<?xml version="1.0"?>
<Events>
 <Event xml:lang="en" id="2008/57D9" href="http://www.nyartbeat.com/event/2008/57D9">
  <Name>Walter de Maria &quot;The New York Earth Room&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/1A5F4ADF">
    <Name>Walter de Maria : The New York Earth Room</Name>
    <Type>Gallery</Type>
    <Address>141 Wooster St., New York NY 10012</Address>
    <Phone>212-989-5566</Phone>
    <Fax></Fax>
    <Access>Between W Houston St. and Prince St. Subway: R/W to Prince Street or B/D/F/V to Broadway-Lafayette Street</Access>
    <Area areaId="soho">Soho</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>2D: Photography</Media>
  <Description><![CDATA[The New York Earth Room, 1977, is the third Earth Room sculpture executed by the artist, the first being in Munich, Germany in 1968. The second was installed at the Hessisches Landesmuseum in Darmstadt, Germany in 1974. The first two works no longer exist.

The New York Earth Room has been on long-term view to the public since 1980. This work was commissioned and is maintained by Dia Art Foundation.

photo credit: John Cliett.

]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2008/57D9-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2008/57D9-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2008/57D9-170" width="170" />
  <Karma>2.63158</Karma>
  <Price free="1">Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.725639</Latitude>
  <Longitude>-73.999867</Longitude>
 </Event>

 <Event xml:lang="en" id="2008/87CA" href="http://www.nyartbeat.com/event/2008/87CA">
  <Name>Walter De Maria &quot;The Broken Kilometer&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/F4420175">
    <Name>The Broken Kilometer</Name>
    <Type>Other</Type>
    <Address>393 West Broadway, New York NY 10012</Address>
    <Phone>212-989-5566</Phone>
    <Fax></Fax>
    <Access>Between Spring St. and Broome St. Subway: C/E to Spring Street</Access>
    <Area areaId="soho">Soho</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: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[The Broken Kilometer, 1979, located at 393 West Broadway in New York City, is composed of 500 highly polished, round, solid brass rods, each measuring two meters in length and five centimeters (two inches) in diameter. The 500 rods are placed in five parallel rows of 100 rods each. The sculpture weighs 18 3/4 tons and would measure 3,280 feet if all the elements were laid end-to-end. Each rod is placed such that the spaces between the rods increase by 5mm with each consecutive space, from front to back; the first two rods of each row are placed 80mm apart, the last two rods are placed 580 mm apart. Metal halide stadium lights illuminate the work which is 45 feet wide and 125 feet long.

This work is the companion piece to De Maria's 1977 Vertical Earth Kilometer at Kassel, Germany. In that permanently installed earth sculpture, a brass rod of the same diameter, total weight and total length has been inserted 1,000 meters into the ground.

The Broken Kilometer has been on long-term view to the public since 1979. This work was commissioned and is maintained by Dia Art Foundation.

All images of The Broken Kilometer are copyright Dia Art Foundation and may not be reproduced in any form without written permission from Dia Art Foundation. photo credit: Jon Abbott
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2008/87CA-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2008/87CA-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2008/87CA-170" width="170" />
  <Karma>3.34718</Karma>
  <Price free="1">Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.724333</Latitude>
  <Longitude>-74.002211</Longitude>
 </Event>

 <Event xml:lang="en" id="2008/D453" href="http://www.nyartbeat.com/event/2008/D453">
  <Name>&quot;The Adventures of the Real Winnie-the-Pooh&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/03120B68">
    <Name>Humanities and Social Sciences Library</Name>
    <Type>Other</Type>
    <Address>476 5th Ave., New York, NY 10018</Address>
    <Phone>212-930-0757</Phone>
    <Fax>212-930-9218</Fax>
    <Access>Corner of 41st St.  Subway: 7 to 5th Avenue, D/B/F/V to 42nd Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails>tuesdays closinghour 19:30, wednesdays closinghour 19:30, sundays openinghour 13:00, sundays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Other</Media>
  <Description><![CDATA[The REAL Winnie-the-Pooh won't be found on a video, in a movie, on a T-shirt or a lunchbox. Since 1987, the REAL Pooh and four of his best friends--Eeyore, Piglet, Kanga, and Tigger--have been living at The New York Public Library. Long before Walt Disney turned Pooh and his pals into movie stars, Christopher Robin Milne, a very real little boy living in England, received a small stuffed bear on his first birthday. He named him Edward Bear (later renamed Winnie-the-Pooh). Following Edward came the rest of the stuffed animals, which Christopher loved and played with throughout his childhood. One day, Christopher's father, A.A. Milne, and an artist named Ernest H. Shepard, decided that these animals, and two other imaginary friends, Owl and Rabbit, would make fine characters in a bedtime story. From that day on, Pooh and his friends have had many fanciful adventures, from Piglet's encounter with a Heffalump to Eeyore's loss of his tail. These stories have been embraced by millions of children and adult readers for more than 70 years.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2008/D453-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2008/D453-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2008/D453-170" width="170" />
  <Karma>0.440729</Karma>
  <Price free="1">Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.752772</Latitude>
  <Longitude>-73.981531</Longitude>
 </Event>

