longitude>-73.999008</Longitude>
 </Event>

 <Event xml:lang="en" id="2009/B4FD" href="http://www.nyartbeat.com/event/2009/B4FD">
  <Name>&quot;With a Single Step: Stories in the Making of America&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/556D6C14">
    <Name>The Museum of Chinese in America</Name>
    <Type>Museum</Type>
    <Address>215 Centre St., New York, NY 10013</Address>
    <Phone>212-619-4785</Phone>
    <Fax>212-619-4720</Fax>
    <Access>Between Howard &amp; Grand Sts. Subway: N/R/Q/W/J/M/Z/6 to Canal Street.</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>thursdays closinghour 21:00, saturdays openinghour 10:00, sundays openinghour 10:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Architecture</Media>
  <Description><![CDATA[With a Single Step: Stories in the Making of America, MOCA’s new core exhibit, will bring to life the Museum’s unique historical content and birth a compelling art work by fusing itself with the architectural heart of its new home designed by Maya Lin on Centre Street.  Metaphorically and literally, this “heart” will ground visitors, and be the focal point of the “new MOCA experience.”  This presentation is an innovative approach to museum and exhibition design.  It will facilitate a new way of interacting with content: through the evocative use of space that stirs visitors’ emotion and breaks down barriers to deeper learning and understanding.

The core exhibition presents the diverse layers of the Chinese American experience while examining America’s journey as a nation of immigrants—from an historical overview of Chinese immigration to the United States, to the individual stories that reveal what it has meant to be Chinese in America at different moments in time, to the physical traces and images left behind by past generations for us to consider, reflect and reclaim.

A key element of the exhibition is its dialogue with Maya Lin’s architectural centerpiece – a sky lit courtyard at the heart of the museum. The exhibit wraps around and engages with the courtyard, which represents the idea of China – a collective origin, which for many after the first generation, becomes a constructed, rather than an actual, memory. Not unlike the rooms of a Chinese house, each section of the exhibit is connected to the courtyard via portals. Each one containing films of people narrating personal life stories, demonstrating how history is propelled by individual moments of decision-making in the face of circumstances larger than themselves. External walls dialogue with the inner, in order to provide the larger historical context for Chinese American struggles and achievements.

Thematically and chronologically, the exhibit reveals the complex layers of the Chinese American experience through six modules:

1) Go East! Go West!  examines how the flow and exchange of goods and people helped shape the formation of new identities, ideas, and perceptions of both Chinese and Americans during the 19th century.

2) America: Staking Claims explores the political climate in America leading up to the Chinese Exclusion Act, and its impact as the first federal law to restrict the immigration of a specific group based on nationality, defining in legal terms who could not “become American.”


3) Greetings from Chinatown shows how by the turn of the century, Chinatowns had sprung up in cities all across America forming an important economic and social network for Chinese Americans, as well as sites of cultural exchange in America’s urban centers.

4) Allies, Enemies? looks at how conflicts abroad dictated the fortunes of Chinese Americans at home.  While World War II brought about the eventual repeal of the Chinese Exclusion Act, China’s Communist revolution fueled Red Scare targeting of Chinese in America.

5) Seeds of Change presents the great shifts in Chinese American communities during the latter half of the 20th century. The landmark Immigration Reform of 1965 helped revitalize and diversify the Chinese population, and a second generation of Chinese Americans came of age in a time of cultural activism and community organizing.

6) Made in America!? explores how globalization has transformed American culture as much as the circulation of American culture has influenced peoples and nations outside the U.S., and while globalization promotes new and complex versions of national identity, it also creates conditions for expressions of ethnicity and identity politics.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2009/B4FD-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2009/B4FD-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2009/B4FD-170" width="170" />
  <Karma>1.19178</Karma>
  <Price free="0">Adults $7, Seniors and Students $4, Children under 12 in groups less than 8 and MOCA Members and on Thursdays Free. </Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.719194</Latitude>
  <Longitude>-73.999008</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/09CD" href="http://www.nyartbeat.com/event/2011/09CD">
  <Name>Lee Mingwei &quot;The Travelers and The Quartet Project&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/556D6C14">
    <Name>The Museum of Chinese in America</Name>
    <Type>Museum</Type>
    <Address>215 Centre St., New York, NY 10013</Address>
    <Phone>212-619-4785</Phone>
    <Fax>212-619-4720</Fax>
    <Access>Between Howard &amp; Grand Sts. Subway: N/R/Q/W/J/M/Z/6 to Canal Street.</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>thursdays closinghour 21:00, saturdays openinghour 10:00, sundays openinghour 10:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[For over a decade, Taiwan born American artist Lee Mingwei has been at the forefront of an artistic impulse that has gained traction in recent years: participatory art. This fall, MOCA presents a solo exhibition of Lee, including two of his participation-based projects, The Travelers, a MOCA commission, and The Quartet Project.

The Travelers began in 2010 when Lee and MOCA released 100 artist-designed notebooks to family, friends and acquaintances, inviting each recipient to write his or her own stories of “leaving home”. Once finished, the participant was asked to pass it on like a chain letter. The last person to write in the book will send it back to MOCA by September 12, 2011, after a year of travelling. All books that make their way back to the museum will become part of an installation in Lee’s exhibition.

The Quartet Project, an interactive sound installation also invites participation and revolves around the experience of displaced people. Each of the four parts of Antoine Dvorak's American String Quartet is recited on one of the four monitors in a darkened gallery. Viewers’ movements dictate in real time how the piece is orchestrated, activating or muting parts of the music depending on their distance from the monitors.

Both pieces in the exhibition emphasize Lee’s artistic practice which is grounded in generosity, the elevation of everyday activities, and the exploration of human interactions.


Related Events:

Discussion with Lee Mingwei and Eugenie Tsai, moderated by Herb Tam
Thursday, October 27, 6:30pm

Brooklyn Museum curator Eugenie Tsai and artist Lee Mingwei talk about conceptual art practices, generosity, and how experiences of being Chinese shape artistic and curatorial work. Lee Mingwei’s Moving Garden is being presented at the Brooklyn Museum from October 5, 2011 to January 22, 2012.

