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<Events>
 <Event xml:lang="en" id="2010/0AD0" href="http://www.nyartbeat.com/event/2010/0AD0">
  <Name>Billy Childish Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/FB499DDF">
    <Name>White Columns</Name>
    <Type>Gallery</Type>
    <Address>320 W 13th St., New York, NY 10014</Address>
    <Phone>212-924-4212</Phone>
    <Fax>212-645-4764</Fax>
    <Access>Between 8th Ave. and Hudson St. Subway: A/C/E to 14th Street or L to 8th Avenue.</Access>
    <Area areaId="villages">Villages</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>2D: Painting</Media>
  <Description><![CDATA[White Columns presents a rare exhibition of recent paintings by the legendary British musician, artist and writer Billy Childish. The exhibition coincides with a survey of Childish’s work from the past thirty years at London’s ICA, a project jointly organized with White Columns.]]></Description>
  <Image src="http://www.nyartbeat.com/resources/images/nopic" width="30" />
  <Image src="http://www.nyartbeat.com/resources/images/nopic_80" width="80" />
  <Image src="http://www.nyartbeat.com/resources/images/nopic_170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-03-05</DateStart>
  <DateEnd>2010-04-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-03-05" start="19:00:00" end="22:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.739583</Latitude>
  <Longitude>-74.003986</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/0ED5" href="http://www.nyartbeat.com/event/2010/0ED5">
  <Name>Bertozzi &amp; Casoni &quot;Intervallo&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/7D8487D4">
    <Name>Sperone Westwater</Name>
    <Type>Gallery</Type>
    <Address>415 W 13th St., New York, NY 10014</Address>
    <Phone>212-999-7337</Phone>
    <Fax>212-999-7338</Fax>
    <Access>Between 9th and 10th Ave. Subway: A/C/E to 14th Street, L to 8th Avenue.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Sperone Westwater is pleased to announce an exhibition of recent sculpture by the Italian team Bertozzi &amp; Casoni. The artists’ second solo show at the gallery, it consists of ceramic works in their remarkably realistic signature style. Bertozzi &amp; Casoni reveal their brash and irreverent view of past arts and contemporary culture in their work.

While the political nature and satirical content of their sculptures is far removed from the traditional style of classic Italian ceramics, Bertozzi &amp; Casoni maintain an emphasis on a continuous updating of themes and topics as well as the application of technological innovations, resulting from research on both products and the production process. The artists position their work in the liminal space between fine art and high-class handicraft, artwork and product, ornament and object. Their precision of technique and composition make the works hover between the real and surreal.

In their dynamic assemblages of found objects rendered in ceramic, Bertozzi &amp; Casoni are fascinated by the concept of decay:

[We] believe that the true essence of things can be found in decay, in everything that has been rejected, in junk, in rubbish. It’s from there that you can find resources to start again. In a post-atomic age, you could reconstruct everything, paradoxically.

Bertozzi &amp; Casoni create scenes that depict the aftermath of modern human consumption and the fragility and transience of life, such as a tray of cracked eggs and a gorilla head on a platter. In Composizione n. 12 (Cicogne) (2008), two storks stand in a nest atop oil barrels and crates. They feed on the refuse of the world—empty soup and beer cans, a severed foot, Euros, and US dollar bills. The objects are carefully placed as in a vanitas still life. The birds become the innocent inheritors of our waste products.

In Composizione-Scomposizione (2007), the artists continue to comment on contemporary culture. In five large ceramic panels, pipes with valves and taps are installed; they are a part of an imaginary plumbing system that includes a lamp post, grenades, and empty detergent bottles. The pipes cover up cultural objects, such as religious and astrological imagery, advertisements, and newspaper pages. The plumbing can be interpreted as that which carries the refuse of the human body as well as the circularity or disorganization of the artistic process.

Composizione n. 13 (2008) is an installation of over 100 first aid kits mounted on the wall. The remnants of life—beehives, religious relics, gas mask, and other objects—exist in the cabinets, which represent the path to healing. In Bertozzi &amp; Casoni’s sculptures, everyday objects are emptied of their functions and reach a higher aesthetic level yet with a casualness that allows the public to freely interpret the work. The artists push the meaning of the work, as they do the medium of ceramic.

[Image: Bertozzi &amp; Casoni  &quot;Composizione n. 12 (Cicogne)&quot; (2008)  glazed ceramic, 137 3/4 x 63 x 60 5/8 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/0ED5-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/0ED5-80" width="80" />
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-01-08</DateStart>
  <DateEnd>2010-03-20</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-01-08" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
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  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.74075</Latitude>
  <Longitude>-74.006569</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/122F" href="http://www.nyartbeat.com/event/2010/122F">
  <Name>&quot;Back on the Map - Revisiting the New York State Pavilion at the 1964/65 World's Fair&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/35073509">
    <Name>The Center for Architecture</Name>
    <Type>Cultural Center</Type>
    <Address> 536 LaGuardia Pl., New York, NY 10012</Address>
    <Phone>212-683-0023</Phone>
    <Fax>212-696-5022</Fax>
    <Access>Between W 3rd and Bleecker Sts., Subway: A/B/C/D/E/F/V to W 4th Street.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>09:00:00</OpeningHour>
    <ClosingHour>20:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 11:00, saturdays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Architecture</Media>
  <Description><![CDATA[The New York State Pavilion was considered one of the best architectural designs at the 1964/65 World’s Fair and is certainly one of the most iconic of structures to survive. Back on the Map: Revisiting the New York State Pavilion at the 1964/65 World’s Fair, explores the design and afterlife of Philip Johnson’s Pavilion and its main exhibit: a large-scale, terrazzo pavement of the Texaco Road Map of New York State.