 <Event xml:lang="en" id="2008/F889" href="http://www.nyartbeat.com/event/2008/F889">
  <Name>&quot;Gallery Selections&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/D2F542C2">
    <Name>Bernard Goldberg Fine Arts, LLC</Name>
    <Type>Gallery</Type>
    <Address>667 Madison Ave., 24 Fl., New York, NY 10065</Address>
    <Phone>212-813-9797</Phone>
    <Fax>212-813-9876</Fax>
    <Access>Corner of 61st St. Subway: N/R/W to 5th Ave., 4/5/6 to 59th St./Lexington Ave. or F to Lexington Ave./63rd St.</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>09:00:00</OpeningHour>
    <ClosingHour>05:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="1" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 11:00, sundays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Furniture</Media>
  <Description><![CDATA[Bernard Goldberg Fine Arts is pleased to present a selection of its finest and newest acquisitions. The current installation of works in the gallery highlights the modernist landscapes of John Marin and Charles Burchfield, as well as the Ashcan paintings and drawings of William Glackens and Henry Glintenkamp. Exceptional works by such American Masters as George Bellows and Marsden Hartley are also on view, and are just a sampling of the extensive inventory the gallery has to offer. Please click the image to see further information. ]]></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>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.764583</Latitude>
  <Longitude>-73.970778</Longitude>
 </Event>

 <Event xml:lang="en" id="2008/FC50" href="http://www.nyartbeat.com/event/2008/FC50">
  <Name>&quot;Visionaire 53: Sound&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/51B30273">
    <Name>Visionaire Gallery</Name>
    <Type>Gallery</Type>
    <Address>11 Mercer St., New York, NY 10013</Address>
    <Phone>212-274-8959</Phone>
    <Fax>212-343-2595</Fax>
    <Access>Between Grand and Canal St. Subway: A/C/E to Canal Street or N/Q/R/W to Canal Street</Access>
    <Area areaId="soho">Soho</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Other</Media>
  <Media>Screen: Other</Media>
  <Description><![CDATA[An interactive exhibition of images and tracks from Visionaire 53. SOUND is currently on view at the Gallery.  Visionaire 53 consists of five 12-inch vinyl records, imprinted with images (picture discs), containing approximately 100 minutes of sound content featuring audio experiments, unreleased songs, samples, and spoken word pieces.

[Image: Anna Blessman and Peter Saville &quot;Heaven&quot; (2008)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2008/FC50-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2008/FC50-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2008/FC50-170" width="170" />
  <Karma>0.47619</Karma>
  <Price free="1">Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.720378</Latitude>
  <Longitude>-74.002069</Longitude>
 </Event>

 <Event xml:lang="en" id="2009/DAAA" href="http://www.nyartbeat.com/event/2009/DAAA">
  <Name>&quot;Rachel Beach and Nicole Stager&quot; Exhibiton</Name>
  <Venue href="http://www.nyartbeat.com/venue/23274AC1">
    <Name>92YTribeca Art</Name>
    <Type>Cultural Center</Type>
    <Address>200 Hudson St., New York, NY 10013 </Address>
    <Phone>212-601-1000</Phone>
    <Fax></Fax>
    <Access>Corner of Canal St.  Subway: 1, A/C/E to Canal Street</Access>
    <Area areaId="soho">Soho</Area>
    <OpeningHour>09:00:00</OpeningHour>
    <ClosingHour>00:00:01</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Daytime hours subject to change.</ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[92YTribeca presents the works of Rachel Beach and Nicole Stager – both formerly shown at Like the Spice gallery in Brooklyn – in an opening reception for this semi-permanent exhibit.