Family Workshop: Finding Home
Saturday, November 12, 2011 &amp; Saturday, Feb 11, 2012, 1:30pm -2:30pm
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/09CD-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/09CD-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/09CD-170" width="170" />
  <Karma>0.412257</Karma>
  <Price free="0">Adults $7, Seniors and Students $4, Children under 12 in groups less than 8 and MOCA Members and on Thursdays Free. </Price>
  <DateStart>2011-10-20</DateStart>
  <DateEnd>2012-03-26</DateEnd>
  <ScheduleNote>See description</ScheduleNote>
 <Party type="1" date="2011-10-20" start="19:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>46</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.719194</Latitude>
  <Longitude>-73.999008</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/1796" href="http://www.nyartbeat.com/event/2011/1796">
  <Name>&quot;Small Spirits: Dolls from the National Museum of the American Indian&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/85B7E2A7">
    <Name>The National Museum of the American Indian (George Gustav Heye Center)</Name>
    <Type>Museum</Type>
    <Address>1 Bowling Green, New York, NY 10004</Address>
    <Phone>212-514-3700</Phone>
    <Fax></Fax>
    <Access>Adjacent to NE corner of Battery Park. Subway: 4/5 to Bowling Green, 1 to South Ferry, R/W to Whitehall Street, M/J/Z to Broad Street.</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>thursdays closinghour 20:00</ScheduleDetails>
    <ScheduleNote>Closed on December 25. The Museum Stores are open every day from 10 am to 5 pm.</ScheduleNote>
  </Venue>
  <Media>3D: Crafts</Media>
  <Description><![CDATA[Over 90 dolls from throughout the Western hemisphere, most from the 19th century through the present day, reflect different communities and traditions of Native peoples. Included are dolls dressed in everyday Cherokee clothing of the 1930s, made by Berdina and Richard G. Crowe (Eastern Band of Cherokee); a ceramic storyteller doll by Helen Cordero (Cochiti Pueblo), a form invented by the artist that is widely continued today; and a wooden doll by noted carver Frank Allabush (Makah). Also included are the traditional &quot;no-face&quot; cornhusk doll of the Haudenosaunee (Iroquois) cultures, Seminole dolls in brightly colored patchwork clothing and elaborate Plains dolls in traditional regalia.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/1796-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/1796-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/1796-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-03-05</DateStart>
  <DateEnd>2012-07-19</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>161</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.704489</Latitude>
  <Longitude>-74.014136</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/2E16" href="http://www.nyartbeat.com/event/2011/2E16">
  <Name>Textile Study Group of New York &quot;Crossing Lines: Thae Many Faces of Fiber&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/C7C98F22">
    <Name>World Financial Center( Courtyard Gallery and Winter Garden )</Name>
    <Type>Event Space</Type>
    <Address>220 Vesey St., New York, NY 10280</Address>
    <Phone>212-945-2600</Phone>
    <Fax></Fax>
    <Access>Between N End Ave. and West Side Hwy. Subway: 1/2/3 to Chamber Street or E to World Trade Center</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>09:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Winter Garden opens 7 am - 11 pm.</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Fashion</Media>
  <Description><![CDATA[A quilted collage of street signs. Abstract art composed of sewing-machine stitches. Towering masks made of threads.
 
These are just a few of the wildly inventive, eye-catching artworks showcased in &quot;Crossing Lines: The Many Faces of Fiber,&quot; a free exhibit of contemporary fiber art at the World Financial Center Courtyard Gallery from December 6th through February 19th.
 
Presented by Arts World Financial Center, the exhibit will feature a dazzling array of woven sculptures, quilted collages, abstract embroidery, and more by members of the Textile Study Group of New York (TSGNY), a not-for-profit corporation dedicated to promoting a wider appreciation of fiber art.
 
The exhibit celebrates TSGNY's 35th anniversary with more than 50 artworks demonstrating the power and versatility of fiber art. The organization's member artists transform thread, yarn, and fabric into eye-popping creations that offer an imaginative approach to embroidery, dyeing, feltwork, knitting, crochet, knotting, lacemaking, quilting, spinning, weaving, and more.
 
&quot;Crossing Lines invites audiences to take something as familiar as fabric and appreciate it in a stunningly beautiful new light,&quot; said Debra Simon, artistic director of Arts World Financial Center. &quot;The Textile Study Group of New York has spent thirty-five years inspiring artists to explore the infinite creative potential of fiber and textiles, and we're thrilled to be presenting this sweeping exhibition of their members' exquisite and wildly imaginative work.&quot;
 
Curated by Rebecca A.T. Stevens, author and Consulting Curator of Contemporary Textiles at the Textile Museum in Washington, DC, the wildly diverse collection includes works both large and small, two- and three-dimensional, traditional and experimental.
 
“We at the Textile Study Group of New York are delighted to be working with Arts World Financial Center to present this landmark exhibition of our members’ works to celebrate our 35th anniversary,” said Nancy Koenigsberg, Founder and President Emeritus of the Textile Study Group of New York.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/2E16-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/2E16-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/2E16-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-12-06</DateStart>
  <DateEnd>2012-02-19</DateEnd>
  <ScheduleNote>Tuesday–Sunday, 12–4pm at WFC Courtyard Gallery, closed December 24, 25, 31, 2011 &amp; January 1, 2012</ScheduleNote>
  <DaysBeforeEnd>10</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.714083</Latitude>
  <Longitude>-74.014278</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/9D45" href="http://www.nyartbeat.com/event/2011/9D45">
  <Name>Lee Mingwei &quot;The Travelers&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/556D6C14">
    <Name>The Museum of Chinese in America</Name>
    <Type>Museum</Type>
    <Address>215 Centre St., New York, NY 10013</Address>
    <Phone>212-619-4785</Phone>
    <Fax>212-619-4720</Fax>
    <Access>Between Howard &amp; Grand Sts. Subway: N/R/Q/W/J/M/Z/6 to Canal Street.</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>thursdays closinghour 21:00, saturdays openinghour 10:00, sundays openinghour 10:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[On the day of the Chinese Moon Festival, September 22, 2010, MOCA launched Lee Mingwei’s artist project, The Travelers. Lee custom-made 100 blank notebooks for the project. Released into the world from MOCA, the books will travel around the world for one year. The books are passed from person to person like a chain letter, with each participant adding a personal story about “leaving home” at some point in their lives. Did they have a call to adventure? Did they leave willingly? Did they overcome setbacks? Did they ever return home? Each book becomes a “Traveler” in the project, who leaves the MOCA “home village” to embark on a long journey.

The project was commissioned by MOCA to launch on the first anniversary of its new home at 215 Centre Street, designed by Maya Lin. Inspired by the museum’s mission to document the epic journey of Chinese to America, and the ongoing journeys we make as Americans, the project was envisioned to actively engage the public in the spirit of MOCA’s approach over the past 30 years as a “dialogic museum”.

Participants are asked to send the books back to MOCA by the next Moon Festival, on September 12, 2011. The books that make it back to the museum, each transformed by their individual journeys, will be displayed in an evocative installation by Lee Mingwei, with all the accumulated stories accessible for visitors to read. How many Travelers return home? What kinds of stories will they be filled with on their return?

A companion website to the project (http://traveler.mocanyc.org) tracks all the books as they travel around the world. Project participants are asked to upload the current geographical location of the books, and 5 images that illustrate the story they’ve written in the book.

About the Artist:
Born in Taiwan and currently living in New York City, Lee Mingwei creates both participatory installations, where strangers can explore issues of trust, intimacy, and self-awareness on their own, and one-on-one events, where visitors explore these issues with the artist himself through eating, sleeping, walking and conversation. Lee’s projects are often open-ended scenarios for everyday interaction, and take on different forms depending on the participants. Time is central to this process, as Lee’s installations often change during the course of an exhibition.