With less-than-serious references to flying saucers and a colorful circus tent, Johnson’s Pavilion embodied the technological prowess of the period as well historical and pop culture references that would come to define Post Modernism in the years to follow. Built as a temporary structure for the Fair, the Pavilion and its Pop Art map pavement have suffered from over 40 years of exposure and vandalism. The culmination of conservation and reuse studies by the City of New York Department of Parks &amp; Recreation and The School of Design and Architectural Conservation Laboratory at the University of Pennsylvania, this exhibition seeks to inform and engage the public about the significance and future of this 1960s masterwork.

Back on the Map is part of the Center for Architecture’s Helfand Spotlight Series, which features current topics in New York architecture. The exhibition is sponsored by Oldcastle Glass and is supported in part by the National Endowment for the Arts, The Samuel H. Kress Foundation, New York City Department of Parks and Recreation, the School of Design, University of Pennsylvania, and the World Monuments Fund.

[Photo: ACL/PennDesign]]]></Description>
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  <Karma>1.93015</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-17</DateStart>
  <DateEnd>2010-03-31</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-02-17" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>13</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.728667</Latitude>
  <Longitude>-73.998688</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/2095" href="http://www.nyartbeat.com/event/2010/2095">
  <Name>Edina Tokodi &quot;If All The World Were A Blackbird&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/3BCFA617">
    <Name>Le Poisson Rouge</Name>
    <Type>Cafe or Bar</Type>
    <Address>158 Bleecker St., New York, NY 10012</Address>
    <Phone>212-505-3474</Phone>
    <Fax></Fax>
    <Access>Between Sullivan and Thompson Sts.  Subway: B/D/F/V/E/C/A to W 4th Street</Access>
    <Area areaId="villages">Villages</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: Installation</Media>
  <Description><![CDATA[It's no secret there are a multitude of changes taking place within the art community. Today's fluctuating economy coupled with technology's ability to re-evaluate time, have ushered in new possibilities that reexamine how art is supported, shown and organized, while further providing the opportunity to question one’s role within this transitioning landscape.  It is with that spirit that The Gallery at (Le) Poisson Rouge is pleased to announce the opening of its forthcoming exhibition If All the World Were a Blackbird by Eco-minded, Hungarian-born, Brooklyn, NY-based installation artist EDINA TOKODI, for her first solo exhibition.
 
This installation also marks The Gallery at LPR's first collaboration with The Wooster Collective, known for its 2006 partnership The Spring Street Initiative. The selection of Tokodi and collaboration between LPR and the Wooster Collective highlights the notion that fine art, no longer limited to white box norms, can embrace a new art-viewing environ, while underscoring the widely held understanding that street art is no longer limited to outdoor spaces. For the forthcoming exhibition in the Gallery at (Le) Poisson Rouge, If All the World Were a Blackbird, Edina Tokodi, one of today's leading green graffiti artists, will create original installations, transferring her public sculptural moss graffiti pieces—most recently seen around New York City as subtle exclamation points amid the concrete—from street to scene. Bringing nature to a most unexpected atmosphere, and breaking long-held gallery norms, Tokodi will transform the Gallery at (Le) Poisson Rouge: a space hailed as a multi-media environment where fine art, music and revelry intersect. 
 
As a public artist, Edina Tokodi feels a sense of duty to draw attention to deficiencies in our everyday life. &quot;I think that our distance from nature is already a cliche...I believe that if everyone had a garden of their own to cultivate, we would have a much more balanced relation to our territories,&quot; says Tokodi. &quot;Of course,&quot; she continues &quot;a garden can be many things.&quot; Her site-specific installations are inspired by Japanese Zen gardens and informed by the space's environs, whether organic or man-made; often sheathed in steel, glass, pavement and stone and providing an unavoidable contrast to its surroundings. Surrounded by their contrasting atmosphere, Tokodi's installations invite interaction, thus reclaiming the bond with nature. Unlike the market-driven art featured in sterile, white box galleries, Tokodi's is meant to be to be touched, felt, and organically effect the audience. Her animated installations playfully call to mind a more familiar, environmentally friendly state, breaking cold urban norms.  
 
As a result of this exact notion, and influenced by a variety of textures, experiences, meetings, and readings, Tokodi's work gets reinvigorated, and herself inspired yet again to create. Whether walking the streets of New York City or interacting with its landmarks; in this circumstance the historic space that houses The Gallery at (Le) Poisson Rouge, Tokodi hopes to encountering a different set of media, art and people. With this, Tokodi's installation organically dovetails The Gallery's mission to foster community interaction, artistic stimulation and reigniting a renewed appreciation for the &quot;public,&quot; as both notion and place: drinking establishment, art gallery and performance space. With If All the World Were a Blackbird, Tokodi tackles her most complicated endeavor yet, by continuing to explore the diversity of the intricate connections between (organic) materials while still remaining close to nature.
 
