<?xml version="1.0"?>
<Events>
 <Event xml:lang="en" id="2011/34AC" href="http://www.nyartbeat.com/event/2011/34AC">
  <Name>&quot;Building Connections 2011&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 Center for Architecture Foundation brings built environment awareness to kindergarten through twelfth grade audiences. Our Learning By Design:NY in-school residency program began in 1991 and serves 2,100 students each year. Celebrating its ninth year, Programs@theCenter are our youth and family workshops that have grown steadily to serve 2,800 yearly. These award-winning programs inspire creative thinking, problem solving and civic activism; increase students’ visual literacy and appreciation of architecture and the design process; and introduce youth to careers connected to the built environment. The programs are led by experienced artists, designers, and architects who use real-world projects to help students understand the history, social context and impact of design as it connects to their own lives and communities.

Building Connections 2011 brings together a selection of student work from the diverse communities we serve. The projects exhibited showcase our hands-on, project-based approach to teaching that supports core subject learning both inside and outside of the classroom. Over the years, we have tested and refined our teaching methodology. We begin by building on students’ existing knowledge of the built environment, then introduce new images, ideas and vocabulary, to broaden students’ understanding of the topic and to strengthen observation skills. Through guided neighborhood walks, discussions and real-world analysis, students learn to ask questions and think critically to gain a better understanding of the elements of design and the design process. Hands on activities such as drawing, 2-D design and 3-D model-making equip students with the skills and sensibility needed to create their own designs. Presentation and reflection encourage students to communicate and refine their design ideas.

As we celebrate our 20th year of built environment education, we continue to work hard to provide our city’s youngest residents with access to the highest quality, creative, design-based education. Our programs help students grow and thrive and while some may be future designers. . .all will be designers of our future.

Exhibition Design: Poulin + Morris, Inc.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/34AC-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/34AC-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/34AC-170" width="170" />
  <Karma>0.257049</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-10-01</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2011-10-01" start="15:00:00" end="17:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.728667</Latitude>
  <Longitude>-73.998688</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/87B3" href="http://www.nyartbeat.com/event/2011/87B3">
  <Name>&quot;Soto: Paris and Beyond, 1950–1970&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: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Comprised of some 50 works, Soto: Paris and Beyond, 1950–1970 is the first largescale exhibition dedicated to this major Venezuelan artist to be held at a New York institution in more than 35 years. Featuring works produced after Jesús Rafael Soto's move to Paris, the show highlights his visionary investigations into notions of movement, displacement, and instability. Drawing inspiration from optics, color theory, and phenomenology, Soto (1923–2005) developed a radically new relationship between the artwork and the viewer. The exhibition also explores reciprocal influences between Soto and other members of the Parisian avant-garde—such as Yves Klein and Jean Tinguely. Soto's groundbreaking achievements in the fields of perception and interactive art established his reputation as both one of the foremost proponents of kinetic art and one of the most influential 20th-century Latin American artists. Curated by Estrellita B. Brodsky, the exhibition is accompanied by a fully illustrated catalogue.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/87B3-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/87B3-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/87B3-170" width="170" />
  <Karma>1.84895</Karma>
  <Price free="0">Suggested Donations: $3, NYU Students, Facutly, Staff Free</Price>
  <DateStart>2012-01-10</DateStart>
  <DateEnd>2012-03-31</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>51</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.730206</Latitude>
  <Longitude>-73.995983</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/CA58" href="http://www.nyartbeat.com/event/2011/CA58">
  <Name>&quot;Looking Back / The 6th White Columns Annual&quot; 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>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Selected by Nick Mauss and Ken Okiishi

‘Looking Back’ is the sixth installment of the White Columns Annual. The exhibition is now an annual fixture on White Columns’ calendar. Each year, an individual or a collaborative team (e.g. an artist, a curator, a writer, etc.) is invited to make an exhibition at White Columns based on their personal experience of looking at art in New York in the previous year. For the sixth ‘Annual’ exhibition, White Columns has invited the New York-based artists Ken Okiishi and Nick Mauss to make the selection. 

In a very straightforward sense, the ‘Annual’ exhibition hopes to reveal something of the complexities involved in trying to negotiate - and engage with - New York’s constantly shifting cultural landscape. The format of the exhibition inevitably encourages highly subjective and deeply personal responses to the realities of viewing art in New York. The ‘Annual’ exhibition series hopes to illuminate aspects of the specific, yet highly idiosyncratic routes – geographical, intellectual, historical, social, etc. – that individuals follow in an increasingly expansive and fragmented cultural environment.
Through the re-contextualization of artworks encountered in other circumstances and contexts, the exhibition hopes to establish – albeit temporarily – a new ‘narrative’, a conversation, of sorts, amongst artists and artworks, that seeks to illuminate and/or explore certain underlying tendencies, conditions, or connections that perhaps might otherwise have remained elusive or obscured. In re-thinking the (fairly) recent past the exhibition hopes to provoke something akin to a sense of deja-vu, establishing a scenario that is at once both reflective and forward thinking. 

There are no restrictions as to what type of work can be included. ‘Looking Back’ seeks to eliminate any categorical or hierarchical distinctions we might place upon artworks (e.g. based upon the circumstances in which they were originally seen, or the seniority of an individual artist, etc.) These works might have been originally encountered in exhibitions at institutions, galleries, and not-for-profit spaces, or at performances, readings, during visits to artists’ studios, or online, etc.
]]></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>2011-12-10</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2011-12-10" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.739583</Latitude>
  <Longitude>-74.003986</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/024F" href="http://www.nyartbeat.com/event/2012/024F">
  <Name>&quot;Méré Humd(r)um&quot; Exhibition</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>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Aicon Gallery New York presents Méré Humd(r)um, a group exhibition of Contemporary art from a new wave of young Pakistani artists. The Urdu word Humdum, one syllable removed from its mundane English cousin, means someone who is so close that their breath and yours are one. The word Méré, with even less separating it from the minimal, almost pejorative, “mere” of the English language, is infused with belonging - it means mine. Together, Méré Humdum becomes a term of endearment for a mentor, a friend or a lover. But in a linguistic coincidence it is just a syllable away from the English “mere humdrum.” Today, more than sixty years after Pakistan’s independence, the ordinary, the everyday, the humdrum, remains an object of longing for most Pakistanis - the type of longing one might reserve for a lover. A day when there is no bombing, no violence on the streets - a day when the school bus is delayed only by traffic is a day of thanksgiving and celebration. The twelve artists in this exhibition have created work in direct response to the chaos and violence surrounding them, yet much of this work is imbued with an intrinsic and eternal optimism that stands in defiant contrast to the instability and uncertainty from which it has emerged.

Much like Germany’s Weimar Republic of the 1930s, an odd dichotomy is in place with today’s generation of young Pakistani artists. While on the one hand, their political, economic and social situations are spinning out of control, the visual arts, in this landscape of circumscribed opportunities, is undergoing a transformation and creative flowering never before seen. This younger generation largely departs from the more traditional methods of their artistic heritage, such as miniature painting, and combines local materials and themes with progressive modes of post-colonial art practice, offering new interpretations and posing new questions for a society mired in political turmoil, social upheaval and violence both foreign and domestic.

Abdullah M. I. Syed’s Flying Rug works arise from Oriental myths and legends of the flying carpet and our desire for instant gratification. Made of folded U.S. dollar bills and box-cutter blades assembled into squadrons of drone-like airplanes, the rugs reference the dark and multilayered political implications of terrorism, capitalism and American hegemony, yet are intertwined with a poetic counterpoint that transmutes them and charges the works with the phenomenal capability of a magic carpet or the sublime stillness of a prayer rug. The works question not only the roots and consequences of 9/11 and the ongoing War on Terror through the prism of oversimplified Eastern and Western perceptions of one another, but also the complex relationship between capital and Contemporary art.

Cyra Ali’s haunting sculptures of disembodied intertwined limbs adorned in bright fabrics obtained from Karachi bazaars are a daring subversion of the overtly clad female body of Islamic tradition. The work stems from her desire to overturn the conventional trappings of femininity in Pakistani society and combat longstanding patriarchal desires to repress female sexuality. Ali’s bizarre doll-sized mash-ups of female legs blur the line between the most ordinary of body parts and the sinister and monstrous proportions they are capable of taking on when continually contextualized as taboo objects of desire to be both coveted and suppressed. More straightforwardly, Sarah Khan’s art is born from her resolute devotion to Pakistan, her beloved State, and her desire to see its artistic traditions, mainly miniature painting, evolve to address the socio-political complexities of its contemporary reality. She addresses her humdum (her Pakistan) for its charm and fading glory as she fortifies her wish for its resurrection from a negative entity to a positive one. 