Brooklyn-dwelling, Ontario-born Rachel Beach creates works that have been described as “tough, precise and disciplined with a hard edged cheeriness.” Her wall-mounted sculptures – wooden portals and towers – rest on the border “between sculpture and painting, illusion and reality, masculine and feminine, representation, abstraction and decoration.” The portals literally take on the idea of a window, framing a section of wall or empty space in the gallery; the towers are architectural but can also seem at times like freestanding ornament. Each of these sculpture/paintings is designed to alter our visual perception of three-dimensional form.

Nicole Stager creates her work in the darkroom, drawing with handheld light sources in a process that combines the specificity of photography with the aesthetic of abstract painting. Time, color, shape and line are all uniquely presented in Stager’s work; the final product has far more to do with the interaction of light, shadow and chemistry than with the objects that produced them. A native of Pennsylvania, Stager is currently completing her MFA in New Media from the Transart Instituta at Danube University in Krems, Austria.

 ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2009/DAAA-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2009/DAAA-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2009/DAAA-170" width="170" />
  <Karma>6.04167</Karma>
  <Price free="1">Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2009-03-19" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.722981</Latitude>
  <Longitude>-74.007881</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/024A" href="http://www.nyartbeat.com/event/2011/024A">
  <Name>Georges Hugnet &quot;The Love Life of the Spumifers&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/D6366171">
    <Name>Ubu Gallery</Name>
    <Type>Gallery</Type>
    <Address>416 E 59th St., New York, NY 10022</Address>
    <Phone>212-753-4444</Phone>
    <Fax>212-753-4470</Fax>
    <Access>Between 1st Ave. and Sutton Place. Subway: 4/5/6/N/R/W to 59th Street Lexington Avenue.</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Prints</Media>
  <Media>2D: Other</Media>
  <Description><![CDATA[The gallery presents &quot;Georges Hugnet: The Love Life of the Spumifers,&quot; an exhibition of hand-painted photographic postcards by the eminent Surrealist artist, poet, bookbinding designer and critic. These bizarre, lusciously painted images illustrate Hugnet’s work, The Love Life of the Spumiferswhere each accompanying text poetically and humorously catalogues the mating habits of a fantastical creature or Spumifer.

&quot;The Love Life of the Spumifers,&quot; or &quot;La Vie amoureuse des Spumifères,&quot; combines Surrealist poetry’s fascination with l’amour and Dada’s tendency towards deliberate grammatical spontaneity and absurdity. Words like bowoodling, friskadoodling and alabamaraminating are concocted by Hugnet to describe the seductive strategies of his imaginary creatures. Each text is dedicated to a different creature, describing how it woos, teases, gropes and molests its intended love conquest. Each Spumifer is illustrated by a gouache “beast,” which is added to an early Twentieth Century vintage “French” photo postcard. The mellifluously painted monsters slyly slither around the bare flesh of the pictured “mademoiselle,” nibbling and tickling, arousing her sexual desire. Hugnet’s illustrations seduce the viewer, parodying the human pursuit of love and lovemaking through these adorable grotesques. Hugnet realized the series &quot;The Love Life of the Spumifers&quot; during 1947–48 and wrote the accompanying texts in the early 1960s. The whereabouts of four of the 40 original Spumifers intended to complete the series are at present unknown. Hugnet composed only 33 texts and one of those texts accompanied a missing work. He created a number of additional Spumifers, maybe as many as 20, which were not part of the final 40 which he had intended to publish as a book.

In collaboration with Myrtille Hugnet, Ubu Gallery is presenting a small contextual exhibition of collages – including originals from &quot;La Septième Face du Dé&quot; and &quot;Huit Jours a Trebaumec,&quot; gouaches and publications made by George Hugnet from the 1930s to the 1960s and unique ephemera by the artist.

[Image: Georges Hugnet &quot;L'Oru-boru À Corset (The Corsetted Oru-Boru)&quot; No. 18 from the series &quot;La Vie amoureuse des Spumifères (The Love Life of the Spumifers)&quot; (ca. 1948) gouache on vintage carte postale (ca. 1920) 13.7 x 8.6 cm.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/024A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/024A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/024A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-11-16</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2011-11-15" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.759331</Latitude>
  <Longitude>-73.961517</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/06CD" href="http://www.nyartbeat.com/event/2011/06CD">
  <Name>&quot;Dubuffet and the Art Brut&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/D1A8B04A">
    <Name>Ricco/Maresca Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., 3 Fl., New York, NY 10011</Address>
    <Phone>212-627-4819</Phone>
    <Fax>212-627-5117</Fax>
    <Access>Between 10th Ave and West Side Hwy. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_20">Chelsea 20th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Ricco/Maresca Gallery and Jennifer Pinto Safian present Dubuffet and the Art Brut. The exhibition presents the art of Jean Dubuffet (1901-1985) alongside works championed by Dubuffet and collected under the rubric of Art Brut. Between 1945 and his death in 1985, Dubuffet defined Art Brut, aggressively collecting, exhibiting and publishing the genre. His collection, now housed at the Collection de L'Art Brut, Lausanne, Switzerland, established the canon of recognized Art Brut artists. These artists, in turn, dramatically impacted Dubuffet’s personal artistic vision. The exhibition includes works by celebrated figures of the Art Brut circle - Alöise Corbaz, Janko Domsic, Madge Gill, Miguel Hernandez, Emile Josome Hodinos, Augustin Lesage, Scottie Wilson, Adolf Wölfli and Carlo Zinelli, along with works by abstract expressionist Alfonso Ossorio. Juxtaposed, we see Jean Dubuffet’s circle of influence.