The title of the installation, If All the World Were a Blackbird, is inspired by a children's poems by Sándor Weöres (pronounced Voe-roesh), Hungary's &quot;most versatile poet.&quot; Chosen by Tokodi for its complimenting the delicate nature of Tokodi's work while evoking a playful take on the Utopian existence.]]></Description>
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  <Karma>1.15088</Karma>
  <Price free="0"></Price>
  <DateStart>2010-02-18</DateStart>
  <DateEnd>2010-05-19</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-02-17" start="19:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>62</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.7284</Latitude>
  <Longitude>-73.999978</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/2BF3" href="http://www.nyartbeat.com/event/2010/2BF3">
  <Name>Brian Reed &quot;Through the heart of it all&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/EA72187D">
    <Name>Chair and the Maiden</Name>
    <Type>Gallery</Type>
    <Address>19 Christopher St., New York, NY 10014</Address>
    <Phone> 212-255-0562</Phone>
    <Fax>212-675-6330</Fax>
    <Access>Between Waverly Pl. and Greenwich Ave. Subway: 1 to Christopher Street</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 13:00, sundays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/2BF3-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/2BF3-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/2BF3-170" width="170" />
  <Karma>1.59539</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-18</DateStart>
  <DateEnd>2010-03-21</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-02-18" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.734047</Latitude>
  <Longitude>-74.000714</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/3118" href="http://www.nyartbeat.com/event/2010/3118">
  <Name>Dan Miller Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/FB499DDF">
    <Name>White Columns</Name>
    <Type>Gallery</Type>
    <Address>320 W 13th St., New York, NY 10014</Address>
    <Phone>212-924-4212</Phone>
    <Fax>212-645-4764</Fax>
    <Access>Between 8th Ave. and Hudson St. Subway: A/C/E to 14th Street or L to 8th Avenue.</Access>
    <Area areaId="villages">Villages</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>2D: Drawing</Media>
  <Description><![CDATA[White Columns presents a new series of typewriter drawings by the artist Dan Miller. Miller works at the celebrated Creative Growth Art Center in Oakland, CA. Founded in 1974 Creative Growth consists of a studio art program and – since 1980 – a gallery that serves and supports mentally, physically, and developmentally disabled adult artists.]]></Description>
  <Image src="http://www.nyartbeat.com/resources/images/nopic" width="30" />
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-03-05</DateStart>
  <DateEnd>2010-04-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-03-05" start="19:00:00" end="22:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
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  <Datum>wgs84</Datum>
  <Latitude>40.739583</Latitude>
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 </Event>

 <Event xml:lang="en" id="2010/4161" href="http://www.nyartbeat.com/event/2010/4161">
  <Name>&quot;Modernism At Risk&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/35073509">
    <Name>The Center for Architecture</Name>
    <Type>Cultural Center</Type>
    <Address> 536 LaGuardia Pl., New York, NY 10012</Address>
    <Phone>212-683-0023</Phone>
    <Fax>212-696-5022</Fax>
    <Access>Between W 3rd and Bleecker Sts., Subway: A/B/C/D/E/F/V to W 4th Street.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>09:00:00</OpeningHour>
    <ClosingHour>20:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 11:00, saturdays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Architecture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Modernism represents the defining movement of twentieth-century architecture and design; yet, every day, important works of modern architecture are destroyed or inappropriately altered. The solutions for protecting them can be as individual as the threats that endanger them. These threats range from physical deterioration to perceived economic or functional obsolescence to public apathy. Often, the greatest challenges to saving modern buildings can be the innovative design and technical features that help define them as significant achievements in the history of architecture.

While there is no single response that can prevent the loss of every endangered modern site, the architects and designers working today play an increasingly critical role in demonstrating that these buildings can be economically and functionally viable and continue to serve useful purposes as places to live, work, learn, gather, and worship. The advocacy role of good design becomes increasingly important as the building materials and systems of many modern structures that stem from the classical period of modernism through the postwar boom reach the end of their physical life span. Saving modern landmarks is important because they enrich a community’s sense of place – providing continuity between its past and important buildings of our own times.

[Photo: Grahm Balkany]]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2010/4161-170" width="170" />
  <Karma>1.65626</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-17</DateStart>
  <DateEnd>2010-05-01</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-02-17" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>44</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
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  <Latitude>40.728667</Latitude>
  <Longitude>-73.998688</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/4CF9" href="http://www.nyartbeat.com/event/2010/4CF9">
  <Name>Brian Belott &quot;The Joy of File&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/70D6AF7A">
    <Name>Zürcher Studio</Name>
    <Type>Gallery</Type>
    <Address>33 Bleecker St., New York, NY 10012</Address>
    <Phone>212-777-0790</Phone>
    <Fax>212-777-0784</Fax>
    <Access>Between Mott and Elizabeth Sts. Subway: D/B/F/V to Broadway Lafayette, 6 to Bleecker Street</Access>
    <Area areaId="villages">Villages</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="0" hol="0" />
    <ScheduleDetails>sundays openinghour 14:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Zürcher Studio presents a solo exhibition in which Brian Belott will take an enormous risk and look truth in the eye like never before. Confronted with a world of unfathomable absurdity, Belott the performer adopts the only defense available, namely that of art as the ultimate rampart. In highly rigorous fashion, Belott will construct his largest “Wild Time Machine” to date. Elusive in its form, unexpected in its limits, and incomprehensible at first sight, it will be a wall of incredible density, incorporating a life-long collection of dazzling detritus. The resulting work is seemingly insurmountable, with meanders as complex as those of a labyrinth. It contains images of all sorts: pictures cut out of children’s books and old science textbooks, found photos and paper painted by the artist himself. In various places sound has been added—talking, music and ambient noises collected from found cassette tapes and recordios and some sampled off of YouTube. These sound samples become clear at close range, and one’s movement through the space is like a collage to the ears in itself. The paradox is that although the overall effect is unquestionably monumental (if only in terms of its dimensions), it follows a principle of discretion that denotes privacy, like a Renaissance &quot;cabinet of curiosities,&quot; and an affirmation that this enormous collage is above all else, autobiographical in nature.