Ehsan Ul Haq creates Duchampian assemblages of found everyday objects in which the individual components, though ordinary enough, are re-contextualized as dysfunctional or symbolic elements in what he calls “flawed systems.” Ul Haq sees his installations as operating “on a plane where art and life exist as parallels within ambiguous forms.” Through installations such as Fan and Water, man-made objects are stripped of their utility and repurposed in creations demonstrating both man’s god-like ambition to create new systems of life and the resulting absurdities brought into being when such attempts misfire.

Ultimately, this exhibition presents an examination of how a new generation of Contemporary Pakistani artists, through a range of disparate media and practices, continue to develop new methods of questioning the space between art and life in the often violent and chaotic reality they are faced with every day. Their work addresses not only the chasm and interstices between the two, but the extraordinary possibilities of art created in extraordinary surroundings.

[Image: Seher Naveed &quot;EVENING CONVERSATIONS&quot; (2011) Paper cuts, 15 x 18 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/024F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/024F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/024F-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.726919</Latitude>
  <Longitude>-73.993233</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/2626" href="http://www.nyartbeat.com/event/2012/2626">
  <Name>Ryan Sullivan Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/760D06A0">
    <Name>Maccarone</Name>
    <Type>Gallery</Type>
    <Address>630 Greenwich St., New York, NY 10014</Address>
    <Phone>212-431-4977</Phone>
    <Fax>212-965-5019</Fax>
    <Access>Between Morton and Leroy St. Subway: 1 to Houston Street.</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[Maccarone presents the first solo exhibition by New York-based artist Ryan Sullivan. 
 
In several large-scale paintings, Sullivan tempers gesture and authorship through an entropic set of actions. The works often invoke topographies, with a strikingly physical surface that undermines simple signification. The cracks, mounds and fissures manifest the electric instability of the painted surface while rendering the precarious state permanent. 
 
Sullivan’s thickly applied canvases summon the materiality and alchemy inherent to paint. Laying his canvases horizontally, the artist adds layers of latex, oil, and enamel to create pooled pockets that slowly coagulate into unanticipated leathery skins and weighty flesh. Lifting the half-dry canvas, Sullivan subjects the paint to gravity, concurrently dumping out some under-painting while activating other layers beneath: with this gesture, the artist relinquishes partial authorial control. The final application of spray paint deftly captures the contours of the morphing paint.
 
Published in conjunction with the exhibition, an artist book of photos anchors Sullivan’s observations on the architecture of material. The combing of decay, human wear, accumulation and disintegration in these images connects natural forces with the hermetic studio practice.
 
Ryan Sullivan was born in 1983 and received his Bachelor of Fine arts from the Rhode Island School of Design. The artist’s work has appeared in group exhibitions including Greater New York at P.S 1 MoMA, Queens; Luxembourg &amp; Dayan, London; Xavier Hufkens, Brussels; VeneKlasen/Werner, Berlin; and Nicole Klagsbrun, New York.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/2626-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2626-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2626-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-10</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-10" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.730972</Latitude>
  <Longitude>-74.008083</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/337B" href="http://www.nyartbeat.com/event/2012/337B">
  <Name>&quot;Layered SPURA&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/9ECEFFA7">
    <Name>The Sheila C. Johnson Design Center at Parsons The New School for Design</Name>
    <Type>University or School</Type>
    <Address>66 5th Ave., New York, NY 10011</Address>
    <Phone>212-229-8919</Phone>
    <Fax></Fax>
    <Access>On the corner of 13th St. Subway: 4/5/6/l/N/Q/R/W to Union Sq. or F to 14th Street.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>20:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>saturdays openinghour 12:00, saturdays closinghour 18:00, sundays openinghour 12:00, sundays closinghour 18:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Architecture</Media>
  <Description><![CDATA[More than forty years ago, New York City took ownership of 14 square blocks on the Lower East Side for urban renewal and “slum clearance.” Its legacy is a row of parking lots on the south side of Delancey Street. Few renewal projects have been so contested, and very few of the originally-planned buildings were built. This is SPURA, the Seward Park Urban Renewal Area, one of the largest underdeveloped city-owned parcels of land.

The Layered SPURA / City Studio project, headed by Gabrielle Bendiner-Viani, explores this complex site using a hybrid approach of pedagogy, art and research, and involves long-term collaborations between Lower East Side community organizations and students in Bendiner-Viani’s City Studio, a part of the New School’s Urban Programs. This exhibition, a culmination of four years of student, faculty, and community collaboration, does not suggest solutions for a place beleaguered by top-down planning, but rather hopes to spur new conversations amongst people with different points of view about SPURA’s past, present and future.

The project has collaborated with many local community and art organizations including Good Old Lower East Side, Pratt Center for Community Development, Place Matters, common room, Buscada, Henry Street Settlement’s Abrons Art Center and Creative Time.

Student artists involved in four years of the project include : Oscar Brett, Sarah Charles, Anastasia Ehrich, Jamie Florence, Savannah Foster, Zachary Fried, Matt Fujibayashi, Kara Gionfriddo, Joshua Guerra, Leijia Hanrahan, Anke Hendriks, Jaclyn Hersh, Vinh Hua, Evan Iacoboni, Candace Kiersky, Sohee Kim, Lila Knisely, John Lake, Sam Lewis, Rachael London, Hannah Lyons, Claudie Mabry, Stephanie Messer, Corey Mullee, Amy Nguyen, Katherine Priebe, David Privat-Gilman, Ian Pugh, Adam Schleimer, Kaushal Shrestha, Matthew Taylor, Gabriel Tennen, Samantha Washburn-Baroni, Brittney Williams, Emily Winkler-Morey, Alexander Wood and Hannah Zingre.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/337B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/337B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/337B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-23</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-31" start="18:30:00" end="">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.7351</Latitude>
  <Longitude>-73.994472</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/3C86" href="http://www.nyartbeat.com/event/2012/3C86">
  <Name>Spanky and Nina &quot;Drawings and Sculpture&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/65C2AC68">
    <Name>Fuse Gallery</Name>
    <Type>Gallery</Type>
    <Address>93 2nd Ave., New York, NY 10003</Address>
    <Phone>212-777-7988</Phone>
    <Fax></Fax>
    <Access>Between 5th and 6th St. Subway: F to 2nd Avenue</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>15:00:00</OpeningHour>
    <ClosingHour>20:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Hailing from different cultural and artistic backgrounds, artists Kevin “Spanky” Long and Nina Milner examine 
their diverse creative origins through a practice of visual dialogue. While both artists make occasional appearances 
in one another's independent work, a collaborative component steers Long and Milner on a more abstract track as 
they work in response to and in support of one another's creative instincts.

Long's preoccupation with the animal kingdom actualizes in stream of consciousness illustrations of imagined 
creatures. To further their fantastical nature, Long works with brush and ink to categorize the critters that populate 
his unconscious. Being from another country, Milner investigates notions of vulnerability and personal identity. 
Working figuratively with paper in the forms of sculpture and negative paper cut outs, Milner balances her 
predisposed tendency for intricacy with a new found surrender to the unanticipated. 

Southern California born Kevin &quot;Spanky&quot; Long, who's primary career for the last decade has been that of a 
professional skateboarder, has been in numerous group shows, including the touring exhibition “Draw”. He is 
a member of the Now I Remember collective who have shown both nationally and internationally. Other artistic 
endeavors include graphic work for RVCA and Baker Skateboards. 
 