]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/9D45-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/9D45-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/9D45-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Adults $7, Seniors and Students $4, Children under 12 in groups less than 8 and MOCA Members and on Thursdays Free. </Price>
  <DateStart>2011-10-20</DateStart>
  <DateEnd>2012-03-26</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>46</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.719194</Latitude>
  <Longitude>-73.999008</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/B63A" href="http://www.nyartbeat.com/event/2011/B63A">
  <Name>&quot;Time Exposures: Picturing a History of Isleta Pueblo in the 19th Century&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/85B7E2A7">
    <Name>The National Museum of the American Indian (George Gustav Heye Center)</Name>
    <Type>Museum</Type>
    <Address>1 Bowling Green, New York, NY 10004</Address>
    <Phone>212-514-3700</Phone>
    <Fax></Fax>
    <Access>Adjacent to NE corner of Battery Park. Subway: 4/5 to Bowling Green, 1 to South Ferry, R/W to Whitehall Street, M/J/Z to Broad Street.</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>thursdays closinghour 20:00</ScheduleDetails>
    <ScheduleNote>Closed on December 25. The Museum Stores are open every day from 10 am to 5 pm.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[The rapid changes forced on the Native American peoples of the American southwest are documented in “Time Exposures: Picturing a History of Isleta Pueblo in the 19th Century.” With more than 80 images and objects that detail life on the Isleta Pueblo Reservation after the arrival of the railroads in 1881. 

In 1881, the railroad companies forcibly took land in the center of Isleta Pueblo in the Rio Grande Valley and the rail lines built there brought scores of tourists. Prominent non-Native artists and photographers, such as Edward Curtis and Ben Wittick, traveled there to capture everyday Pueblo life. Organized by the people of Isleta Pueblo, “Time Exposures” portrays their lives before the arrival of tourists and other visitors, the changes imposed over the following decades and the ways in which the people of Isleta Pueblo worked to preserve their way of life.

“Time Exposures” is divided into three parts. In the first section, the cycle of the Isleta traditional year as it was observed in the mid-19th century is detailed. The second section describes the arrival of the Americans and the how this disrupted the Isleta way of living. In the third section, the exhibit examines the photos themselves as products of an outside culture. While exploring the underlying ideas and values of the photos, the exhibition questions their portrayal of Isleta people and ways. “In this exhibition, Native people respond to the stereotypical images of their lives that have been circulated by outsiders for centuries,” said Kevin Gover (Pawnee), director of the museum. “It is an opportunity for us all to learn the realities behind some of these popular and enduring photographs.”]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/B63A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/B63A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/B63A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-09-17</DateStart>
  <DateEnd>2012-06-10</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>122</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.704489</Latitude>
  <Longitude>-74.014136</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/01A9" href="http://www.nyartbeat.com/event/2012/01A9">
  <Name>&quot;Winners of Soho Photo's 2012  Small Works National Competition&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/39ECC723">
    <Name>Soho Photo Gallery</Name>
    <Type>Gallery</Type>
    <Address>15 White St., New York, NY 10013</Address>
    <Phone>212-226-8571</Phone>
    <Fax></Fax>
    <Access>Between W Broadway and Church St. Subway: 1 to Franklin Street</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>13:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Soho Photo Gallery presents the winners of its second Small Works National Competition, as chosen by our distinguished juror, Karen Marks, Exhibitions Director of The Howard Greenberg Gallery in New York City. We initiated this competition to recognize those photographers who still enjoy the discipline of creating small masterpieces in an era when large photographs-very large-are in vogue. The competition's rules stated that the height and width of entries could not exceed six inches in each direction. After viewing more than 600 images submitted by 94 photographers from across the country, Karen Marks said:   
 
The jurying process for this show was not easy because there were so many wonderful images. It was very hard to choose among them. Usually, being quite decisive, I know what kind of work moves me. But I was surprisingly affected by some of these entries that are different from the ones I would ordinarily select. These artists have shown me that even when I think I know what I like, I can find something new.  
 
Marks chose 141 images from 61 photographers to be in the Small Works exhibition.   ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/01A9-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/01A9-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/01A9-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-08</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote>Aperture Foundation's The Art of Small Books (Guest exhibition) </ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.719131</Latitude>
  <Longitude>-74.005481</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/11A4" href="http://www.nyartbeat.com/event/2012/11A4">
  <Name>&quot;Alchemy&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/97F50849">
    <Name>7 Eleven Gallery</Name>
    <Type>Gallery</Type>
    <Address>711 Washington Street, New York, NY 10014 </Address>
    <Phone>646-649-4177</Phone>
    <Fax></Fax>
    <Access>Between 11th St. and Perry St. Subway: 1/2 to Christopher Street.</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</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>fridays openinghour 11:00, saturdays openinghour 11:00, fridays closinghour 20:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[7Eleven Gallery presents “Alchemy”, a group exhibition, running from January 12th – February 18th at 711 Washington Street in the West Village. The exhibition features artists Thomas Beale, Lucas Blalock, Nick Doyle, Adam Fuss, GAINES, Elissa Goldstone, Eve Andrée Laramée, Eva Lewitt, Dylan Lynch, Thomas McDonell, Casey Neistat, Lesley Raeside, Jason Reppert, Alex Rickard, Keith Sonnier, Michael St. John, William Stone and Rob Wynne.
The most common definition of alchemy is the process of turning base metals into gold. Over the years it has also been interpreted, metaphorically, as the transmutation of materials into a higher form; scientifically, as a study of compounds and matter; religiously and mystically, as the union of man and the divine for the goal of achieving a level of perfect balance on a quest for the greater refinement of self.
 
These interpretations were the inspiration behind the work of the eighteen artists featured in 7Eleven Galleryʼs “Alchemy.” The making of art is alchemy. Artists have the ability to transmute ordinary objects into extraordinary works, giving new meaning to their previous purpose. The artists featured in this exhibition seized this power.
 
Many of the works directly reference alchemy, while others imply it. Some deal with elements found in nature and their transformation into art; others use science to create natural forms, such as light. Materials found in everyday life are distorted into various structures, which transcend their original significance. Nature, science, mysticism and the altering of common items give a sense of enchantment and wonder to the overall exhibition.
 
This exhibition was curated by Sabrina Blaichman, Caroline Copley and Genevieve Hudson- Price. 7Eleven is a nomadic art gallery first opened in the Summer of 2008 in the West Village. After two group shows in a warehouse in Chelsea, including 2010ʼs “Make Yourself At Home” featuring seventy-six artists, the gallery has found its way back to the West Village. 7Eleven is dedicated to showcasing the work of young and emerging artists as well as the more established of the art world.
 ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/11A4-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/11A4-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/11A4-170" 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="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.735119</Latitude>
  <Longitude>-74.008217</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/11CB" href="http://www.nyartbeat.com/event/2012/11CB">
  <Name>Katrin Sigurdardottir &quot;Stage&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/53EAC23D">
    <Name>Art in General</Name>
    <Type>Cultural Center</Type>
    <Address>79 Walker St., New York, NY 10013</Address>
    <Phone>212-219-0473</Phone>
    <Fax>212-219-0511</Fax>
    <Access>Between Broadway and Lafayette St.. Subway: 6/N/Q/R/W/J/M/Z to Canal Street</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</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></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Art in General presents Katrin Siggurdardottir’s Stage, a New Commissions installation in the storefront Project Space.

A miniature theater hangs from the ceiling of an empty, unlit storefront space. A single spotlight illuminates the theater’s stage, casting wild shadows that permeate the space and break through onto the street. The stage hangs precariously, a suspended moment of tension irradiating from within. As the day unfolds and the sun sets, the shadows grow stronger, marking time with their formidable presence. Though lit the stage is empty, the theatrics of such architecture being transposed to the shadow play within the space.