In 1945, Dubuffet began to travel extensively throughout Europe to discover an art that “addresses itself to our spirit, not to our eyes,” an art that is pure, spontaneous, direct, and not influenced by fine art and mainstream culture. By 1948, Dubuffet and several leading Dadaists and Surrealists, including André Breton and Michel Tapié, had founded the Compagnie de l'Art Brut. Under Dubuffet's leadership, this organization defined and strictly enforced the criteria applied to the collecting of Art Brut. The most significant determinant was that the art was created by individuals who were not part of the conventional art scene. “Here, Art possesses a strength coming from desire, from magic…Isolated from society, they create their own feasts.”

Originally comprised of approximately 1200 works of art created by individuals secluded in mental hospitals or otherwise socially isolated, the Compagnie de l'Art Brut's collection was the first one of its kind to exist beyond the confines of a mental institution. With the 1949 exhibition of the collection at the Galerie René Drouin in Paris, Jean Dubuffet formally introduced Art Brut to an indifferent public. Due to philosophical differences among its founders, the Compagnie eventually dissolved in 1951. Forced to find a new home for the collection, Dubuffet shipped all the works to his friend and colleague, the abstract expressionist painter Alfonso Ossorio. Ossorio housed the collection at his Wainscott, New York estate for the next decade; in 1962, it was donated to the municipality of Lausanne, Switzerland and permanently installed in the Chateau de Beaulieu under the name Collection de L’Art Brut.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/06CD-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/06CD-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/06CD-170" width="170" />
  <Karma>1.78922</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746167</Latitude>
  <Longitude>-74.0062</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/078B" href="http://www.nyartbeat.com/event/2011/078B">
  <Name>&quot;Nature Morte&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/AD21BBDF">
    <Name>The Horticultural Society of New York</Name>
    <Type>Cultural Center</Type>
    <Address>148 W 37th St., 13th Fl., New York, NY 10018</Address>
    <Phone>212-757-0915</Phone>
    <Fax>212-246-1207</Fax>
    <Access>Between 7th and 6th Ave. Subway: B/D/F/V/N/Q/R/W to 34th Street or 1/2/3/7/S to 42nd Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[This exhibition highlights three contemporary artists who utilize the still life as a central part of their process, honoring and subverting the traditions of the genre while exploring how photography has influenced it. Sharon Core takes her inspiration from art-historical still lifes, creating uncanny facsimiles of hyperrealistic paintings. Miranda Lichtensteinfrequently uses the still life format as a means to examine and deconstruct the photographic process.  In the multi-disciplinary work of Corin Hewitt, the still life represents the end-product and the documentation of an experiment and performance.

[Image: Miranda Lichtenstein &quot;Untitled #2 (fruit)&quot; (2002-05) Polaroid 4 3/16 x 5 3/16 in. Courtesy of the Artist.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/078B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/078B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/078B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-12-07</DateStart>
  <DateEnd>2012-02-10</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>1</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.752336</Latitude>
  <Longitude>-73.988264</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/0E4A" href="http://www.nyartbeat.com/event/2011/0E4A">
  <Name>&quot;EAF11: 2011 Emerging Artist Fellowship Exhibition&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/53ADECAB">
    <Name>Socrates Sculpture Park</Name>
    <Type>Museum</Type>
    <Address>32-05 Vernon Blvd., Long Island City, NY 11106</Address>
    <Phone>718-956-1819</Phone>
    <Fax>718-626-1533</Fax>
    <Access>Subway: N or W to Broadway in Queens.  Walk eight blocks along Broadway toward the East River.</Access>
    <Area areaId="queens">Queens</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>Open all year from 10am to sunset.</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Each year, fellowship artists are awarded a grant and a residency in the Park's outdoor studio and are also provided with technical support and access to tools, materials and equipment to facilitate the production of new sculptures for exhibition in the Park.  The artists develop their projects throughout the summer in the open studio and landscape.  The diverse sculptural works that emerge represent a broad range of materials, working methods and subject matter and are presented against the spectacular waterfront view of the Manhattan skyline. 

 ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/0E4A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/0E4A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/0E4A-170" width="170" />
  <Karma>0.669916</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-09-10</DateStart>
  <DateEnd>2012-03-04</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2011-09-10" start="14:00:00" end="18:00:00">Opening Reception</Party>
 <DaysBeforeEnd>24</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.767636</Latitude>
  <Longitude>-73.936253</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/1645" href="http://www.nyartbeat.com/event/2011/1645">
  <Name>&quot;Penetration&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/C48D0049">
    <Name>Foley Gallery</Name>
    <Type>Gallery</Type>
    <Address>548 W 28th St., 2nd fl., New York, NY 10001</Address>
    <Phone>212-244-9081</Phone>
    <Fax>212-244-9082</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_28_above">Chelsea 28th - 33rd</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Foley Gallery presents its first exhibition of 2012. Inspired by artists who interrupt and otherwise compromise the integrity of the precious negative and paper used in photography, Penetration showcases several approaches that reveal the presence of the artist's hand in their photographic work. The result is a concept of its own, represented by four artists who puncture, penetrate, scratch and even recreate the photographic image.  
-  
Danielle Durchslag looks back at her own ancestral history through photographs of family whose names and identities have been forgotten with the passing of time. With hundreds of pieces of cut paper, she recreates these portraits in a layered mosaic to acknowledge their disappearance and elevate the original photographs from anonymous objects to revered memorials of those whose actions and decisions ultimately affected her.
 
Joseph Heidecker marries vernacular photography with ornamental beads and sewing thread. In these theatrical and often humorous portraits, Heidecker constructs contemporary identities of anonymous subjects by masking parts of the original figure. His infused portraits ponder who we present ourselves to be and raise questions on just how our own identities are made and shaped in the age of multi-platform social media and invasive technology.
 
Marco Breuer's unique method of creating photographs without a camera is often completed by making abrasive scratches or scrapes on light sensitive paper. His approach produces dimensional, conceptual and abstract images that challenge the viewer's basic assumptions about photographic image making. Photography has underlying principals by which its subject can be judged, but Breuer asks us to experience the nature and the capabilities of the paper itself.
 
Jowhara AlSaud's portraits of faceless figures are inspired by the practice in Saudi Arabia of censoring certain imagery deemed unsuitable for viewing. She takes this concept and applies it to her personal photographs by making drawings that are etched into the surface of a photographic negative. Based on everyday experiences with friends and family, the finished photographs share a tension between warmth and intimacy and their anonymity.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/1645-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/1645-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/1645-170" width="170" />
  <Karma>3.63636</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751298</Latitude>
  <Longitude>-74.003362</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2011/1F3C" href="http://www.nyartbeat.com/event/2011/1F3C">
  <Name>Damien Hirst &quot;The Complete Spot Paintings 1986-2011&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/BD565E74">
    <Name>Gagosian Gallery Madison Avenue</Name>
    <Type>Gallery</Type>
    <Address>980 Madison Ave., New York, NY 10075</Address>
    <Phone>212.744.2313</Phone>
    <Fax>212.772.7962</Fax>
    <Access>Between 76th and 77th St. Subway: 6 to 77th St.</Access>
    <Area areaId="upper_east_side">Upper East Side</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[I was always a colorist, I've always had a phenomenal love of color... I mean, I just move color around on its own. So that's where the spot paintings came from-to create that structure to do those colors, and do nothing. I suddenly got what I wanted. It was just a way of pinning down the joy of color.
-Damien Hirst
 
Gagosian Gallery is pleased to present &quot;The Complete Spot Paintings 1986-2011&quot; by Damien Hirst.
 
The exhibition will take place at once across all of Gagosian Gallery's eleven locations in New York, London, Paris, Los Angeles, Rome, Athens, Geneva, and Hong Kong, opening worldwide on January 12, 2012. Most of the paintings are being lent by private individuals and public institutions, more than 150 different lenders from twenty countries. Conceived as a single exhibition in multiple locations, &quot;The Complete Spot Paintings 1986-2011&quot; makes use of this demographic fact to determine the content of each exhibition according to locality.
 