Nina Milner, born and raised in South Africa, came to America almost two years ago anticipating only a 
month's stay. In South Africa, she worked on kinetic resin sculpture, and architectural installation projects. 
En route to the US, in 2010, she erected a large scale cotton installation for a group show in a gallery on the 
duomo of Parma, Italy. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3C86-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3C86-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3C86-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-18</DateStart>
  <DateEnd>2012-02-15</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-18" start="19:00:00" end="22:00:00">Opening Reception</Party>
 <DaysBeforeEnd>6</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.727129</Latitude>
  <Longitude>-73.988937</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/43E4" href="http://www.nyartbeat.com/event/2012/43E4">
  <Name>Adriana Farmiga “Versus”</Name>
  <Venue href="http://www.nyartbeat.com/venue/E8ACAAF5">
    <Name>La MaMa Gallery</Name>
    <Type>Gallery</Type>
    <Address>6 E 1st St., New York, NY 10003</Address>
    <Phone>212-505-2476</Phone>
    <Fax></Fax>
    <Access>Between Bowery &amp; 2nd Ave. Subway: 6 to Bleecker Street or F/V to 2nd Avenue</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>13:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[La Mama presents Adriana Farmiga’s second solo exhibition with the gallery. In Farmiga’s upcoming exhibition “versus.” she will be presenting a group of new works ranging in media, that function in a series of comparative relationships. Using the structural framework of the preposition “versus”, Farmiga posits observations within the full range of this analogous scenario – from the personal and geographical, to the art historical and ideological. Included in the exhibition, will be a encore presentation of her collaborative video work with actress Vera Farmiga, titled Suite for Pong.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/43E4-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/43E4-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/43E4-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.724619</Latitude>
  <Longitude>-73.991439</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/44F9" href="http://www.nyartbeat.com/event/2012/44F9">
  <Name>Ben Bunch “Twenty-First Century Freemasonry”</Name>
  <Venue href="http://www.nyartbeat.com/venue/51CC2124">
    <Name>The Proposition</Name>
    <Type>Gallery</Type>
    <Address>2 Extra Place, New York, NY 10003</Address>
    <Phone>212-242-0035</Phone>
    <Fax>212-242-0203</Fax>
    <Access>Between Bowery and 2nd Ave. Subway: F to 2nd Avenue.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[The Proposition presents “Twenty-First Century Freemasonry,” a show of new works by Ben Bunch. This is his second solo show with the gallery.

Ben Bunch makes carefully handcrafted sculptures from light weight craft materials such as foam, paper and glue. These sculptures often reference real hardware and technological objects while employing the abstract languages of painting and drawing at the same time. Their surfaces vary from meticulously manicured to slapdash and gestural. His sculptures often have an invisible centrifugal and centripetal energy whether the parts swirl locked in a unifying shape, or leak through the implied boundaries and seams.

In regards to the imagery and the process Bunch says, “The works often reference technology but they are not about technology. Rather they are about the energy and focus that is concentrated in the gesture of building them up. The imagery of the pieces is more a vessel to carry a mood about these frozen and isolated objects. I want them to feel akin to idols or cult-like objects emanating an uneasy power of the inanimate.”

As highlighted by the title of the show, Freemasonry is a touchstone for this idea of power and mystery in the construction of things. In the culture of Freemasonry, simple shapes and symbols are the building blocks of the world and the code by which Masons identify each other. Their core narrative is about making order out of chaos. Bunch uses the familiar objects and codes available in the twenty-first century to create possible narratives and artificial systems for his audience. Imitating the Masonic impulse to influence and shape their environment, Bunch first creates the random chaos in his sculptures and then tames it in a convergence of anarchy and control.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/44F9-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/44F9-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/44F9-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-21</DateStart>
  <DateEnd>2012-02-26</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-21" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>17</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.724639</Latitude>
  <Longitude>-73.991561</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/5043" href="http://www.nyartbeat.com/event/2012/5043">
  <Name>Sylvia Wald Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8DBED0ED">
    <Name>The Sylvia Wald and Po Kim Gallery</Name>
    <Type>Gallery</Type>
    <Address>417 Lafayette St., 4th Fl., New York, NY 10003</Address>
    <Phone>212-598-1155</Phone>
    <Fax></Fax>
    <Access>Between Astor place and 4th st., Subway: 6 to Astor Place or N/R to 8th Street.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>2D: Prints</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5043-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5043-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5043-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-17</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.728743</Latitude>
  <Longitude>-73.99238</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/5180" href="http://www.nyartbeat.com/event/2012/5180">
  <Name>&quot;Ukrainian Kilims: Journey of a Heritage&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/CF206ABF">
    <Name>The Ukrainian Museum</Name>
    <Type>Museum</Type>
    <Address>222 E 6th St., New York, NY 10003</Address>
    <Phone>212-228-0110</Phone>
    <Fax>212-228-1947</Fax>
    <Access>Between 2nd and 3rd Ave. Subway: 6 to Astor Place, W/R to 8th St. or F/V to 2nd Ave. and Houston St.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>11:30:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Product</Media>
  <Media>3D: Crafts</Media>
  <Description><![CDATA[Ukrainian Kilims: Journey of a Heritage, an exhibition of selected kilims from The Ukrainian Museum's permanent collection, will open to the public on February 12, 2012. More than 30 prized examples from the collection, the oldest kilim dating back to the late 18th century and others from the early 20th century, reveal the range and richness of colors and motifs used in the weaving of kilims. The exhibition will remain on display until October 21.

&quot;Kilim weaving has been practiced by Ukrainians for more than a thousand years,&quot; said Lubow Wolynetz, the Museum's curator of folk arts. &quot;Some of the kilims that are on display had survived war and the destructive Soviet occupation of Ukraine. They were transported across borders by Ukrainian refugees determined to preserve their cultural legacy. Left in our care after the arduous journey from Ukraine to this country, we are proud to present them as part of our growing collection of traditional textiles.&quot;

The flat tapestry rugs, woven on vertical or horizontal looms to produce stylized floral ornamentation or geometric patterns respectively, are made with naturally dyed wool, which yields rich, soft hues and adds to the beauty and warmth of the traditional Ukrainian kilim.

Spinning and weaving tools dating back to the Trypillian age (ca. 5000-2000 BC) have been found on the territory of today's right-bank Ukraine. The earliest known account documenting Ukrainian kilim weaving is a 10th century chronicle by the Arabian traveler, Ahmed Ibn Faldan, who wrote about a funeral kilim and the woman responsible for its production. References in other chronicles describing both the ritualistic and everyday usage of kilims by the princes of Kyivan Rus continue into the 12th century. By the 15th century, the importance of the kilim was indisputable, as detailed descriptions of kilims identified among the property holdings of Ukrainian aristocrats often included color, ornamentation, quality, size, and values, as well as their uses – as wall decor, table or bench covers, floor covering, and as important components of brides' dowry chests.

Stimulated by Western European demand, kilim production in Ukraine boomed from the 16th to the 18th centuries. Weaving guilds were formed. Workshops staffed by serf labor supplied private estates and manufactured kilims for the trade. Even monasteries took part in kilim production. Once an object coveted by the nobility, by the 19th century the kilim became a universal ornamental item in the average home. Kilims were being routinely produced on looms in Ukrainian villages as adornment for home interiors, highly-prized dowry chest items, and essential funeral textiles. By the end of the 19th century, however, the abolition of serfdom and rise of industrialization led to a significant decline in Ukraine's kilim industry, the socioeconomic effects negatively impacting village kilim weaving as well.

Around the turn of the 20th century, Ukrainian scholars and art lovers started developing an interest in folk art. Workshops reappeared and folk art schools were established. Students of weaving learned the art by copying antique kilims in private collections and museums, many of which have been since destroyed, thus preserving the designs and techniques. Artists such as Mykola Butovych, Sviatoslav Hordynskyi, Robert Lisovsky, Petro Cholodny, Jr., and Olena Kulchytska built reputations as kilim designers in the 20th century, and created several of the designs for original pieces that are included in this exhibition.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5180-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5180-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5180-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Adults $8, Seniors and Students with valid ID $6, Members and Children under 12 Free</Price>
  <DateStart>2012-02-12</DateStart>
  <DateEnd>2012-10-21</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>255</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.727989</Latitude>
  <Longitude>-73.989964</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/530E" href="http://www.nyartbeat.com/event/2012/530E">
  <Name>&quot;Good As New&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/74E1D054">
    <Name>Ed. Varie</Name>
    <Type>Gallery</Type>
    <Address>208 E 7th St., West Storefront, New York, NY 10009</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between Avenue A and B. Subway: L to 14th Street, F to 2nd Avenue, 6 to Astor Place.</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. hello@edvarie,com</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Ed. Varie presents GOOD AS NEW, the work of artists Aurélien Arbet, Jérémie Egry, David Brandon Geeting, Nicholas Gottlund, Bruno Zhu and David Zilber.

GOOD AS NEW is an exercise in short-term solutions. The artists in this exhibition are aligned by their common interest in the “makeshift.” Through photography and installation work, Aurélien Arbet, Jérémie Egry, David Brandon Geeting, Nicholas Gottlund, Bruno Zhu, and David Zilber convey ideas that “mean” well, but do not necessarily “do” well. On principle, the work in this show was created by thinking with the gut and not with the brain. It is an accurate representation of inaccuracy, a “larger than life” depiction of “smaller than life,” a demonstration of the quick fix, a celebration of the makeshift.