Real and imagined, miniature yet enormous, Katrin Sigurdardóttir’s site-specific installation, Stage, pushes beyond the physical boundaries of the storefront, compelling an immediate, direct, and intimate encounter for the passer-by. Emphasizing the relationship between inside-outside and passage-enclosure, Stage causes viewers to rethink their own perception of space, assuming an unexpected mise-en-scène that blurs what “is”, and what is imagined.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/11CB-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/11CB-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/11CB-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-28</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-28" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.718186</Latitude>
  <Longitude>-74.001742</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/1562" href="http://www.nyartbeat.com/event/2012/1562">
  <Name>&quot;IndiVisible: African-Native American Lives in the Americas&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/85B7E2A7">
    <Name>The National Museum of the American Indian (George Gustav Heye Center)</Name>
    <Type>Museum</Type>
    <Address>1 Bowling Green, New York, NY 10004</Address>
    <Phone>212-514-3700</Phone>
    <Fax></Fax>
    <Access>Adjacent to NE corner of Battery Park. Subway: 4/5 to Bowling Green, 1 to South Ferry, R/W to Whitehall Street, M/J/Z to Broad Street.</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>thursdays closinghour 20:00</ScheduleDetails>
    <ScheduleNote>Closed on December 25. The Museum Stores are open every day from 10 am to 5 pm.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>2D: Other</Media>
  <Description><![CDATA[This 20-panel banner exhibition focuses on the interactions between African American and Native American people, especially those of blended heritage. It also sheds light on the dynamics of race, community, culture, and creativity, and addresses the human desires of being and belonging. With compelling text and powerful graphics, IndiVisible includes accounts of cultural integration and diffusion as well as the struggle to define and preserve identity. Stories are set within the context of a larger society that, for centuries, has viewed people through the prism of race brought to the Western Hemisphere by European settlers.

By combining the voices of the living with those of their ancestors, IndiVisible provides an extraordinary opportunity to understand the history and contemporary perspectives of people of African and Native American descent. The exhibition is accompanied by a 160-page publication and 10-minute media piece.

Developed by the Smithsonian's National Museum of the American Indian with the Smithsonian's National Museum of African American History and Culture. Organized for travel by the Smithsonian Institution Traveling Exhibition Service.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/1562-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1562-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1562-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-08-31</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>204</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.704489</Latitude>
  <Longitude>-74.014136</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/16F7" href="http://www.nyartbeat.com/event/2012/16F7">
  <Name>&quot;Artists' Book Not Artists' Book&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/BA8EED7D">
    <Name>Boo-Hooray</Name>
    <Type>Gallery</Type>
    <Address>265 Canal St., #601, New York, NY 10013</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between Broadway and Lafayette St. Subway: 6/N/R/Q/W to Canal Street.</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Prints</Media>
  <Description><![CDATA[An exhibition featuring books that are, and/or, are not, artists’ books. Co-curated by Johan Kugelberg and Jeremy Sanders.

ARTISTS’ BOOK NOT ARTISTS’ BOOK Includes work by Chris Burden, Ira Cohen, Richard Meltzer, John Baldessari, Seth Price, Michelangelo Pistoletto, Richard Hell, Tina Lhotsky, Sue Williams, Tom Sachs, Richard Prince, William Gibson, David Wojnarowicz, Dara Birnbaum, Jim Shaw, Ed Ruscha, Sean Landers, and others (not to mention, Various, Anonymous, and Unknown). Publication forthcoming.

Please accept the assurance of our highest appreciation in choosing to attend this exhibition, co-curated by 6 Decades’ Jeremy Sanders and myself on behalf of Boo-Hooray. Jeremy as most of you know is a noted enthusiast, expert and dealer of artists’ books. His previous publications in the field have been splendid yardsticks of scholarly merit. Myself, I am a caffeinated perpetuum mobile of dilettantism in the field, so hey, a natural collabo is in place.

He has curated the artists’ books in this show, and I’ve curated the not artists’ books. But alas! Sometimes I’ve curated ‘artists’ books,’ and sometimes Jeremy has curated ‘not artists’ books.’ Presto chango!

“How does one tell the difference?” the curator asks the curator.

We’ll naturally have to ask a bona-fide art expert to provide all the answers. At great expense, 6 Decades and Boo-Hooray have hired a famous international expert of great dignity and renown who will peruse our exhibit* and provide us with the correct answers as per what constitutes an artists’ book and what constitutes a not.

The egalitarian component of all this demands that a kindly gallery representative will provide you a card with little boxes where you can check either ‘artists’ book’ or ‘not-artists’ book.’ The same representative will gather your card upon completion and compare it to the resolve provided us by the Certified Art Expert. Anyone who completes the card correctly gets a Dollar, so do provide your name and address!]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/16F7-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/16F7-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/16F7-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-18</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-18" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.718819</Latitude>
  <Longitude>-74.001052</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/24FF" href="http://www.nyartbeat.com/event/2012/24FF">
  <Name>&quot;Cheat Chains and Telephone&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/B61547DB">
    <Name>Kansas</Name>
    <Type>Gallery</Type>
    <Address>59 Franklin St., New York, NY 10013</Address>
    <Phone>646-559-1423</Phone>
    <Fax></Fax>
    <Access>Between Broadway and Lafayette St. Subway: 6/N/R/Q/W to Canal Street.</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</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></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[KANSAS presents Cheat Chains and Telephone, a group exhibition featuring new works by Fabienne Lasserre, Elisa Lendvay, John Newman and B. Wurtz.
 
By obscuring material hierarchy and challenging the codification of an art object, the artists in Cheat Chains and Telephone expose the pluralism of sculptural assemblage. Together, these works enumerate a spectrum of approaches to parallel concerns: collection, found objects, the currency of labor, economics of material content and the general multiplication of visual assemblage.  
 
Fabienne Lasserre's practice involves the use of pliable materials such as linen, wood, handmade felt and paint, and the work represents what the artist calls an &quot;excluded middle&quot; - the part that is left out when things are named or divided into categories. To achieve this hybridity, Lasserre stretches and elongates forms, arriving at shapes and volumes through pressure and touch that evoke the language of furniture, playground equipment and commercial signage, among others. Reflecting the artist's interest in science fiction and mythology, these works take on the shape and stance of a familiar yet ethereal form.
 
Elisa Lendvay's work absorbs ideas about the underlying poetics of natural phenomena, and combines with formal considerations about art making to create a byproduct of what she terms &quot;colliding forces.&quot; She depicts this force or surge in her work as dispersal - each of the works seem to simultaneously come together and break apart. Studio detritus and found objects are cohered into composed sculptures based on their formal attributes and their allegorical imperatives.
 
John Newman's tabletop sculptures are involved with a rich vernacular of materials and components, both found and fabricated, that obscure the categories to which each belongs. Newman's inexhaustible and ever changing list of materials - bronze, wicker, stone, paper, glass, fabric to name a few - are meticulously and laboriously composed. Impossible couplings of material, shape, color and techniques pile up and offer a dizzying constellation of effects both specific and otherworldly. Forms are imbued with a language connected to a cultural world of object specificity including votive and historical relics and the belongings of a &quot;wunderkammer&quot; - a strange intersection of oddity, craft and artifact.
 