And there is a crucial element that emphasizes this point: here and there are glass paintings as well as mixed medium books displayed on top of shelves that project out from the wall. These are not books to be read, but fetishistic objects to be compulsively grasped for the esthetic pleasure they procure, which is actually less innocent than it looks. The wall itself employs various illustrators and artists and the accidental and intended snapshots from amateur photographers to catalog elements—arrows, clouds, planes, planets—exemplifying the infinite perspectives that shade our seen world. Like in some “cult” work he admires such as the unfinished Charles Ives’ Universe Symphony, the past is represented by the genesis of oceans and mountains, the present is represented by the earth, the evolution of nature, and humanity, and the future is represented by the sky as a symbol of the spiritual. Through collaged views of these symbolic elements, the piece represents questions of “What” and “How” that people ask about life, and to which Belott provides his own echo.

There is no mistake why Belott cites Ives as a major influence, as the composer was intensely involved with collage himself, sampling music as diverse as Beethoven, religious hymns and popular song in the same composition. In the second movement of the Ives’ Concord Sonata(1) the pianist uses a piece of wood that is 14 inches long to play a &quot;cluster chord&quot; comprised of a sequence of black and white keys sustained throughout the movement. In the mid to late ‘90s, Belott and frequent collaborator Larissa Velez choreographed three dance pieces to Ives’ music, and more recently, at the Swiss Institute’s Dark Fair in 2008, Brian and Larissa composed a vocal piece by collaging jingles, melodies, sound bytes, hums, and murmurs for a “Wordless Chorus” of about 30 people. Like Ives, Belott’s work feels so uninhibited that it could veer on rebellious, but his predilection for formalism and the sensual and painterly handling of materials, counterbalances an obsession with the new and the unknown.

Another artist with similarities as striking as they are inexplicable, and with multiple resonances that extend beyond the limits of time, is Man Ray. Belott’s collage In the Eye (2008), in which the creation of &quot;reserves&quot; is essential, could be likened to Man Ray’s photograph Lee Miller’s Eye (1932, Penrose Collection), on the back of which he wrote, &quot;I am always in reserve&quot; (October 11, 1932). Both artists use unconventional materials that leave audiences guessing where the artwork stops. In his photograph Man (1920) (2), Man Ray has an ephemeral assemblage in the form of a skeleton whose vertebrae are represented by a line of wooden clothes pegs –an accessory Belott has used a number of times. The Dadaist Man Ray, the pioneer of the &quot;rayogram&quot;(3) was also one of the first American artists who ever took radical positions within the art world. The same spirit can be found in Belott’s performance Head on Fire, Ring the Alarm, in which he set fire to his hair in front of a camera. This was not just play-acting, like a sketch by the Marx Brothers(4), but was intended to depict, as Man Ray had done, art as an act of pure freedom that would neither comply with conventions nor accept any suggestion of a need to be socially useful.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/4CF9-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/4CF9-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/4CF9-170" width="170" />
  <Karma>0.822263</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-16</DateStart>
  <DateEnd>2010-04-01</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-02-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>14</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.725683</Latitude>
  <Longitude>-73.993778</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/64EE" href="http://www.nyartbeat.com/event/2010/64EE">
  <Name>Charles Sabba &quot;If You Don't Want Your Thoughts Stolen Don't Open Your Mind&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/10F472A7">
    <Name>Y Gallery</Name>
    <Type>Gallery</Type>
    <Address>355A Bowery, Basement, New York, NY 10003</Address>
    <Phone>917-721-4539</Phone>
    <Fax></Fax>
    <Access>Between 3rd and 4th Sts.  Subway: F/V to 2nd Avenue, 6 to Astor Place, R/W to 8th Street</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>14:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>saturdays closinghour 17:00, sundays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[Y Gallery presents the first solo exhibition of New Jersey based artist and policeman Charles Sabba curated by Cecilia Jurado and Ryan Brown.
 
For the last 15 years, Sabba has divided his life between being a police officer, a forensic sketch artist and an old fashioned bohemian (“a race of obstinate dreamers for whom art has remained a faith and not a profession” as he explains).  Part of his daily basic activities are to go and catch criminals before they run away with stolen goods or after a crime that has been committed in a street corner. He has to be that person that guards rules. This constant chasing had made Charles Sabba deeply interested in what it means to steal, the borderlines of what is permitted and what is not. As an artist he got particularly involved in investigating crimes related with art.  But his research goes beyond statistics and reasons to steal.
 