Brought together by David Geeting, who found an interview where David Zilber expressed interest in participating in a “dream show” with the above-mentioned artists, initiated a group email that linked all of the participants together, the exhibition is rooted in a roundabout manner from the start.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/530E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/530E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/530E-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-19" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.724422</Latitude>
  <Longitude>-73.980039</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/57B5" href="http://www.nyartbeat.com/event/2012/57B5">
  <Name>&quot;I See the Moon&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/2B2FDE0C">
    <Name>Milavec Hakimi Gallery</Name>
    <Type>Gallery</Type>
    <Address>41 Cooper Square, New York, NY 10003</Address>
    <Phone>817-975-5488, 516-31</Phone>
    <Fax></Fax>
    <Access>Between 7th and 6th Ave. Subway: 6 to Astor Place.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>21:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="1" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Milavec Hakimi Gallery presents I See the Moon, a group exhibition featuring artists: Katelyn Alain, Dina Brodsky, Sabrina Marques, Scott Kahn, Christopher Saunders, Ryan Scully and Nicolas Touron.

These seven artists display the ability to create alluring visual manifestations of their imaginations, causing viewers to suspend disbelief and dive into fantastical realms of fantasy. I See the Moon explores many worlds from post-apocalyptic landscapes to moments pulled from lifelike fairy tales.

The works in this upcoming exhibition construct settings, which intricately intertwine the real and the imagined, resulting in a unique blend of familiarity and mystery. Each painting creates a portal into a new place as well as the artist’s mind. With each artist comes a distinct fictitious vision, illustrated through lush color palettes, atmospheric effects and characters. I See the Moon pushes you to inhabit the mind of the artist while stirring your own creative subconscious.
 
Regardless of the world you find yourself standing in front of, you can always see the moon.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/57B5-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/57B5-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/57B5-170" width="170" />
  <Karma>1.32937</Karma>
  <Price free="0"></Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-19</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>10</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.728414</Latitude>
  <Longitude>-73.990639</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/676D" href="http://www.nyartbeat.com/event/2012/676D">
  <Name>&quot;Black &amp; White&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/B4C260C3">
    <Name>Salmagundi Art Club</Name>
    <Type>Cultural Center</Type>
    <Address>47 5th Ave., New York, NY</Address>
    <Phone>212-255-7740</Phone>
    <Fax></Fax>
    <Access>Between 11th and 12th Sts. Subway: 4/5/6/L/N/Q/R/W to 14th Street/Union Square.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>13:00:00</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></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Held annually since 1878, the Black &amp; White Exhibition has in the past included great American artists such as William M. Chase, Thomas Moran, John Singer Sargent, and James M. Whistler. 
 
This exhibition in the Upper Gallery of black &amp; white or sepia monochromatic drawings, graphics, photographs, paintings, and sculpture by artist members.  

[Image: Thomas Shelford &quot;Camp Hero Montauk View&quot; Monotype print on paper]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/676D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/676D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/676D-170" width="170" />
  <Karma>0</Karma>
  <Price free="0"></Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-02-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-03" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>1</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.734286</Latitude>
  <Longitude>-73.994664</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6ACE" href="http://www.nyartbeat.com/event/2012/6ACE">
  <Name>&quot;Double Reverse&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/07272149">
    <Name>TNC Gallery</Name>
    <Type>Event Space</Type>
    <Address>155 1st Ave., New York, NY 10003</Address>
    <Phone>212-254-1109</Phone>
    <Fax></Fax>
    <Access>Between 9th and 10th Sts. Subway: 6 to Astor Place, N/R to 8th Street, L to 1st Avenue.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>20:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>saturdays openinghour 12:00, sundays closinghour 18:00, sundays openinghour 12:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Description><![CDATA[The selected group of artists for this exhibit work in a diversity of materials and approaches, both traditional and unexpected, to create work that is a mirror of contemporary issues and obsessions. Whether figurative, ornamental, or purely abstract, the exhibition (ironically hung with a theater as backdrop) draws attention to that elusive point of view called &quot;reality.&quot;]]></Description>
  <Image src="http://www.nyartbeat.com/resources/images/nopic" width="30" />
  <Image src="http://www.nyartbeat.com/resources/images/nopic_80" width="80" />
  <Image src="http://www.nyartbeat.com/resources/images/nopic_170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-26</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>17</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.728581</Latitude>
  <Longitude>-73.984797</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/70C0" href="http://www.nyartbeat.com/event/2012/70C0">
  <Name>Kiyoshi Otsuka &quot;Commanding Gestures&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>
  <Description><![CDATA[Otsuka's horticultural experience comes into play when painting in that he incorporates the mystifying qualities of nature into his work. This is most evident morphologically but also in the titles he uses for example Mizuumi which means body of water, or Mizoresleet. To Otsuka, &quot;water provides nourishment through roots, and the intensity of the root energy is powerful.&quot; Otsuka aims to express this power through his paintings. The element of water is evident in the liquid surfaces of his works as is the energy with which he moves his brush. This unbridled beauty is expressed in an abstract idiom that is ineradicable in its impact. The word gesture in western art is usually associated with Abstract Expressionism popular in the late Forties and early Fifties. The Gutai group and its leader Jiro Yoshihara in 1954 were also working with gestural approaches of painting in Japan from where Otsuka immigrated. However, in ancient China according to the art theorist Xie He's (aesthetics shared by Japan) first canon of painting, a lively brushwork was considered to contain Qi yun or energy/spirit/breath of life. As explained by Sherman E. Lee in A History of Far Eastern Art, &quot;the Qi yun, the life spirit, is the quality that differentiates genius from competence.&quot; (Fifth Edition, p.288)

Although abstraction in general speaks to the universal, Otsuka's abstract language becomes something very specific conveying the spiritual dynamism of his individual signature. Otsuka's abstract Bayou, 2011 contains sharp, strong line juxtaposed against soft evanescent passages of space like Sesshu Toyo's Long Landscape Scroll, (c.1420-1506) even though the latter is a representational work. Otsuka's works for this show are significant in size and site- specific to the Tenri which is a space of monumental scale. Thus, in this regard, it is conceptual because it alters the perception of the space rendering it awe-inspiring.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/70C0-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/70C0-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/70C0-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Depends on event.</Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-03" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.735911</Latitude>
  <Longitude>-73.995486</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/724A" href="http://www.nyartbeat.com/event/2012/724A">
  <Name>Patrick Brennan &quot;Moon Drawings&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/BB20590C">
    <Name>The Wild Project</Name>
    <Type>Event Space</Type>
    <Address>195 E 3rd St., New York, NY 10009</Address>
    <Phone>212-228-1195</Phone>
    <Fax>212-228-1154</Fax>
    <Access>Between Avenue A and B. Subway: F/V to 2nd Avenue</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>14:00:00</OpeningHour>
    <ClosingHour>20:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>2D: Prints</Media>
  <Description><![CDATA[Presented by Halsey Mckay Gallery, Moon Drawings, is a new body of work on paper and recently finished iMovies by Patrick Brennan. Made with the same casual splicing, snipping, camoflauging approach as his signature paintings, these outlets find the artist on new surfaces, terra firma.

This event marks the release of Mirrors for Eyes, published by Halsey Mckay Gallery and the artist. The 40 page, full-color, monograph includes an interview with Amy Sillman, a poem for the artist by Lauren VHS, installation images as well as a portfolio of paintings.

Patrick Brennan was born in Syracuse, New York and now resides in New York City. He studied at Munson Williams Proctor Art Institute and received a BFA in Painting and Video Art from Alfred University in 1998. Exhibitions include: MOMA / PS1, Nicole Klagsbrun, Monya Rowe Gallery, Zieher Smith, Edward Thorpe Gallery, Artist Space and Clifton Benevento in New York. Brennan has been awarded residencies at Atlanta College of Art, Atlanta GA, Burren College of Art (Ireland), and The Experimental Television Center Owego, NY.

HALSEY MCKAY GALLERY was founded in 2011 by curator Hilary Schaffner and artist Ryan Wallace. Located in the town of East Hampton, New York, the gallery serves as a forum for emerging artists and provides a relaxed environment for visitors to view contemporary art. Contributing to the area’s rich history and support for the arts, Halsey Mckay looks to make introductions between exciting artists and the community.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/724A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/724A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/724A-170" width="170" />
  <Karma>0</Karma>
  <Price free="0"></Price>
  <DateStart>2011-12-20</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.722986</Latitude>
  <Longitude>-73.983472</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/73E6" href="http://www.nyartbeat.com/event/2012/73E6">
  <Name>Karina Cavat “Psalms from a Painter”</Name>
  <Venue href="http://www.nyartbeat.com/venue/0A1A4F9A">
    <Name>Westbeth Gallery</Name>
    <Type>Cultural Center</Type>
    <Address>55 Bethune St., New York, NY 10014</Address>
    <Phone>212-989-4650</Phone>
    <Fax></Fax>
    <Access>Between Washington and West St. Subway: A/C/E to 14th Street or L to 8th Avenue.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>13:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="1" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Karina Cavat’s first solo exhibition at the Westbeth Gallery opens Saturday, January 28, 2012 at the Westbeth Artists Housing in Lower Manhattan. The exhibition “ Psalms from a Painter” is from a series of works on wood and paper painted over a four year period and is based on the artist’s nomadic spiritual search and ongoing response to the feeling of a new world. Many of the formats that are shown are in triptych and vertical compositions and explore harmonious arrangements dedicated to the macro and micro dimensions found in Nature and the cosmos.