Since the early 70's, B. Wurtz has limited his involvement with found materials to three fundamental categories: Food, Clothing and Shelter. With a lightness of touch, Wurtz adopts and fashions those qualifying items in a manner that suggests other familiar forms while preserving and emphasizing the utilitarian origin of the found object. The artist transforms plastic bags, shoelaces, wood, yogurt tops, buttons and other orphaned scraps into lowly but charming sculptural objects and wall hanging compositions in an effort that's part &quot;green&quot; and part fetishistic.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/24FF-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/24FF-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/24FF-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-14</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-14" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.717086</Latitude>
  <Longitude>-74.002854</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/2597" href="http://www.nyartbeat.com/event/2012/2597">
  <Name>&quot;Unspecified Urban Site&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/D8FB030C">
    <Name>RH Gallery</Name>
    <Type>Gallery</Type>
    <Address>137 Duane St., New York, NY 10013</Address>
    <Phone>646-703-4473</Phone>
    <Fax>646-349-3459</Fax>
    <Access>Between West Broadway and Church St. Subway: 1/2/3/C/E to Chambers Street</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>00:00:00</OpeningHour>
    <ClosingHour>00:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>2D: Other</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[The exhibition will feature recent painting, photography, and sculpture by a diverse group of contemporary artists including Mike Bayne, John Chamberlain, Andy Coolquitt, Zhang Dali, Richard Deacon, Paul Edmunds, Wolfgang Ellenrider, Tamar Ettun, Myeongsoo Kim, Roxy Paine, Gordon Stevenson, Tats Cru, Mee Wong, and Lin Zhipeng, whose works present visceral urban experiences through referencing the structures, objects and communication that signify urban space.

Zhang Dali and Tamar Ettun create interventions into the urban landscape through performative actions. Beginning in the 1990s, Zhang Dali spray-painted the profiles of anonymous heads on the walls of buildings in Beijing marked for
demolition, in response to the city’s rapid modernization. For Unspecified Urban Site, Zhang Dali presents Dialogue #73, a photograph documenting one such action. Tamar Ettun’s photographic work was initiated by the artist’s walking expedition from Jerusalem to Tel Aviv in which she conversed with the landscape and constructed narratives from its vestiges. Ettun will also be presenting a performance piece at the opening reception in conversation with her photographs. Both artists underscore a sense of urgency for dialog with their respective cities.

Mike Bayne, Wolfgang Ellenrieder, Lin Zhipeng and Myeongsoo Kim present documentation of urban landscapes. Bayne’s work Untitled (Downtown Owl) is part of an ongoing series of photorealistic paintings based on photographs of
downtown Toronto that depict what the artist calls “the banality of our daily routine”. Three recent paintings by Ellenrieder present urban moments removed from their original context. Feuer Reifen (Tires on Fire) is a response to the use and reuse of stock photography. The burning tires present an ambiguous narrative: they could be the result of a riot, an accident or a hate crime. Beijing-based Lin Zhipeng has been documenting Beijing’s youth culture over the past decade, a moment characterized by massive socio-economical shifts in the city. Kim’s sculptural installations displace elements of the city’s private and public spaces into dioramas. In his new work, Kim proposes dialogs between incongruous images and objects.

In selected work by John Chamberlain, Andy Coolquitt, Richard Deacon, Paul Edmunds and Roxy Paine the textures and materials of urban space are depicted, apart from the formal qualities of the urban landscape. Chamberlain’s Straits of
Muse is a chrome-plated bronze sculpture resembling a tree stump that has been transformed into a precious object. The sculptural practice of Coolquitt is based on an alternative architecture in which he creates installations and objects referencing quotidian experiences and encounters. Deacon’s No. 7 is a wall-mounted sculpture from a series of works completed in 1999 constructed from sheets of stainless steel. Although the material references the urban experience, the organic shape references the human body. Deacon calls himself a ‘fabricator’ rather than a sculptor; his work tends to expose his process. Edmunds’ abstract sculptures are often sourced from his native Cape Town. In Roll, Edmunds composed a sculpture derived from the forms of skateboard wheels rendered dysfunctional by transforming them from circular to hexagonal shapes. Scumak series is comprised of works fabricated by a sculpture-making machine created by Paine. The series raises questions about art production while also mirroring industrial production and relating to common urban materials such as tar.

Gordon Stevenson, Tats Cru and Mee Wong present yet another aspect of the urban landscape which that relates to the constructed imagery that exists on the streets. Tats Cru is an art collective that was founded in the eighties at the height of New York City’s subway graffiti movement. Hector ‘Nicer’ Nazario, Storero ‘Bg183’ and Wilfredo ‘Bio’ Feliciano are making a new work on canvas for the exhibition which relates to their renowned street art. Wong’s background as a commercial illustrator informs her painting practice which stylistically relates to contemporary advertising, and in particular the
commodification of women. Until The Morning Comes depicts three women clad in glittered undergarments lying suggestively around Philippe Starck’s iconic gun lamp.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/2597-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2597-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2597-170" width="170" />
  <Karma>0</Karma>
  <Price free="0"></Price>
  <DateStart>2012-01-17</DateStart>
  <DateEnd>2012-03-02</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-17" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>22</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.71639</Latitude>
  <Longitude>-74.007604</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/2C9B" href="http://www.nyartbeat.com/event/2012/2C9B">
  <Name>Charles Lutz &quot;ReMake/Re-Model&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/0213BC1F">
    <Name>Hionas Gallery</Name>
    <Type>Gallery</Type>
    <Address>89 Franklin St., New York, NY 10013</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between Church St and Broadway. Subway: 1 to Franklin Street or N/Q/R/W/4/6 to Canal Street.</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>09:00:00</OpeningHour>
    <ClosingHour>14:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Hionas Gallery presents ReMake/Re-Model, a solo exhibition of new works by Charles Lutz comprised of a selection of the artist’s signature Post-Pop paintings and sculpture, from his Equivocal Voids and High Life series’.

Lutz’s wandering eye is keen to the satirical, the sexual and the absurd, found in objects both mundane and iconic, from Warhol’s appropriated Brillo boxes, re-appropriated by Lutz for a somber result in cold black stainless steel, to Franz Kline’s fluid action brushstrokes, re-made to reveal disparate body parts lustfully intertwined. With each work, Lutz begins and ends with a simple premise: to extract from a particular source only its most vital information, and with that information find some new way to communicate. For much of his source material Lutz takes familiar symbols and brand names one might find in a magazine or on a billboard, and given the solarized, monochromatic effect that’s inherent in much of Lutz’s work, what he chooses to extract can appear to some a harsh, if not apathetic commentary on the very imagery and iconography that feeds off our minds and wallets.