The opening reception will coincide with the 20th anniversary of one of the largest art thefts in world history, the 13 pieces stolen in the Gardner Museum in Boston in 1990. Charles Sabba had made several paintings and drawings about the protagonists of this event, and he also has made many others of the stolen Mona Lisa to name a few. For Y Gallery he will present a series of fingerprint drawings on FBI and New Jersey police department fingerprint cards. There are two groups of drawings, the ones that reproduce stolen art works and the others that portray art thieves. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/64EE-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/64EE-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/64EE-170" width="170" />
  <Karma>1.6327</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-03-18</DateStart>
  <DateEnd>2010-04-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-03-18" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>31</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.726727</Latitude>
  <Longitude>-73.991483</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/7026" href="http://www.nyartbeat.com/event/2010/7026">
  <Name>&quot;Downtown Pix: Mining the Fales Archives, 1961–1991&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/D1E743C4">
    <Name>Grey Art Gallery</Name>
    <Type>Museum</Type>
    <Address>100 Washington Sq. East, New York, NY 10003</Address>
    <Phone>212-998-6780</Phone>
    <Fax>212-995-4024</Fax>
    <Access>Corner of Washington Pl.  Subway: A/B/C/D/E/F/V to West 4th Street or R/W to 8th Street</Access>
    <Area areaId="villages">Villages</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="1" />
    <ScheduleDetails>wednesdays closinghour 20:00, saturdays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Jointly organized by New York University’s Grey Art Gallery and Fales Library, NYU’s repository of rare books and manuscripts, Downtown Pix: Mining the Fales Archives, 1961–1991 features over 300 photographs and other printed materials from Fales’s pioneering Downtown Collection. The exhibition is drawn from the papers of artists, writers, poets, and arts organizations that comprise this important archive. The images presented in Downtown Pix create a rich photo-graphic portrait of the creative practices and social protests that defined the Downtown scene as it evolved over the course of three tumultuous decades.

For successive generations of New York artists, “Downtown” has signaled a state of mind as much as a geographic location. The artists, playwrights, choreographers, and political activists who called Downtown home built a lively community that fostered aesthetic experimentation and countercultural rebellion. Downtown Pix focuses on the central role played by photographers in capturing the vital but ephemeral practices of a diverse range of artists. Following in the footsteps of the Grey’s landmark 2006 Downtown Show, Downtown Pix maps a multifaceted cultural scene whose influence on the arts is still felt today.

As critic and guest curator Philip Gefter observes, “The photographs in Downtown Pix register not so much as moments frozen in time as paused frames from a live-action film. This is due, in part, to the kinetic energy of the period—the live performances in loft spaces that encouraged audience participation, the scene’s irreverence and experimentation, as well as a sexual charge that served as a live wire of social behavior—at least until the arrival of AIDS. Downtown Pix provides a photographic chronicle of the period when formal conventions were abandoned with a kind of nose-thumbing glee. And, for a period of time, photography itself became more authentic, more animated, and more fun.”

The exhibition includes work by renowned artists such as David Wojnarowicz, Nan Goldin, Jimmy DeSana, and Andy Warhol. Three photographs by Robert Mapplethorpe, recently acquired as joint gifts to the Grey Art Gallery and Fales Library, will also be on display. Equally important to Downtown Pix are the works by photojournalists who reflected the scene as it developed. Fred W. McDarrah’s images of Greenwich Village’s Gay Pride Parade for the Village Voice document the annual event’s evolution. Robert Alexander’s iconic images of dancers, commissioned by the Soho Weekly News, appear alongside examples from his fine-art practice. Snapshots found among artists’ personal papers point to photography’s role in documenting private obsessions and capturing everyday beauty. Poet David Trinidad is represented by more than 40 color photos of miniature tableaux he made featuring his extensive collection of Barbie dolls and accessories. Martin Wong’s images of derelict cityscapes, made as source material for his paintings, offer a glimpse into the artist’s creative process. Whether records of performances, portraits of friends and lovers, or one-off experiments, the photographs in Downtown Pix blur the distinctions between fine-art photography, photojournalism, and amateur snapshots.

Downtown Pix focuses on the intergenerational dialogues and cross-disciplinary resonances that emerge from the archives’ sprawling logic. Photographs of Richard Hell’s concerts at CBGB, Richard Foreman’s experimental plays with the Ontological-Hysteric Theater company, Mabou Mines’s multimedia performances, the happenings at Judson Church, including Carolee Schneemann’s Meat Joy performance, and the installations at Creative Time’s Art on the Beach seriesmark explosive intersections of punk rock, art, dance, and drama. Lynn Gumpert, director of the Grey Art Gallery notes: “The photographs not only document seminal cultural practices, but also survey the vast ecology of artistic subcultures that flourished Downtown.”

Since 1994, when director Marvin J. Taylor founded Fales Library’s Downtown Collection, it has grown substantially to include over 12,000 printed items and 10,000 linear feet of archives. Taking a broad, inclusive approach, the Downtown Collection aims to document the entire scene rather than highlighting individual artists or groups. Among the invaluable materials Fales has acquired, and which are highlighted in Downtown Pix,are the archives of Fashion Moda and the papers of Andrea Callard, co-founder of the artists’ collective Colab. “To truly understand the climate in which key Downtown works were made,” Taylor writes, “requires an archive documenting the culture. All media are included: paper, film, video, and approximately 5,000 photographs from which the images in Downtown Pix were selected.”