Cavat has exhibited her work nationally, has received numerous awards including a Fulbright Scholarship to Italy and two Helena Rubinstein Awards in painting. She is currently as a working teaching artist for Creative Classrooms and Studio in a School in New York City.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/73E6-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/73E6-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/73E6-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-28</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-28" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.736694</Latitude>
  <Longitude>-74.008383</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/76CA" href="http://www.nyartbeat.com/event/2012/76CA">
  <Name>George Ortman &quot;Constructions: 1949 – 2011&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/29FAAAFA">
    <Name>Algus Greenspon</Name>
    <Type>Gallery</Type>
    <Address>71 Morton St., New York, NY 10014</Address>
    <Phone>212-255-7872</Phone>
    <Fax></Fax>
    <Access>Corner of Hudson St. Subway: 1 to Houston Street</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[Algus Greenspon presents George Ortman, Constructions: 1949 – 2011, an exhibition surveying 62 years of the artist’s work.

George Ortman’s painted constructions of the 1950s and early 1960s are pioneering works. Their reductive geometry and modular color were widely seen as being at the forefront of young artists move away from abstract expressionism. Writing about the Whitney’s Young America 1960, Hilton Kramer noted that “There is only one artist [in the exhibition] who is equal to a museum showing: that is Mr. George Ortman.” Indeed, Ortman’s work was a particular inspiration to Donald Judd who saw it at the Stable Gallery and repeatedly cited its importance as an antecedent: “[In 1959] George Ortman was doing his best reliefs and had been working along that line for some time. Their worth has never been adequately acknowledged.” (Local History, Arts Yearbook 7, 1964)
 
In many ways Ortman’s early work forms a missing link between post-war abstraction and the geometric art of the 1960s. As such it fits neatly beside the occult assemblage of Jasper Johns, Robert Rauschenberg and Lee Bontecou in a progression away from abstract expressionism towards something concrete and revelatory. Judd remarks in his seminal essay on the development of the new art of the 1960s, Specific Objects that “The work of Johns and Rauschenberg and assemblage and low-relief generally, Ortman’s reliefs for example, are preliminaries.” (Arts Yearbook 8, 1965) Interestingly, Ortman shares with Johns and Rauschenberg a type of quotidian surrealism, as well as ties to Dada. Ortman’s link to post-war Surrealism originates in his studies at Stanley William Hayter‘s Atelier 17 in New York in 1949. The Dada connection comes via Duchamp, and is evident in the parallels between Ortman’s formal geomancy and chess. As Judd observes: “[Ortman’s constructions] seem to be games or models for some activity and suggest chance, from much through little, controlled and uncontrolled, operating on things both related and unrelated. They are one of the few instances of completely unnaturalistic art. They are concerned with a new area of experience, one which is relevant philosophically as well as emotionally.” (Local History, Arts Yearbook 7, 1964) 
 
The current exhibition starts with Ortman’s first construction, Beginnings (1949), done while in Paris on the GI Bill. Beginnings clearly shows the artist’s assimilation of surrealist influence, taking Cornell’s boxes in a new, abstract/constructivist, direction. Journey of a Young Man (1957 is a sententious work marking Ortman’s transition from surrealism to purely geometric constructions. Like all of Ortman’s art it belies a furtive narrative figuration undergoing an analytical progression towards pure abstraction. Tales of Love (1959), the largest work in Ortman’s breakthrough 1960 exhibition at Stable Gallery, is the apogee of the relentless, reductivist constructions that Judd found so inspirational. Blue Diamond (1960) is Ortman’s most widely reproduced work and was a centerpiece of Toward a New Abstraction, the important 1963 exhibition at the Jewish Museum that defined then emerging post-painterly tendencies. (Here Ortman took equal place alongside Ellswoth Kelly, Frank Stella, Morris Louis and Kenneth Noland.) In the 1970s, as a faculty member at Cranbrook Academy near Detroit, Ortman’s work acquired a riveting elegance. Constructions such as Woodward (1974) and Eye (1977) have the unified formal presence of the best post-war abstraction to come out of New York.
 
In the late 1980s and 1990s Ortman turned his eye toward Detroit, seeing in the city’s tragic decay themes that were familiar to him from his work at the Tempo Playhouse, the theater he cofounded in 1953 that was the first in America to present plays by Ionesco and Genet. Pilgrim and Jefferson Avenue are two major constructions from this period. Stark in their use of silver, white and graphite, they have a lucid mechanical ferocity bearing interesting comparison to the work of Lee Bontecou. Most recently, fascinated by the geometric possibilities presented by the intersection of four inclined planes, Ortman has been working on an ongoing series of free standing pyramidal forms.
 
Throughout his career, Ortman has made Imitations based upon classical and modern masterpieces. Included here are drawings for Heartbeat, Ortman’s first (1962) Imitation based on Matisse’s Piano Lesson, and a group of drawings from his study of Paolo Uccello’s Battle of San Romano (1965). These drawings emphasize the figurative and symbolic foundation of Ortman’s art, demonstrating the mechanics of his abstraction and showcasing his extraordinary talent as a draughtsman–an interesting aside for a geometric abstractionist shared by others of his generation such as Ellsworth Kelly.
 
George Ortman was born in 1926 in Oakland, California. In the early 1950s Ortman showed at the cooperative Tanager Gallery on Tenth Street, then in 1957 and 1960, at the Stable Gallery. Throughout the 1960s Ortman showed at the Howard Wise Gallery. The artist had a one-person exhibition at the Walker Art Center in 1965. In 1970 Ortman left to teach at the Cranbrook Academy in Michigan and stopped exhibiting in New York. The current show is George Ortman’s third exhibition since returning to New York in the 1990s. In 2001 this gallery presented a cycle of paintings from the 1980s based on Georges Seurat’s Models, and in 2006 an exhibition of 4 constructions and new cast sculptures.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/76CA-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/76CA-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/76CA-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-14</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-14" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.731961</Latitude>
  <Longitude>-74.00698</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/890D" href="http://www.nyartbeat.com/event/2012/890D">
  <Name>Willie Alexander &quot;Wall Works&quot;</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: Other</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[An exhibition of never-before-exhibited large-scale collages by rock-and-roll musician Willie Alexander, whose five-decades-long musical career includes stints with The Velvet Underground, The Bagatelle, The Lost, and The Boom Boom Band. For the past 25 years, Alexander has used thousands of yards of packing tape to affix newspaper clippings, ephemera from concert tours, personal photographs, cat litter packaging, and virtually every other material to the walls of his house in Gloucester, Massachusetts. These &quot;crazy quilts from a truly amazing creative consciousness&quot; (John Jacob) will be shown to the public for the first time at this exhibition, which represents Alexander's New York debut.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/890D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/890D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/890D-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-13</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-15" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>33</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.72935</Latitude>
  <Longitude>-73.998255</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/8C69" href="http://www.nyartbeat.com/event/2012/8C69">
  <Name>&quot;Synchronous Objects: Degrees of Unison&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8F3D614E">
    <Name>Goethe-Institut Wyoming Building</Name>
    <Type>Cultural Center</Type>
    <Address>5 E 3rd St., New York, NY 10003</Address>
    <Phone>212-439-8700</Phone>
    <Fax></Fax>
    <Access>Between 2nd Ave. and Bowery.  Subway: F to 2nd Avenue, 6 to Brodway-Lafayette 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>
  <Media>Screen: Video installation</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[Synchronous Objects: Degrees of Unison is a multipart sound and video installation focusing on One Flat Thing, reproduced an ensemble dance by William Forsythe. 

Focusing on the choreographic visualization online project Synchronous Objects created by Norah Zuniga Shaw, Maria Palazzi and William Forsythe, the installation brings viewers into an encounter with the deep structures of a dance and the generative ideas contained within. A series of visual objects – animations, computer graphics, interactive tools – enact a parallel performance of Forsythe's choreographic ideas. The work was first launched online in 2009 and is still available in this form. 