“I like to think this work reveals a sober and real portrait of us as a culture,” says Lutz, “one that is constantly shifting yet has remained largely unchanged.” Indeed, the unambiguous origins of this body of work may inspire some to recall readymades or the cold steel constructions of the early Minimalists. Whatever one’s perspective, the originality, or lack thereof, of abstraction, Pop and other artistic modes is brought into question here, and becomes the crux of Re-Make/Re-Model. By synthesizing what is consumable 
and what has, in a sense, already been consumed, Lutz’s work evokes a false déjà vu, wherein we recognize the objects at hand, but clearly we have not witnessed these very things before.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/2C9B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2C9B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2C9B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.717958</Latitude>
  <Longitude>-74.004992</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/342C" href="http://www.nyartbeat.com/event/2012/342C">
  <Name>Steven Katzman &quot;Human Abstract&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/32BECA63">
    <Name>Masters &amp; Pelavin</Name>
    <Type>Gallery</Type>
    <Address>13 Jay St., New York, NY 10013</Address>
    <Phone>212-925-9424</Phone>
    <Fax></Fax>
    <Access>Between Greenwich St. and Staple St. Subway: 1/9 to Franklin Street or 1/2/3/9 to Chambers Street</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Masters &amp; Pelavin presents a solo exhibition of photographs by American artist, Steven Katzman. The show pulls from a number of the artist’s past series, spanning the last two decades, and integrates themes of love, death, religion, afterlife and faith. This will be the artist’s first exhibition at the gallery and in NYC.

Steven Katzman is a self-taught photographer who has combined, over the years, his long-time interest in political science with his professional photographic journey. His work combines the conceptual  “straight” photographic style of Andres Serrano; the grotesque, yet, beautiful “staged” photographic style of Joel-Peter Witken and the intimate “street” photographic style of Diane Arbus.

Katzman's photographs are carefully thought-out, almost meditative in their quiet stillness, regardless of the actual circumstances of their making. Like his forerunners, Jacob Riis, Lewis Hines, and Dorthea Lange, Katzman presents matter-of-fact images of his subjects. However, his work goes beyond the parameters of photo-journalism. His earliest documentations present subtleties in his subjects that are ultimately political. In later series, the artist manipulates his subject matter in order to create social or cultural metaphors. His most recent body of work captures the humanity of his subjects through their uncensored emotional expression. Katzman's photographs can sometimes be particularly difficult, even disturbing, to view and there is a strong vein of the sociopolitical running through his entire body of work—an urge to investigate, to understand, to reveal the outcasts and edges of mainstream society.

This is especially true of the photographs that have been selected for the Masters &amp; Pelavin exhibition, which are remarkable for the way they manage to convey intimacy, despite the challenging subject matter shown. “Flowers for Gretchen” depicts a dissected human skull—a specimen from the archive of the Mütter Museum in Philadelphia—filled with dried flowers taken, without permission, from the office of the Museum's director. The photograph remained untitled, until years later when Katzman stumbled upon the Director's obituary, and was surprised that his name and this image were mentioned, forever linking himself and the director, Gretchen, together in life as well as in death.

Moving chronologically with Katzman's career, the exhibition follows the artist as he approaches the subject of Death more directly through documentations of the human cremation process. The artist spent nearly two years working on this specific body of work, repeatedly recording the cremation process from beginning to end. Typical of Katzman's imagery, the viewer is presented with exactly what was on the other side of his lens—the crematorium's oven door open, flames engulfing a corpse, licking the flesh off it's bones. The concentrated energy found within the subject is counterbalanced by the beautiful craftsmanship found in all of Katzman's prints.

The exhibition continues to develop with the same pace as Katzman's career—pulling works from the artist’s most controversial series to date, documentations of body’s found in morgues, which are staged in varying religious context. This transitional series of work draws from the artist’s earlier staged photographs and express the artist's own emotional journey as he allows himself to question an afterlife for the first time. &quot;Child,&quot; the most heartbreaking and powerful image in the series, depicts the body of an autopsied child, angelically posed with the wings of a dead bird atop a burnt wooden crucifix. Rich in layers of contradicting cultural and sociological associations, the photograph is able to transcend sensationalism and become an ethereal icon created through the artist’s poetic imagination.

As Katzman continues his emotional exploration into spiritualism and the afterlife, so does the exhibit. The previous depictions of death and loss are juxtaposed with reproductions from the artist first book, &quot;The Face of Forgiveness: Salvation and Redemption,&quot; published by powerHouse Books, spring, 2005. These images depict groups of evangelical Christians captured in the throes of religious ecstasy, openly weeping, in uncontrollable fits of “holy laughter” or overcome by the spirit and struck to the ground. The bodies of his subjects—from the strong and muscular to the overweight, crippled or injured—are twisted and full of torment. These photos are as striking and powerful as anything brought back from a Voudun ceremony in Haiti or a primitivist church in Sicily. Yet, they make no pretense of the documentarian’s ethnological distance; they’re snapped in the midst of the action and convey a raw, uncensored passion. This series shows that the transformation from a faithless life to a more devout one is anything but easy.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/342C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/342C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/342C-170" width="170" />
  <Karma>1.90104</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-05" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.717911</Latitude>
  <Longitude>-74.009508</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/3EFC" href="http://www.nyartbeat.com/event/2012/3EFC">
  <Name>Theresa Himmer &quot;All State&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/53EAC23D">
    <Name>Art in General</Name>
    <Type>Cultural Center</Type>
    <Address>79 Walker St., New York, NY 10013</Address>
    <Phone>212-219-0473</Phone>
    <Fax>212-219-0511</Fax>
    <Access>Between Broadway and Lafayette St.. Subway: 6/N/Q/R/W/J/M/Z to Canal Street</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</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></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Art in General presents the opening of Theresa Himmer’s site-specific audio installation All State, realized in collaboration with Kristján Eggertsson. Responding to the physical and psychological parameters of the elevator, Himmer’s original score toys with our perception of movement, expectation and entrapment. Using the repetitive motion and existing sounds of the Art in General elevator as her starting points, All State amplifies an environment already attuned to heightened sensitivity, positioning viewers somewhere between real and imagined space.

In the compact interior of the elevator, Himmer’s uncanny score of recorded sounds disrupts our notion of cause and effect. Through repetition, duplication and overlap, All State mimics reality and belies function. At once, signifiers of both visible and invisible operations (the passing of floors, the machine room switchboard, the opening of doors) become hollow, irrational and destabilizing.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3EFC-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3EFC-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3EFC-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-28</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-28" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.718186</Latitude>
  <Longitude>-74.001742</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/4D77" href="http://www.nyartbeat.com/event/2012/4D77">
  <Name>Daniel Escobar &quot;Fictitious Topographies&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/D8FB030C">
    <Name>RH Gallery</Name>
    <Type>Gallery</Type>
    <Address>137 Duane St., New York, NY 10013</Address>
    <Phone>646-703-4473</Phone>
    <Fax>646-349-3459</Fax>
    <Access>Between West Broadway and Church St. Subway: 1/2/3/C/E to Chambers Street</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>00:00:00</OpeningHour>
    <ClosingHour>00:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>2D: Other</Media>
  <Description><![CDATA[RH Gallery presents Fictitious Topographies, Daniel Escobar’s first solo exhibition in the United States. The exhibition is comprised of new work from three series on Escobar’s interpretation of the urban landscape, specifically Belo Horizonte, Brazil, where the artist resides, and New York City. Escobar’s manipulation of maps, documents and images reflect an exploration of imaginary landscapes as opposed to real ones replicated in satellite imagery and maps.

In the series entitled Permeable (Up Close), Escobar extracts details from billboard advertisements that he perforates repeatedly and then layers to create new composite images. For The World, Escobar has produced a series of photographs depicting particular details of pop-up books that he made using promotional materials produced for the tourism industry. In Atlas of Urban Anatomy, he constructs three-dimensional fictional maps inside of a guidebook for Belo Horizonte using fragments of actual maps found in the book. These new maps are incongruous with actual maps of the same locations.