Included in the exhibition are more than 300 paintings, from the first spot on board that Hirst created in 1986; to the smallest spot painting comprising half a spot and measuring 1 x 1/2 inch (1996); to a monumental work comprising only four spots, each 60 inches in diameter; and up to the most recent spot painting completed in 2011 containing 25,781 spots that are each 1 millimeter in diameter, with no single color ever repeated.
 
In conjunction with the exhibition will be the publication of The Complete Spot Paintings 1986-2011, a fully illustrated, comprehensive and definitive catalogue of all spot paintings made by Hirst from 1986 to the present. Published by Gagosian Gallery and Other Criteria, The Complete Spot Paintings 1986-2011 includes essays by Museum of Modern Art curator Ann Temkin, cultural critic Michael Bracewell, and art historian Robert Pincus-Witten as well as a conversation between Damien Hirst, Ed Ruscha and John Baldessari.
 
The third issue of the Gagosian App for iPad will also launch January, providing an interactive, in-depth look at the series that features more than ninety spot paintings.
 
&quot;Damien Hirst: The Complete Spot Paintings 1986-2011&quot; precedes the first major museum retrospective of Hirst's work opening at Tate Modern in London in April, 2012.
 
Damien Hirst was born in 1965 in Bristol, England. Solo exhibitions include &quot;The Agony and the Ecstasy,&quot; Museo Archeologico Nazionale di Napoli, Naples (2004); &quot;A Selection of Works by Damien Hirst from Various Collections,&quot; Museum of Fine Arts, Boston (2005); Astrup Fearnley Museet for Moderne Kunst, Oslo (2005); &quot;For the Love of God,&quot; Rijksmuseum, Amsterdam (2008); &quot;No Love Lost,&quot; The Wallace Collection, London (2009); &quot;Requiem,&quot; Pinchuk Art Center, Kiev (2009); and &quot;Cornucopia,&quot; the Oceanographic Museum of Monaco (2010). He received the Turner Prize in 1995. His work is included in many important public and private collections throughout the world.
 
Hirst lives and works in London and Devon, United Kingdom.

[Image: DAMIEN HIRST &quot;Methoxyverapamil&quot; (1991) Household gloss on canvas, 75 x 69 inches  (190.5 x 175.3 cm) © Damien Hirst and Science Ltd. All rights reserved, DACS 2011]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/1F3C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/1F3C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/1F3C-170" width="170" />
  <Karma>4.19936</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.774597</Latitude>
  <Longitude>-73.963408</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/217D" href="http://www.nyartbeat.com/event/2011/217D">
  <Name>Bertien van Manen &quot;Let’s sit down before we go&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/EDE6BD0B">
    <Name>Yancey Richardson Gallery</Name>
    <Type>Gallery</Type>
    <Address>535 W 22nd St., 3 Fl., New York, NY 10011</Address>
    <Phone>646-230-9610</Phone>
    <Fax>646-230-6131</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>Summer Hours: Monday thru Friday, 10am to 6am. Closed on Labor Day Weekend. Winter Hours: Tuesday thru Saturday, 10am to 6pm.</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[The Yancey Richardson Gallery presents Let’s sit down before we go, an exhibition of works by Dutch photographer Bertien van Manen. Van Manen’s work is a meditation on human existence, revealing the truth of particular lives. Selected from her travels through Uzbekistan, Siberia, Ukraine, Georgia, Moldova, Moscow and Tartarstan since 1990, van Manen’s photographs are characterized by the intimacy she achieves with her subjects, with whom she spent countless hours sitting at their tables, lodging in their homes, immersed in their reality.

Van Manen provides a window into Russian lives following years of struggle under the Communist regime. As critic Ryszard Kapuściński notes in his introduction to van Manen’s 1995 book, A hundred summers, a hundred winters, the artist’s lens penetrates the “most inaccessible of places—the homes of ordinary people—in order to show us how millions of Russians live and sleep, what they eat, what they look like in their everyday life, in their flats, at their tables, in their beds.” In the case of the former Soviet empire, people were conditioned to be fearful and suspicious, long forbidden to exhibit whom they really were to the rest of the world.  By contrast, Van Manen celebrates the country’s richness and humanity, especially that of its youth, capturing her subjects at leisure with family and friends, snow skiing in bathing suits, donning wedding dresses, swimming in Siberia and cutting hair in an emerald green meadow.