The breadth of Fales’s Downtown Collection thus allows for individual artists, writers, and performers as well as collective groups to be situated within broader cultural and social contexts. Each photograph bears the indelible trace of its moment: from the pervasive sense of possibility of the 1960s, through the years of urban decay of the ’70s, and to the galvanized identity politics of the ’80s. The bohemian posturing evident in so many images celebrates a sense of personal freedom that was, for each generation, undoubtedly hard-won. The shared triumphs and inevitable failures documented in Downtown Pix continue to shape the memory of a scene that, through its many permutations, thrived on an ethics of experimentation, and a commitment to radical forms of urban life.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/7026-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/7026-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/7026-170" width="170" />
  <Karma>0.848802</Karma>
  <Price free="0">Suggested Donations: $3, NYU Students, Facutly, Staff Free</Price>
  <DateStart>2010-01-12</DateStart>
  <DateEnd>2010-04-03</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.730206</Latitude>
  <Longitude>-73.995983</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/8A2A" href="http://www.nyartbeat.com/event/2010/8A2A">
  <Name>&quot;Ma&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/45926D59">
    <Name>Taxter &amp; Spengemann</Name>
    <Type>Gallery</Type>
    <Address>123 E 12th St., New York, NY 10003</Address>
    <Phone>212-924-0212</Phone>
    <Fax>212-352-3540</Fax>
    <Access>Between 3rd and 4th Ave. Subway: L to 3rd Avenue</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[*Stéphane Malarrmé, Poet (18 March 1842 – 9 September 1898)

*“When ma is used in conjunction with the arts it relates to rhythm and berating (it was originally a concept related to
music). It can best be described in theater as a dramatic pause in spoken lines, in music it is interpreted according to each
musician's taste and how one wishes to space the notes. In painting, the empty space (ma) is used to enhance the whole
of the painting.” (http://japanese.about.com/library/weekly/aa082097.htm)]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/8A2A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/8A2A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/8A2A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-13</DateStart>
  <DateEnd>2010-03-27</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.73265</Latitude>
  <Longitude>-73.989408</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/8E40" href="http://www.nyartbeat.com/event/2010/8E40">
  <Name>Robin Cameron and Jason Polan “The Assembled Picture Library of New York City”</Name>
  <Venue href="http://www.nyartbeat.com/venue/8D07E91F">
    <Name>Esopus Space</Name>
    <Type>Cultural Center</Type>
    <Address>64 W 3rd St., #210, New York, NY 10012</Address>
    <Phone>212-473-0919</Phone>
    <Fax>212-473-7212</Fax>
    <Access>Between LaGuardia Pl. and Thompson St. Subway: D/B/F/V/A/C/E to West 4th Street</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>16:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="1" thu="0" fri="1" sat="1" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[Esopus Space presents “The Assembled Picture Library of New York City,” a collaborative exhibition and workspace environment organized by artists Robin Cameron and Jason Polan. 

The exhibition will provide free and open access to hundreds of images from the collections of Cameron and Polan. Visitors are invited to come in during gallery hours (Mon/Tue/Thu from 12-5pm) and use these images—which include manuscripts, advertisements, prints, original drawings, and more—as raw material for their own artworks, which will be displayed on the walls of Esopus Space for the length of the exhibition. Visitors are also encouraged to submit their own images to build upon the collection, and will have the opportunity to participate in a dialogue with Cameron and Polan, who will be in attendance throughout the run of the show. 

With this project, the artists hope to create a collaborative and creative relationship with the general public—an important component of both Cameron and Polan’s previous work, as well as an essential aspect of the Esopus Foundation’s mission. The artists are also interested in engendering a sense of community around the production of self-published books, zines, and editions. Along those lines, Polan and Cameron will create a book featuring visitors’ artworks, The Assembled Picture Library of New York Book, that will be available at the closing reception on March 18. ]]></Description>
  <Image src="http://www.nyartbeat.com/resources/images/nopic" width="30" />
  <Image src="http://www.nyartbeat.com/resources/images/nopic_80" width="80" />
  <Image src="http://www.nyartbeat.com/resources/images/nopic_170" width="170" />
  <Karma>0.789103</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-16</DateStart>
  <DateEnd>2010-03-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="4" date="2010-03-18" start="18:00:00" end="20:00:00">Closing Reception</Party>
 <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.72935</Latitude>
  <Longitude>-73.998255</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/97D5" href="http://www.nyartbeat.com/event/2010/97D5">
  <Name>Joohyun Kang &quot;Power Games&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/9C03551E">
    <Name>Tenri Cultural Institute</Name>
    <Type>Cultural Center</Type>
    <Address>43A W 13th St., New York, NY 10011</Address>
    <Phone>212-645-2800</Phone>
    <Fax>212-727-3234</Fax>
    <Access>Between 5th and 6th Ave. Subway: F/V to 14th Street or L/F/V to 14th Street or 4/5/6/N/Q/W to Union Sq. 14th St.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="1" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 10:00, saturdays closinghour 15:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Other</Media>
  <Description><![CDATA[Kang's current series Power Games contains subject matter that relates to the dualistic nature of life's cycle: destruction and renewal. She makes a powerful statement about survival within the inherently dangerous ecological environment in which life occurs. She demonstrates the Darwinist euphemism &quot;survival of the fittest&quot; in her works that contain flora and fauna as metaphors of life. The eagle or the phoenix stands as emblems of authority, at times attacking serpents or smaller prey. In turn, the serpent then attacks and devours a tiny bird or insect. This never-ending cycle of death is also one of renewal, for in nurturing the stronger, undoubtedly, life is also perpetuated. This is the natural rhythm of life that imposes order on chaotic nature.