Escobar is a contemporary flâneur. In the vein of philosopher Walter Benjamin, the artist embarks on a kind of urban wandering by destroying what is known and accepted in order to introduce new possibilities of experience within that which
has already become fact. Escobar’s pursuits have led to various forms of mapping urban conditions incorporating topographies featuring architectural structures and advertising billboards.

Daniel Escobar was born in 1982 in Santo Ângelo, Rio Grande do Sul, Brazil. He currently lives and works in Belo Horizonte. Escobar received his Bachelor of Visual Arts from the Arts Institute of the Federal University of the Rio Grande do Sul. Escobar has received numerous awards including the CNI/SESI Marcantônio Vilaça for the Arts, the Funarte Prize for Contemporary Art, Fiat Mostra Brasil, the Azores First Prize for Art and the 17th Annual Prize for Arts from the Munical of Porto Alegre. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/4D77-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4D77-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4D77-170" width="170" />
  <Karma>0</Karma>
  <Price free="0"></Price>
  <DateStart>2012-01-17</DateStart>
  <DateEnd>2012-03-02</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-17" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>22</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.71639</Latitude>
  <Longitude>-74.007604</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/4EC0" href="http://www.nyartbeat.com/event/2012/4EC0">
  <Name>Chris Wyllie &quot;Just Past Happy&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/0213BC1F">
    <Name>Hionas Gallery</Name>
    <Type>Gallery</Type>
    <Address>89 Franklin St., New York, NY 10013</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between Church St and Broadway. Subway: 1 to Franklin Street or N/Q/R/W/4/6 to Canal Street.</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>09:00:00</OpeningHour>
    <ClosingHour>14:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Hionas Gallery presetns Just Past Happy, an exhibition featuring Chris Wyllie’s paintings on found objects, comprised mostly of new works created in 2011. The paintings, although figurative, evoke the minimalistic feel of a pin-up girl silhouette, allowing the eye to rest on a subtle outline or clean curve. Wyllie leaves enough negative space in and around the feminine form so that one’s focus leans toward the texture and traces of the faded object.

In the mixed-media painting, She’s 22, his subject’s sensual, voluptuous body creates space for the chips and cracks of the found object to break through. Meanwhile, the painting’s words – “She’s 22, smokes pot every day, &amp; has a drinking problem” – and the weathered door on which they reside, reveal the temporal and fading state of her seeming perfection.

Wyllie is a nostalgic creature in both art and life. Among his collection of found objects and miscellanea are an old copy of the Newport Daily News from 1948, a set of antique Frigidaire refrigerator doors, pick-up truck tailgates, car doors, rooftops, and other ephemera. According to the artist, “these objects create a sense of nostalgia without pinpointing [their] exact source.”
When this nostalgia inevitably comes through in his paintings, one can see the appropriation of a particular time period.

Just Past Happy is curated by Vaughn Massey. According to Massey, “Chris is very much connected to the past and to the way things change. The residue. The traces. The beautiful silhouette of a female nude on something discarded and old, remind the viewer that nothing is permanent. ‘Everything we do right now is going to fade,’ Chris once remarked to me. This, I believe, speaks to the ephemeral quality of life and happiness. The object may already be faded, but a new history is created once transformed by Wyllie’s hand into something more beautiful.”

About the Artist:
Before committing to becoming an artist, Wyllie worked professionally throughout two decades in film, graphic design, and decorative painting. One can trace the evolution of his graphic design in many of his pieces. Chris Wyllie’s work is in the permanent collections of The Whitney Museum of American Art, New York; The Fisher-Landau Center for Art, New York; The Rock and Roll Hall of Fame, Cleveland, as well as many private collections. He has also been a featured artist at the 2008, 2009, 2010, and 2011 Whitney Annual Art Party. Chris Wyllie splits his time between Newport, RI and New York City.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/4EC0-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4EC0-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4EC0-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:30:00" end="20:30:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.717958</Latitude>
  <Longitude>-74.004992</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9EB1" href="http://www.nyartbeat.com/event/2012/9EB1">
  <Name>Mounira Al Solh &quot;Dinosaurs&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/53EAC23D">
    <Name>Art in General</Name>
    <Type>Cultural Center</Type>
    <Address>79 Walker St., New York, NY 10013</Address>
    <Phone>212-219-0473</Phone>
    <Fax>212-219-0511</Fax>
    <Access>Between Broadway and Lafayette St.. Subway: 6/N/Q/R/W/J/M/Z to Canal Street</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</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></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Art in General presents its first international New Commission, a new film installation by Lebanese artist Mounira Al Solh.

A series of scenes that seem both familiar yet brand new. A grouping of characters that seem to live in an eternal present conditioned by everlasting chaos and unrest. A set of locations marked by darkness and yet illuminated by the intensity of those that inhabit them. A narrative that instead of answering a specific question, is in itself a search for answers.

Mounira Al Solh’s new film installation, Dinosaurs, takes its inspiration from four different films by John Cassavetes. Culling vignettes from Opening Night, Faces, Husbands, and The Killing of A Chinese Bookie, Al Solh directs her friends to reenact specific scenes wherein the act of drinking reveals moments of intimacy, aggression, and loneliness. Invoking Cassavetes as both a means of study and a lens, Al Solh reflects on the relationship between substance and evaporation, exploring how alcohol can become instrumental in confronting fate. Dinosaurs’ fragmented scenes build a fragile portrait of a place in flux, a loose narrative that continues to unravel and unhinge with each drink. At once claustrophobic, circular and tense, Al Solh’s reinterpretation of Cassavetes creates a space of suspended chaos.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9EB1-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9EB1-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9EB1-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-28</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-28" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.718186</Latitude>
  <Longitude>-74.001742</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/AC1E" href="http://www.nyartbeat.com/event/2012/AC1E">
  <Name>Myong Hi Kim &quot;Borrowed Landscape&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/684EC86E">
    <Name>Art Projects International </Name>
    <Type>Gallery</Type>
    <Address>434 Greenwich St., New York, NY 10013</Address>
    <Phone>212-343-2599</Phone>
    <Fax></Fax>
    <Access>Corner of Vestry Sts. Subway: 1/9 to Canal Street</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</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>Other times by appointment</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Myong Hi Kim’s oil pastel on chalkboard landscapes may depict children or empty sky-bound vistas or sunlit water and leaves, but nothing in Kim’s work is as it seems; she explains, “... the vision that I present is that of apparition rather than appearance.”

Since 1990, one of Kim’s studios has been in an abandoned schoolhouse in rural Korea. She also has a studio in New York and says, “... the difference is between city life and rural life, not between the United States and Korea.” In the school, the original chalkboards first served to block the bitter cold; later, they became the grounds for Kim’s signature works.

Kim had a peripatetic childhood and continues to travel to create. The black road of “Navajo Route” leads to New Mexico and references the Navajo experience and in many ways Kim’s own experiences. Kim’s landscapes are universal places set in a universal time. It is more than a metaphor to say the light of the historical past is with us now; we live in a time when we eagerly discuss starlight that has reached us, just today, from billions of years ago.