In the installation, Norah Zuniga Shaw stays close to the conceptual foundations of the online original while extending them into the architectural and experiential possibilities of the Goethe-Institut Wyoming Building. In addition to interacting with the site and viewing HD animations from the project, visitors can spend time within a circle of synchronized visualizations unfolding from dance to data to objects over the 15 – minute time span of the piece. William Forsythe's voice calls out timing to the dancers and the sounds of the dancers' actions move in multi-channel choreography around the space. Finally, a paper proliferation of creative processes can be found to read, leave behind, sort, or carry home. 

Synchronous Objects: Degrees of Unison (2010) 
A video installation by Norah Zuniga Shaw based on original material from 
Synchronous Objects for One Flat Thing, reproduced (2009) 
By William Forsythe, Norah Zuniga Shaw, Maria Palazzi 
Creative director: Norah Zuniga Shaw 
Choreographer: William Forsythe, One Flat Thing, reproduced (2000) 
Video source director: Thierry de Mey (2006) 
Video and software engineer: Benjamin Schroeder 
Sound designer: Marc Ainger 
Producers: Julian Richter, Shawn Hove, Oded Huberman, and Petra Roggel/Goethe-Institut
Sound resources: ambient sound of dancers performing the piece and William Forsythe's voice 
Runing time: 15:30 min.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8C69-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8C69-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8C69-170" width="170" />
  <Karma>1.45604</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-02-26</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>17</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.726337</Latitude>
  <Longitude>-73.991297</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9719" href="http://www.nyartbeat.com/event/2012/9719">
  <Name>Vita Petersen &quot;In Black and White: The Last Works&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/F640E91F">
    <Name>The New York Studio School</Name>
    <Type>University or School</Type>
    <Address>8 W 8th St., New York, NY 10011</Address>
    <Phone>212-673-6466</Phone>
    <Fax>212-777-0996</Fax>
    <Access>Between 5th and 6th Aves.  Subway: R/W to 8th 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>2D: Painting</Media>
  <Description><![CDATA[Vita Petersen was born in 1915 to a family prominent in German history and politics. Her mother was the direct descendent of the 18th century Jewish philosopher Moses Mendelssohn; her father was Secretary of State in the 1920’s. Her brother, the art historian Otto von Simson, is best known for his iconic study, The Gothic Cathedral. Petersen grew up surrounded by the paintings of Cézanne, Degas, Monet and others in the remarkable collection of her grandmother.

Petersen studied at the Prussian Academy of Arts in Berlin with Carl Hofer, the German Expressionist painter, and then at the Munich School of Fine Arts until her teachers were banned by the Nazis. In 1934 she fell in love with Gustav Petersen, a Hamburg businessman. They fled Nazi Germany in 1938 for New York, where their daughter Andrea was born in 1942. The Petersens lived in New York City for the rest of their lives, and spent time in Falls Village, Connecticut and Wellfleet, Massachusetts.

Around 1945, Petersen met the painter Mercedes Matter while their children were playing together in Washington Square Park. The two became lifelong friends. Matter introduced Petersen to the circle of Abstract Expressionists which included Pollock, Krasner, Kline, Guston, Motherwell, de Kooning, Tworkov, Sterne and others. With them she found friendship and common values. Hans Hofmann, who invited Petersen to join his classes in New York and Provincetown, was a formative influence and close friend.

Petersen had her first solo show at the Esther Stuttman Gallery in New York in 1958. A reviewer in Arts magazine wrote: “There is no doubt Miss (sic) Petersen could be the real thing…an impressive debut.” Petersen exhibited in Berlin and New York. During the seventies, she was represented by Betty Parsons. Petersen also exhibited at the New York Studio School, the Washington Art Association in Washington Depot, CT, MB Fine Art in L.A. and NY, and the Rising Tide Gallery in Provincetown, MA. Her most recent show was in 2010 at Mark Borghi Fine Art in Bridgehampton, NY.

In 1964, with Rothko, de Kooning, Noguchi, and other extraordinary artists, Petersen helped Matter found The New  York Studio School.   Petersen  remained   an   articulate and active force in the school until her recent death at 96. A tireless advocate and an inspiring mentor for students, she was called upon for advice on art, life and even love.

As failing eye sight reduced her ability to differentiate colors, she began painting in black and white. Almost paradoxically she found the greatest happiness she had ever experienced in her studio, producing what may be her best work. Noted long-time friend, William O’Reilly, the last paintings “had a new kind of clarity; they had a resolve that was not as forcefully apparent in earlier work; they had a finish and they had a color that was new to the artist. .. Petersen was unambivalently pleased with this set of work.”

Vita Petersen died at home on October 22, 2011.

“Sometimes it is the painting itself which leads the way and I follow.” 

— Vita Petersen

[Image: Vita Petersen &quot;Untitled # 5&quot; oil stick, pastel and acrylic paint on paper, 10 1/4 x 13 3/4 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9719-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9719-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9719-170" width="170" />
  <Karma>1.2766</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-27</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.732317</Latitude>
  <Longitude>-73.996869</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9A38" href="http://www.nyartbeat.com/event/2012/9A38">
  <Name>&quot;Hearts&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/0D80BC81">
    <Name>Michael Mut Gallery</Name>
    <Type>Gallery</Type>
    <Address>97 Ave. C,  New York, NY 10009 </Address>
    <Phone>212-677-7868</Phone>
    <Fax></Fax>
    <Access>Between 6th and 7th St. Subway: F/V to 2nd Ave Station</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>14:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 12:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[The Heart is known as the center of one’s emotions and thoughts of love. Today, we use the heart as a symbol to represent &quot;Self-love&quot;.

The artists in this exhibition come together to invoke and share one thing in common : the love of self. Self love is the willingness and openness to look within and appreciate who we are right now. The artists included in &quot;Hearts&quot; stand out in their desire to understand themselves and their efforts to inspire self-knowledge and self-preservation.

In reaction to the pursuit of love deemed necessary in today’s society where the self gains worth through the eyes of others, the Love Yourself Project and this exhibition are influenced by the role of self-love as an initial necessity for the generation of all kinds of love. The familiar shape of the heart, hence, becomes a symbol of individuals celebrating themselves. Knowing and loving oneself is celebrated as the first step in understanding and loving others.

The Love Yourself Project was created to spread a message of unconditional self-love, and through education and visual arts, we aim to celebrate and empower communities around the world.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9A38-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9A38-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9A38-170" width="170" />
  <Karma>2.63736</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-25</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-03" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.723861</Latitude>
  <Longitude>-73.979203</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9BA7" href="http://www.nyartbeat.com/event/2012/9BA7">
  <Name>Benjamin Degen and Yuri Masnyj &quot;Night X&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/9CFBBD14">
    <Name>American Contemporary</Name>
    <Type>Gallery</Type>
    <Address>4 E 2nd St., New York, NY 10003</Address>
    <Phone>347-789-7072 </Phone>
    <Fax></Fax>
    <Access>Corner of Bowery Street. Subway: 6 to Bleeker Street or F/V to 2nd Avenue</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>12:00:00</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>3D: Installation</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9BA7-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9BA7-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9BA7-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-13</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>4</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.725589</Latitude>
  <Longitude>-73.991906</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/B802" href="http://www.nyartbeat.com/event/2012/B802">
  <Name>Michael Crouser &quot;A Mid-Career Retrospective&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/1BF664F1">
    <Name>Leica Gallery in New York</Name>
    <Type>Gallery</Type>
    <Address>670 Broadway, Suite 500, New York, NY 10012</Address>
    <Phone>212-777-3051</Phone>
    <Fax>212-777-6960</Fax>
    <Access>Between W 3rd and Bleecker St. Subway: 6 to Bleeker Street or B/D/F/V to Broadway Lafayette.</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[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B802-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B802-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B802-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.727361</Latitude>
  <Longitude>-73.995097</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/C196" href="http://www.nyartbeat.com/event/2012/C196">
  <Name>&quot;Back From L.A.&quot; Exhibition</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>2D: Drawing</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C196-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C196-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C196-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-01</DateStart>
  <DateEnd>2012-02-29</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>20</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.725683</Latitude>
  <Longitude>-73.993778</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/CB44" href="http://www.nyartbeat.com/event/2012/CB44">
  <Name>Borys Kosarev &quot;Modernist Kharkiv, 1915-1931&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/CF206ABF">
    <Name>The Ukrainian Museum</Name>
    <Type>Museum</Type>
    <Address>222 E 6th St., New York, NY 10003</Address>
    <Phone>212-228-0110</Phone>
    <Fax>212-228-1947</Fax>
    <Access>Between 2nd and 3rd Ave. Subway: 6 to Astor Place, W/R to 8th St. or F/V to 2nd Ave. and Houston St.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>11:30:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[The first comprehensive exhibition of avant-garde artist Borys Kosarev will be presented in New York City at The Ukrainian Museum. Borys Kosarev: Modernist Kharkiv, 1915-1931 includes 82 works on paper by Kosarev, an important contributor to the Eastern European Modernist movement and a survivor of Stalin's intellectual purges in 1930s Ukraine.