Kang's backgrounds are immaculately painted formulating smooth glossy surfaces upon which her natural motifs exist. Her animals and plants are composed of beads, crystals and sequins painstakingly applied to her surfaces. They glitter and shine wearing crowns of glory like their royal human corollaries. At other times they swoop down in feathery exaltation to grab their quarry for the kill. Whatever form these entities take in the work of Kang they are glorious creatures that while sparkling in their pageantry cause us to think.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/97D5-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/97D5-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/97D5-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Depends on event.</Price>
  <DateStart>2010-03-09</DateStart>
  <DateEnd>2010-03-29</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-03-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>11</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.735911</Latitude>
  <Longitude>-73.995486</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/AC71" href="http://www.nyartbeat.com/event/2010/AC71">
  <Name>Isaac Pelepko &quot;Cartoony Sexy &amp; Violency&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/5ADD42C2">
    <Name>A Gathering of the Tribes</Name>
    <Type>Cultural Center</Type>
    <Address>285 E 3rd St., 2 Fl., New York, NY 10009</Address>
    <Phone>212-674-3778</Phone>
    <Fax></Fax>
    <Access>Between C and D Ave. Subway: F/V to 2nd Avenue Lower East Side.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>12:00:00</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>or by appointment</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[Isaac Pelepko is a Russian-born artist trained at the New York Academy of Art. He exhibits grotesque paintings and drawings satirizing both romance and Romanticism. Like John Currin, Pelepko uses careful classical rendering to induce quease and revulsion from visual stimulation. His courtship series is a perverse narrative of man, woman, and horse. This new series features Euclidean spaces overpopulated with anatomically exaggerated figures performing absurd dramas.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/AC71-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/AC71-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/AC71-170" width="170" />
  <Karma>4.02845</Karma>
  <Price free="0">free</Price>
  <DateStart>2010-03-06</DateStart>
  <DateEnd>2010-03-31</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-03-06" start="20:00:00" end="">Opening Reception</Party>
 <DaysBeforeEnd>13</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.721486</Latitude>
  <Longitude>-73.98015</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/BB8A" href="http://www.nyartbeat.com/event/2010/BB8A">
  <Name>Anna Friedel Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/54FAC295">
    <Name>Akira Ikeda Gallery</Name>
    <Type>Gallery</Type>
    <Address>17 Cornelia St., 1C, New York, NY 10014</Address>
    <Phone>212-366-5449</Phone>
    <Fax>212-366-5778</Fax>
    <Access>On the corner of W 4th St. Subway: 9 to Christopher Street or A/C/E/F/D/V to W 4th Street.</Access>
    <Area areaId="villages">Villages</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>By appointment only</ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[[Image: Anna Friedel “Hermes – eine episodische Assoziation” (2004) Collage / Object, object frame, black and white copy, tape, inkjet print on transparency plastic film, neon lamp, silk paper, nails, 127.5 x 82.5 x 7 cm]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/BB8A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/BB8A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/BB8A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-01-01</DateStart>
  <DateEnd>2010-06-30</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>104</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.73175</Latitude>
  <Longitude>-74.001428</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/BC50" href="http://www.nyartbeat.com/event/2010/BC50">
  <Name>Horst Ademeit Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/FB499DDF">
    <Name>White Columns</Name>
    <Type>Gallery</Type>
    <Address>320 W 13th St., New York, NY 10014</Address>
    <Phone>212-924-4212</Phone>
    <Fax>212-645-4764</Fax>
    <Access>Between 8th Ave. and Hudson St. Subway: A/C/E to 14th Street or L to 8th Avenue.</Access>
    <Area areaId="villages">Villages</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[White Columns presents an exhibition of work by the Cologne-based Horst Ademeit. This is Ademeit’s first solo exhibition in the United States. ]]></Description>
  <Image src="http://www.nyartbeat.com/resources/images/nopic" width="30" />
  <Image src="http://www.nyartbeat.com/resources/images/nopic_80" width="80" />
  <Image src="http://www.nyartbeat.com/resources/images/nopic_170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-03-05</DateStart>
  <DateEnd>2010-04-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-03-05" start="19:00:00" end="22:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.739583</Latitude>
  <Longitude>-74.003986</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/CD49" href="http://www.nyartbeat.com/event/2010/CD49">
  <Name>Benjamin Degan &quot;Out of the Dark into the Air&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/77B22DEF">
    <Name>Museum 52</Name>
    <Type>Gallery</Type>
    <Address>4 E 2nd St., New York, NY 10003</Address>
    <Phone>212-228-3090</Phone>
    <Fax>212-228-3074</Fax>
    <Access>Corner of Bowery Street Subway: 6 to Bleeker Street or F/V to 2nd Avenue</Access>
    <Area areaId="villages">Villages</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>Also by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/CD49-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/CD49-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/CD49-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-02-27</DateStart>
  <DateEnd>2010-04-02</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-02-27" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>15</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.725589</Latitude>
  <Longitude>-73.991906</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/D1CD" href="http://www.nyartbeat.com/event/2010/D1CD">
  <Name>Aubrey Mayer Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/FB499DDF">
    <Name>White Columns</Name>
    <Type>Gallery</Type>
    <Address>320 W 13th St., New York, NY 10014</Address>
    <Phone>212-924-4212</Phone>
    <Fax>212-645-4764</Fax>
    <Access>Between 8th Ave. and Hudson St. Subway: A/C/E to 14th Street or L to 8th Avenue.</Access>
    <Area areaId="villages">Villages</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>2D: Photography</Media>
  <Description><![CDATA[White Columns presents an exhibition of recent portraits by the New York-based photographer Aubrey Mayer.]]></Description>
  <Image src="http://www.nyartbeat.com/resources/images/nopic" width="30" />
  <Image src="http://www.nyartbeat.com/resources/images/nopic_80" width="80" />
  <Image src="http://www.nyartbeat.com/resources/images/nopic_170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-03-05</DateStart>
  <DateEnd>2010-04-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-03-05" start="19:00:00" end="22:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.739583</Latitude>
  <Longitude>-74.003986</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/F08E" href="http://www.nyartbeat.com/event/2010/F08E">
  <Name>Ayesha Durrani &quot;Pieces&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/F86F2FF2">
    <Name>Aicon Gallery</Name>
    <Type>Gallery</Type>
    <Address>35 Great Jones St., New York, NY 10012</Address>
    <Phone>212-725-6092</Phone>
    <Fax></Fax>
    <Access>Between Lafayette St. and Bowery. Subway: 6 to Bleecker Street or to Astor Place.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Ayesha Durrani's work is a reflection of her traditional upbringing in Peshawar. Her images of tailors' dress forms speak to the limitations placed upon women's independence in various traditional, patriarchal societies throughout the Middle East and South Asia. Durrani's faceless mannequins, presented in varying, often-disparate contexts, are examples of the irony that even when women seek to outwardly exhibit their individuality through superficial adornments, they remain constrained within the boundaries and standards their particular society has set for them. In a broader sense, although the varying colors of the dress forms and the shifting environments in which they're placed can be seen as representing differing personalities and emotional contexts, the mannequin, as an &quot;ideal&quot; form, remains a cultural standardization of &quot;womanhood&quot; recognized in the majority of modern societies. That is to say that while ideals of femininity may vary amongst cultures, the fact that some version of an &quot;acceptable&quot; ideal does exist remains a societal constant.