Through her careful rendering of light effects, Kim shares her understanding that events are never discrete and are of multiple spaces and times. In “Borrowed Landscape” a pond flickers in sunlight. The affect of the sun is visible; it sets the leaves across the pond alight, but the sun itself is not visible in the sky. Kim suggests that the scene as first viewed by the artist was also an apparition, a trick of the light.

MYONG HI KIM was born in Seoul, Korea. She lives and works in New York and an abandoned schoolhouse in Naep’yong-ni, a tiny mountain village in Kangwon Province, Korea. She graduated from Seoul National University and studied at Pratt Institute, New York.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/AC1E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/AC1E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/AC1E-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.722611</Latitude>
  <Longitude>-74.009864</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/C1EB" href="http://www.nyartbeat.com/event/2012/C1EB">
  <Name>Frankie Rice &quot;SOLO&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/BC6774A0">
    <Name>Launch F18</Name>
    <Type>Gallery</Type>
    <Address>373 Broadway, New York, NY 10013</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between White and Franklin Sts., Subway: 1 to Franklin or 6/N/R/Q to Canal Street.</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>00:00:00</OpeningHour>
    <ClosingHour>00:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Frankie Rice assembles sculptural archways as metaphor and self-portrait. The arch itself is the common denominator, yet the material has differed drastically depending on the external or internal environment he is currently taking into consideration.  Kids spring-loaded rocking horses from playgrounds, linked together in a whimsical and slightly creepy narrative suggest a troubling passage or gateway from childhood to adolescence. His driftwood arches are a direct result of his upbringing in Truro MA, which project a torque, sinuous struggle that he has iconoclastically burned in ceremonial settings or kept intact as weathered milestone. When Frankie moved to NYC he utilized materials fundamental to his immediate internal and external dialogue. He left the natural beauty of opaque driftwood representative of his home on Cape Cod and utilized the structure of the trashcan to emote a sense of his reaction to the complexity of the city both agleam and distressed.  In November Frankie include one of the most profound sculptures of this series as part of the exhibition &quot;Wrestle&quot;. The sculpture, small in comparison, required an entire wall; it spoke volumes. He has taken his past lovers HIV pill bottles and melded them into small, intimate pieces that wreathe danger, sexual tension (ejaculation, caustic and frozen in time) all within an irony of hope.  Twisted, burning, wreathing, torqued and weathered, his works metaphoric denominator is always the very evident opportunity of wishfulness through passage.
 
For SOLO, Frankie will be exhibiting his large trashcan sculpture. Gleaming and powerful in its stance, this works mien suggests passage and renewal through the structure of banal material that, in its traditional form, is used to compile and dispose of unnecessary waste. Frankie takes these trashcans and repurposes them in a context that allows us to walk through and experience riddance metaphorically.]]></Description>
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 <Event xml:lang="en" id="2012/C968" href="http://www.nyartbeat.com/event/2012/C968">
  <Name>Ed Sanders &quot;Fuck You Press&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/BA8EED7D">
    <Name>Boo-Hooray</Name>
    <Type>Gallery</Type>
    <Address>265 Canal St., #601, New York, NY 10013</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between Broadway and Lafayette St. Subway: 6/N/R/Q/W to Canal Street.</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>2D: Prints</Media>
  <Media>2D: Other</Media>
  <Description><![CDATA[Boo-Hooray is exhibiting a comprehensive collection of publications from Ed Sanders’ Fuck You Press, including a complete run of Fuck You, A Magazine of the Arts. The exhibition commemorates the publication of Ed Sanders’ memoir Fug You: An Informal History of the Peace Eye Bookstore, the Fuck You Press, the Fugs, and Counterculture in the Lower East Side (Da Capo Press).


“In February of 1962 I was sitting in Stanley’s Bar at 12th and B with some friends from the Catholic Worker. We’d just seen Jonas Mekas’s movie Guns of the Trees, and I announced I was going to publish a poetry journal called Fuck You, A Magazine of the Arts. There was a certain tone of skepticism among my rather inebriated friends, but the next day I began typing stencils, and had an issue out within a week. I bought a small mimeograph machine, and installed it in my pad on East 11th, hand-cranking and collating 500 copies, which I gave away free wherever I wandered. (...)

Fuck You was part of what they called the Mimeograph Revolution, and my vision was to reach out to the “Best Minds” of my generation with a message of Gandhian pacifism, great sharing, social change, the expansion of personal freedom (including the legalization of marijuana), and the then-stirring messages of sexual liberation. 

I published Fuck You, A Magazine of the Arts from 1962 through 1965, for a total of thirteen issues. In addition, I formed a mimeograph press which issued a flood of broadsides and manifestoes during those years, including Burroughs’s Roosevelt After Inauguration, Carol Bergé’s Vancouver Report, Auden’s Platonic Blow, The Marijuana Review, and a bootleg collection of the final Cantos of Ezra Pound.”

    - Ed Sanders



The run of Fuck You Press publications that blazed through New York City’s underground scene between 1962 and 1965 still resonates with an almost supernatural vibrancy, urgency and what the Greeks coined as enthusiasmos. There were 13 issues of Fuck You, A Magazine of the Arts, printed from 1962 through 1965. In addition, Sanders published a multitude of mimeographed poetry titles during these years, alongside broadsides, manifestos and handbills.

Fuck You was founded by Ed Sanders—Beat poet, Fugs band member, and proprietor of the East Village underground Peace Eye Bookshop. Ed Sanders' editorial voice and execution resulted in a poetry ‘zine that was fearless, sexually provocative and experimental. Contributors included Sanders, Tuli Kupferberg (also of the Fugs), Carol Bergé, John Wieners, Andy Warhol, Ray Bremser, Lenore Kandel, Charles Olson, Joel Oppenheimer, Peter Orlovsky, Philip Whalen, Allen Ginsberg, Herbert Huncke, Julian Beck, Frank O'Hara, Leroi Jones, Diane DiPrima, William Burroughs, Gary Snyder, Robert Kelly, Judith Malina, Carl Solomon, Gregory Corso, Robert Duncan, Robert Creeley, Michael McClure, Ted Berrigan, Joe Brainard, Gilbert Sorrentino, and many others.

Fuck You, A Magazine of the Arts was a mimeographed journal, printed on a Speed-o-Print and later an A.B. Dick stencil duplicator (mimeograph), in an edition size of roughly 500 copies.

Printing on a mimeograph was a cumbersome labor: All the gathered texts needed to be transferred to stencils, the illustrations cut meticulously by hand-held metal-tipped styli into the page of text, the sticky, awkwardly shaped stencil then attached to the drum of the mimeograph which supped on ink and spat some back. If one multiplies the paper sheets needed for an issue of the publication, (36 x 500 = 18,000 sheets), that needed to be collated and stapled to complete one issue, it truly baffles that this was a one-man operation.

This ‘zine was dedicated to free expression, defying taboo subjects, celebrating sexual liberation and the use of psychedelics years before the Summer of Love. Sanders and his collaborators bridged the Beats of the Fifties and the counterculture of the late Sixties, and helped define many of the differences between the two—the latter building on the breakthroughs initiated by the former.
]]></Description>
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-16</DateStart>
  <DateEnd>2012-03-08</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-16" start="18:00:00" end="21:00:00">Opening Reception</Party>
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