Kapuściński writes, “Through her excellent photographs and her inquiring and humanistic temperament, and with powerful artistic expression, Bertien van Manen shows what historians, writers, sociologists and political scientists argue, that there are at least two Russias. There is the official, imperial, external Russia, known to us from newspaper headlines, and the one within, the hidden, poor Russia of the anonymous, ordinary people of whose existence Bertien van Manen’s moving and revealing [work] tells.” 

Born in 1942 in The Hague, The Netherlands, van Manen lives and works in Amsterdam. Her most recent monograph, Let’s sit down before we go, was released in 2011. She has released three previous monographs: A hundred summers, a hundred winters (1994), East Wind West Wind (2004), and Give Me Your Image (2005), selections of which featured in New Photography 2005 at the Museum of Modern Art. Van Manen’s work is held in the permanent collections of several major museums, including the Metropolitan Museum of Art, the Museum of Modern Art, and the Stedelijk Museum. Her work has been exhibited internationally at museums such as the Fotomuseum Winterthur, the Reina Sofia, and the Metropolitan Museum of Photography in Tokyo. The series Let’s sit down before we go will be presented in its entirety at FOAM Photography Museum, Amsterdam in March 2012.

[Image: Bertien van Manen &quot;Beach at Lake Baikal, Siberia, from the series Let's sit down before we go&quot; (1993) 12 x 16 inch Chromogenic Print. Edition of 10.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/217D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/217D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/217D-170" width="170" />
  <Karma>8.04878</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-05" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747592</Latitude>
  <Longitude>-74.005639</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/2749" href="http://www.nyartbeat.com/event/2011/2749">
  <Name>&quot;Hybrid Thinking&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/6C7F9E5E">
    <Name>Jonathan LeVine Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., 9E, New York, NY 10011</Address>
    <Phone>212-243-3822</Phone>
    <Fax></Fax>
    <Access>Between 10th Ave and West Side Highway. Subway: A/C/E to 14th Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_20">Chelsea 20th</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></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Jonathan LeVine Gallery presents Hybrid Thinking, a group exhibition curated by Marc + Sara Schiller of Wooster Collective, in their first curatorial since the groundbreaking 11 Spring exhibition, in December 2006.

Hybrid Thinking brings together six preeminent emerging artists from around the world and for some it will mark their first exhibition in New York. The show features work by: Dal, from Beijing, China (now based in Cape Town, South Africa); Herakut, a duo based in Frankfurt, Germany; Hyuro, from Buenos Aires, Argentina, currently based in Valencia, Spain; Roa, based in Belgium; Sit, from the Netherlands; and Vinz, born and based in Valencia, Spain.

With a wide array of discipline, medium, style and cultural influence, work by the six artists in this exhibition is thematically cohesive in its related subject matter—through figurative pairings of human and animal elements, the artists explore concepts of instinct, identity and metamorphoses. In the curators’ words: “Hybrid Thinking refers to the current zeitgeist of our time: disparate cultures coming together to create something completely new. Though from distinctly different cultural backgrounds, these artists share an understanding of our cities, of the human condition and our complex relationship with nature.”    

ABOUT THE ARTISTS 
DAL was born in Beijing, China in 1984 and is currently based in Cape Town, South Africa. He studied sculpture at the Institute of Fine Arts. The tactile quality of his three-dimensional work is complimented by the gestural approach and ribbon-like structure of forms in his works on canvas.

Herakut is the collaboration between Hera and Akut, a duo based in Frankfurt, Germany. Their work, in itself, is a hybrid of two styles. Hera’s traditional art training combined with Akut’s years of graffiti experience results in an intriguing combination of organic line and form.

Hyuro, born in Buenos Aires, Argentina, in 1974, is currently based in Valencia, Spain. She has an art degree from Escuela Nacional Manuel Belgrano in Buenos Aires, and a Master degree from Politecnic University in Valencia. Her black and white imagery is striking in its poetic simplicity yet rich in existential concepts, the work translates gracefully from canvas to mural form.

Roa is based in Ghent, Belgium. His large-scale black and white murals of animals can be found in cities throughout Europe and the US. His gallery work is often painted on multiple panels or objects, echoing the effect and imaginative placement of his images painted on public architecture.

Sit, born in 1976, lives and works in Amsterdam. In his NOIR series, he examines the troubled relationship between mankind and the animal kingdom through a bold black and white palette. Sensual textures of fur and feathers are rendered in dark brush strokes in contrast with pale, soft skin tones of female nude figures and the rigid bone of animal skulls.