In her latest works, Durrani delves deeper into the psyche of repressed women by using hearts as a recurring motif. Although her hearts are portrayed as literal images of the organ itself, the artist stresses that the heart is &quot;more than a muscle that pumps blood through the body,&quot; but rather a conduit of the feelings and emotions that all women experience. In these works, hearts are depicted as broken to symbolize pain and loss, golden to symbolize selflessness and generosity, and a grouping of stone hearts symbolizes the collective stoicism that women must exude in any traditional, conformist society. 

In a statement from the artist:

&quot;They say a woman's heart is like an ocean, the depth of which cannot be measured, and that it carries as many secrets! In my new work I have tried to look inside a woman's heart and soul, trying to measure that depth. In most societies, girls are brought up to fulfill very specific roles. They are trained to sacrifice their happiness and needs in order to make others happy. It is this concept of self sacrifice that I have tried to portray, and the price of that sacrifice that women pay. Women are supposed to think with their hearts and not with their heads, at least that's what we are told! This is also probably why women are not taken seriously; why people hesitate to give them positions of power and importance. In my paintings I have shown the heart as more than a muscle that pumps blood through the body.&quot;

[Image: Ayesha Durrani &quot;KEEP THE HEART IN LINE&quot; (2009) Gouache on wasli, 13.5 x 19.5 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/F08E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/F08E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/F08E-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-03-04</DateStart>
  <DateEnd>2010-04-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-03-04" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.726919</Latitude>
  <Longitude>-73.993233</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/FFA3" href="http://www.nyartbeat.com/event/2010/FFA3">
  <Name>&quot;6x6 Project March&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/ABC661C8">
    <Name>Charmingwall</Name>
    <Type>Gallery</Type>
    <Address>191 W 4th St., New York, NY 10014</Address>
    <Phone> 212-206-8235</Phone>
    <Fax></Fax>
    <Access>Between 6th and 7th Aves. Subway: A/C/E or B/D to West 4th Street or 1 to Christopher Street</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>19:00:00</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: Drawing</Media>
  <Description><![CDATA[Each month, the 6x6 Project will exhibit a new collection of original art at Charmingwall – each and every piece on a six inch square canvas. 
This small and consistent size allows the gallery to show the works of a large and diverse group of artists every month.  
It also allows collectors the opportunity to curate their own selection of artwork at an identical size that will look great when hung together.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/FFA3-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/FFA3-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/FFA3-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2010-03-01</DateStart>
  <DateEnd>2010-03-31</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2010-03-05" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>13</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.732761</Latitude>
  <Longitude>-74.001831</Longitude>
 </Event>

</Events>