Borys Kosarev (1897-1994), also known as Boris Kosariev, was a contemporary of prominent Kharkiv, Ukraine artists David Burliuk (1882-1967), Vladimir Tatlin (1885-1953), and Ilya Repin (1844-1930), as well as other celebrated Ukrainian artists such as Kazimir Malevich (1879-1935) and Alexander Archipenko (1887-1964). A master graphic artist, painter, designer, photographer, and book illustrator, Kosarev worked with luminaries such as theater director Les Kurbas (1887-1937), poet Vladimir Mayakovsky (1893-1930), and cinema pioneer Alexander Dovzhenko (1894-1956). One of Kosarev's closest collaborators in the Kharkiv avant-garde was Volodymyr Bobrytskyi (1898-1986), who emigrated to New York and went on to become the recognized designer known as Bobri.

&quot;Kosarev is barely known in his own country. This first ever exhibition brings to light Kosarev’s prodigious talent and exposes the fundamental relationship between the artist and the site of his creative stimulus, his beloved city, Kharkiv,&quot; said Maria Shust, director of The Ukrainian Museum. &quot;Kosarev's extensive contribution to Ukrainian Modernism will finally be given its due when the collection is exhibited in Ukraine, where it will return in 2012.&quot;

Borys Kosarev’s name will forever be associated with the city of Kharkiv – the place of his birth, death, and a long life devoted to the visual arts. A native son of the fiercely independent Kharkiv territory, which produced some of Ukraine’s most creative cultural personalities, Kosarev epitomizes the spirit of the area and its regional diversity. The contents of the exhibition coincide with the period of Kharkiv’s status as Ukraine’s capital city (1919-1934) and the rise of Constructivism as an ideological aesthetic. It was also the period of Ukrainianization—a government policy that encouraged the revitalization of national culture, only to be quashed through a series of orchestrated purges of its proponents, the Ukrainian intelligentsia, beginning in the 1930s. While it flourished, Ukrainianization brought with it a renaissance of art and culture, serving as an unprecedented gateway into global Modernism through the aesthetic of Constructivism.

Sheltered from excessive official scrutiny by working in theater design and as a teacher until his death in 1994, Kosarev survived the Stalin purges and later repressions by intentionally &quot;flying under the radar.&quot; Sadly, his own reticence, coupled with the pressures exerted by the political landscape of the times, left Kosarev virtually unknown as a contributor to the Modernist movement. Not unlike Anatol Petrytsky (1895-1964), whose works were called a &quot;serendipitous discovery&quot; by the New York Times (Glueck, Grace. “Ukrainian Modernists, All Alone, Here at Last.” The New York Times, November 4, 2006, B7), Kosarev and his art are yet to be revealed and considered among the important Modernists of the early 20th century. Borys Kosarev: Modernist Kharkiv, 1915-1931 is augmented with several works by his colleagues Vasyl Yermilov (1894-1968) and Maria Syniakova (1890-1984). The exhibition, comprising 88 objects in total, is curated by Myroslava M. Mudrak, Professor of Art History, The Ohio State University.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/CB44-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/CB44-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/CB44-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Adults $8, Seniors and Students with valid ID $6, Members and Children under 12 Free</Price>
  <DateStart>2011-12-05</DateStart>
  <DateEnd>2012-05-02</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>83</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.727989</Latitude>
  <Longitude>-73.989964</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D14D" href="http://www.nyartbeat.com/event/2012/D14D">
  <Name>&quot;Where Do We Migrate To?&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/9ECEFFA7">
    <Name>The Sheila C. Johnson Design Center at Parsons The New School for Design</Name>
    <Type>University or School</Type>
    <Address>66 5th Ave., New York, NY 10011</Address>
    <Phone>212-229-8919</Phone>
    <Fax></Fax>
    <Access>On the corner of 13th St. Subway: 4/5/6/l/N/Q/R/W to Union Sq. or F to 14th Street.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>20:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>saturdays openinghour 12:00, saturdays closinghour 18:00, sundays openinghour 12:00, sundays closinghour 18:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Where Do We Migrate To? explores contemporary issues of migration as well as experiences of displacement and exile.

Where Do We Migrate To? features the work of nineteen internationally recognized artists and collectives.

Where Do We Migrate To? is curated by Niels Van Tomme, Director of Arts and Media at Provisions Learning Project, Washington, DC.  The nationally touring exhibition is organized by the Center for Art, Design and Visual Culture at the University of Maryland, Baltimore County, which also published the exhibition catalogue by the same title.  The exhibition and catalogue are made possible, in part, with the support of the Flemish Government through Flanders House New York.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D14D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D14D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D14D-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-04-15</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>66</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.7351</Latitude>
  <Longitude>-73.994472</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D1D6" href="http://www.nyartbeat.com/event/2012/D1D6">
  <Name>Thomas Mezzanotte Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/68DDB281">
    <Name> Umbrella Arts</Name>
    <Type>Gallery</Type>
    <Address>317 E 9th St., New York, NY 10003</Address>
    <Phone>212-505-7196</Phone>
    <Fax></Fax>
    <Access>Between 1st and 2nd Aves. Subway: 6 to Astor Place.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>13:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[[Image: Thomas Mezzanotte &quot;Untitled&quot; (2009) Photograph]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D1D6-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D1D6-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D1D6-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-18</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.729033</Latitude>
  <Longitude>-73.986828</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/ECAD" href="http://www.nyartbeat.com/event/2012/ECAD">
  <Name>Robert Fox &quot;Sight Seeing&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/E45CB9BB">
    <Name>The Phatory LLC</Name>
    <Type>Gallery</Type>
    <Address>618 E 9th St., New York, NY 10009-5226</Address>
    <Phone>212-777-7922</Phone>
    <Fax></Fax>
    <Access>Between Avenues B &amp; C  Subway:L to 1st Ave, R to 8th Street or 6 to Astor Place.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>14:00:00</OpeningHour>
    <ClosingHour>20:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="1" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>And by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[The Phatory presents the installation of paintings by Robert Fox.

Robert Fox embarks in a new direction for his 2012 exhibition at The Phatory. With deft skill he adjusts the mind’s telescope to a higher magnification so that the distance between the objects of his observations and his viewing position are collapsed to the point of abstraction. Compositional patterns of foliage, snow, ice, sky and lights evade instant recognition and provide new takes on the familiar. The ensuing shifts in perspectives open standard-issue imagery of Arctic terrain up for reconsideration at the juncture where the real and the imagine are at play.

Fox is a self-taught who resides year round in Fairbanks, Alaska, where the lifestyles and coping mechanisms of his fellow inhabitants continue to inspire his subject matter.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/ECAD-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/ECAD-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/ECAD-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-04</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-03" start="19:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.726078</Latitude>
  <Longitude>-73.979894</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/EF4E" href="http://www.nyartbeat.com/event/2012/EF4E">
  <Name>Molua Muldown and Lisa Pan &quot;The Dandy’s New York&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/DC18DAF7">
    <Name>Dorian Grey Gallery</Name>
    <Type>Gallery</Type>
    <Address>437 E 9th St., New York, NY 10009</Address>
    <Phone>516-244-4126</Phone>
    <Fax></Fax>
    <Access>Between 1st Ave. and Avenue A  Subway: L to 1st Avenue, 6 to Astor Place</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></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>2D: Prints</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[The Dandy’s New York 
 
The dandy's beauty consists above all in the cold appearance which comes from the unshakable resolution not to be moved; one might say the latent fire which makes itself felt, and which might, but does not wish to, shine forth. 
‐ Baudelaire 
 
Christopher Pusey and Luis Accorsi present the exhibition of &quot;The Dandy's New York&quot;.
 
Photographer Molua Muldown and multi‐media artist Lisa Pan reveal the authentic man behind New York’s celebrated and enigmatic dandy, Patrick McDonald. A series of environmental portrait photographs, mixed media collages and Patrick’s own poetry illustrate the East Village life and ethos of this unconventional artist. In this series, we look through the eyes of a man who has been described as a New York City living landmark and a walking work of art. Historically, New York City has been a haven for unique artists such as W. H. Auden, Quentin Crisp and Klaus Nomi. For over two decades, Patrick has been a muse and model for some of our most celebrated painters, photographers and illustrators. In our rapidly changing city, with it’s ever increasingly endangered environment for artists, Patrick’s uncompromising life simply inspires. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/EF4E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EF4E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EF4E-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-07</DateStart>
  <DateEnd>2012-03-04</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-07" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>24</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.728186</Latitude>
  <Longitude>-73.984243</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/EF77" href="http://www.nyartbeat.com/event/2012/EF77">
  <Name>Theo A. Rosenblum and Chelsea Seltzer &quot;Two Heads are Better than One&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/DBC66000">
    <Name>The Hole</Name>
    <Type>Gallery</Type>
    <Address>312 Bowery, New York, NY 10012</Address>
    <Phone>212-226-3000</Phone>
    <Fax></Fax>
    <Access>Between Bleecker and Houston Sts.  Subway: 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="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[The Hole presents the collaborative exhibition &quot;Two Heads are Better than One&quot; by Theo A. Rosenblum and Chelsea Seltzer opening this February 14th. This exhibition will feature sculpture, painting and drawing by these two artists, who, working in tandem over the past year, have created a significant assortment of deeply unsettling, playfully odd, and unavoidably memorable works.
 
From what the artists call &quot;a vending machine of myth, magic and mystery&quot; comes our exhibition, ranging from the intricately finished large sculptures back to the irreverent sketches where their ideas are born. The exhibition features all manner of hybrids, puns and below-the-belt punches: large sculptures like “Sandwitch&quot; may have started out as a collaborative doodle on a homophone, but realized in sculpture they reveal many strange nuances and details the original concept or sketch lacked. “Snow Manimal” may have come about just from the oddly relatable spheres of upper horse and lower snowman, but fit together physically so well that the visual and conceptual rupture created is all the more stark.
 
While the sculptures maintain the snickering subterfuge of a doodle, starting with one funny thing and evolving in all directions and sometimes back upon itself, the tiny sketches hung in the rear of the gallery are where we can watch the ideas start agglutinating.  These sketches find one level more of elaboration in the poster works, oil on found images (stock posters printed on unstretched canvas) where the artists can go back and forth adding weird tidbits until the upset is complete (like a mountain erupting with cheese, a huge hat on a tree, a goat straddling its own poo pile). Here the collaborative nature of their working is most apparent and where the work feels funnest, in-between their one-upmanship of back-and-forth bizarreness.
 
The next level of complexity is the assisted framed pieces, where a sculpted and painted frame intersects with the odd painted intervention in the found canvas itself. A bevy of knives (kitchen and cutlass) adorn a large found painting of a penumbral tropical getaway, “Blue Hawaii”, suggesting the potential assault from both pirates and chefs, perhaps. An inexplicable assortment of fast food surrounds the romantic painting of wild horses charging across a rainbowed field titled “A Horse is a Horse”, drawing a visual line between junk art and junk food, (eye candy?) or maybe just revealing the craving for something more to &quot;chew on&quot; in the boilerplate painting.
 
In all the various types of work exhibited, the often comforting and mundane familiarity of the found objects is perverted by the input of Rosenblum and Seltzer’s handcrafted interventions, resulting in an unsettling world somewhere between laughter and horror. The parts are familiar but the forms they take are strange and new with a logic all their own: the mythical meets the merry, the religious meets the natural and supernatural; the delicious meets the deformed. Like gum stuck to your shoe, these works stick in your head (whether you want them there or not) and some details may haunt your quiet moments for a long time to come: the power cord coming out of the articulated, puckered butthole of “Snow Manimal” perhaps?
 
Curatorially, I see these works as &quot;good bad&quot;: so wrong they're right. Their vibe is similar in concept to Heta-Uma (literally &quot;Bad-Good&quot;), a movement Japanese punk artist King Terry articulated. Something &quot;technically&quot; bad that challenges the notion of &quot;bad&quot; by being sensually and conceptually amazing: a wonky line often describes a face much more evocatively than a perfectly rendered photo-realist drawing, for example. In Rosenblum and Seltzer’s world, these hand-sculptured and not-quite-right forms—and even the &quot;handmade&quot; and wonky ideas that form them—are much more exciting than a fabricated (or logical) version would be.
 
Besides each piece creating a rupture in the viewer's sensibilities, in a larger sense the work stands out also from what is trending in galleries, from what their contemporaries are making, from what people expect them to make. The work shows them pursuing their own interests without the pressures of situating themselves within a particular discourse, without the pressure even of making work &quot;about something&quot;.  As Dan Colen wrote in his catalogue essay for Theo's first solo exhibition, the work is &quot;honest, brave and generous... human and accessible.&quot;
 
Now that we mention it, the assisted found paintings have a relationship to Dan Colen's adjusted thrift store paintings in this kind of &quot;dark Disney&quot; world they both hang out in. Rosenblum and Seltzer’s piece with skeleton hands holding up an old bouquet is right out of Disneyland's &quot;Haunted Mansion&quot; ride, literalizing the idea of an Old Master painting coveted by a long-dead collector and the idea of a memento mori as a genre of painting in a kind of humorous tangle. Or “The Enchanted Picnic”, the classical painting of a nymph or dryad with an irreverently added bucket of fried chicken and some pink panties louchely twirling on her toe is wryly humorous, but combined with the detail of the painting seemingly bursting into flames, like the offensiveness of the graffitied classical painting caused it to hellishly combust, I mean it’s just, de trop.
 
And while the overall mood of the show involves the humor of being de trop, these artists always manage to rein in the insanity and conceptually push things just far enough, or rather perfectly too much. There are no extraneous elements in the works, everything is as it should be, the Frankensteined parts all link up perfectly and the monster springs to life!
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/EF77-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EF77-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EF77-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-14</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-14" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.725042</Latitude>
  <Longitude>-73.992408</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/F06B" href="http://www.nyartbeat.com/event/2012/F06B">
  <Name>Gran Fury &quot;Read My Lips&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/3C36F95D">
    <Name>80 Washington Square East</Name>
    <Type>University or School</Type>
    <Address>80 Washington Sq. East, New York, NY 10003</Address>
    <Phone>212-998-5747</Phone>
    <Fax>212-998-5752</Fax>
    <Access>Between W 4th St. and Washington Pl. Subway: R/W to 8th Street or 6 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>tuesdays closinghour 19:00, fridays closinghour 17:00, saturdays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>2D: Prints</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[80WSE presents &quot;Gran Fury: Read My Lips,&quot; the first comprehensive survey documenting the important AIDS activist art collective's work from 1987-1995.

Naming itself after the model of Plymouth automobile used by the New York City Police Department, Gran Fury made public projects that were simultaneously scathing, provocative, stylish and often quite funny. This exhibition conveys the collective's unique voice across a wide variety of media including billboards, postcards, video, posters and painting.	Photographs and records from the period help convey the urgency of the early AIDS crisis that lead many into the streets to demand reforms that changed public policy and saved lives.

Gran Fury's work raised public awareness of AIDS and put pressure on politicians, while sparking debate in sites ranging from the Illinois Senate to the tabloid press of Italy.	Bridging the gap between Situationist site-specific art strategies, post-modern appropriation and the Queer activist movement, Gran Fury has been influential to later practitioners. Their work opens up a broader spectrum of understanding about the political and collective art practices that flourished in downtown New York during the Eighties and Nineties.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/F06B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F06B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F06B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-31</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-31" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.730056</Latitude>
  <Longitude>-73.995983</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/FFD9" href="http://www.nyartbeat.com/event/2012/FFD9">
  <Name>&quot;Animal Love&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/9ADC0199">
    <Name>Kraine Gallery</Name>
    <Type>Gallery</Type>
    <Address>85 E 4th St., New York, NY 10003</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between Bowery and 2nd Ave., Subway: F to 1st Avenue or 6 to Astor Place.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>20:00:00</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>
  <Description><![CDATA[Curated by Herbert Mendoza and Bonnie De Witt, ANIMAL LOVE is the latest exhibition from Kraine Gallery, conveniently adjacent to KGB (Kraine Gallery Bar), and featuring New York artists with an interest in the role of animals in contemporary art. Sincere animal portraiture, oil paintings of critters and beasts, anthropomorphism, ﬁgures and creatures, and carnal eroticism give this little art show sharp little teeth. Beware, love bites.

[Image: Sebastian Deregibus &quot;Angelicus Demonicus&quot; oil on canvas, 10 x 8 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/FFD9-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/FFD9-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/FFD9-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-08</DateStart>
  <DateEnd>2012-03-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-08" start="21:00:00" end="23:00:00">Opening Reception</Party>
 <DaysBeforeEnd>38</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.726583</Latitude>
  <Longitude>-73.9898</Longitude>
 </Event>

</Events>