Vinz was born in 1979 in Valencia, Spain, where he is currently based. He paints animal heads on large-scale photographs of human figures, and applies the work using wheatpaste to city walls. Taking a similar approach to his studio work, the artist collages paper ephemera into a background texture which he prints figures onto, then paints heads and other details in enamel or gouache.

ABOUT WOOSTER COLLECTIVE
Wooster Collective, founded in 2001 by Sara + Marc Schiller, showcases and celebrates ephemeral art placed on streets in cities around the world. The collective’s mission is to discover and document authentic art experiences via salons, lectures, curating gallery shows, and online at: www.woostercollective.com. In 2006, they organized one of the most significant exhibitions of street art ever at an abandoned building in downtown New York. 11 Spring was chosen by the The New York Times  as one of the top art exhibitions of the year. The Schillers have published many books and in 2010, released Trespass: A History of Uncommissioned Urban Art with Taschen. They have been featured in The New York Times, Time Magazine, Good Magazine and many others. As a global voice for street art, the Schillers have spoken at the Tate Modern, Design Indaba and The New Museum. Marc is CEO and Founder of Electric Artists, a digital brand strategy and marketing firm. Sara operates their business, Meet at the Apartment, a creative meeting space in lower Manhattan. They live in downtown New York with their daughter, Samantha, and dog, Hudson.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/2749-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/2749-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/2749-170" width="170" />
  <Karma>1.01786</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-14</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-11" start="15:00:00" end="17:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746167</Latitude>
  <Longitude>-74.0062</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2011/2EAC" href="http://www.nyartbeat.com/event/2011/2EAC">
  <Name>Ana Tzarev &quot;Russian Fairy Tales&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/D7D876B7">
    <Name>Ana Tzarev Gallery</Name>
    <Type>Gallery</Type>
    <Address>24 W 57th St., New York, NY 10019</Address>
    <Phone>212-586-9800</Phone>
    <Fax>212-586-9802 </Fax>
    <Access>Between 5th and 6th Ave.  Subway: B/Q to 57th Street, N/R to 5th Avenue</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[The gallery is pleased to exhibit a series of paintings by Ana Tzarev inspired by the Russian fairy tales. To honor her Slavic heritage and the profound influence it has had on her art, Ana Tzarev has followed in the tradition of renowned Russian artists Bilibin and Kandinsky and created her own contemporary rendition of the Russian fairy tales she grew up with. Inspired by these fantastical stories and the Palekh boxes she collects, Tzarev recreates these magical scenes from her childhood imagination. This new series captures the characters, scenes, and sentiment of stories that have been cherished for centuries.

[Image: Ana Tzarev &quot;Marfa’s Splendid Gifts from Frost&quot; (2009) oil on linen 76.75 x 76.75 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/2EAC-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/2EAC-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/2EAC-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-12-08</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.763189</Latitude>
  <Longitude>-73.974853</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/341E" href="http://www.nyartbeat.com/event/2011/341E">
  <Name>&quot;Luminous Modernism: 1912-2012&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/FD6D96EE">
    <Name>Scandinavia House</Name>
    <Type>Cultural Center</Type>
    <Address>58 Park Ave., New York, NY 10016</Address>
    <Phone>212-879-9779</Phone>
    <Fax></Fax>
    <Access>Between 37th St. and 38th St.  Subway: 4/5/6 and 7 to Grand Centra/42nd Street</Access>
    <Area areaId="midtown">Midtown</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="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[&quot;Luminous Modernism&quot; comprising some 50 paintings by leading Scandinavian artists of the late 19th and early 20th centuries-- including Edvard Munch, Vihelm Hammersøi, and Anders Zion-- revisiting a groundbreaking exhibition sponsored by The American-Scandinavian Foundation in 1912, which even before the Armory Show of 1913, introduced European modernism to North America.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/341E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/341E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/341E-170" width="170" />
  <Karma>0.618308</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-10-25</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote>10/19/2011 9:30-11:00 am </ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749344</Latitude>
  <Longitude>-73.979847</Longitude>
 </Event>

 <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="2011/3863" href="http://www.nyartbeat.com/event/2011/3863">
  <Name>Damien Hirst &quot;The Complete Spot Paintings 1986-2011&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/436DF6C6">
    <Name>Gagosian Gallery 21st Street</Name>
    <Type>Gallery</Type>
    <Address>522 W 21st St., New York, NY 10011</Address>
    <Phone>212-741-1717</Phone>
    <Fax>212-741-0006</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_21">Chelsea 21st</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[I was always a colorist, I've always had a phenomenal love of color... I mean, I just move color around on its own. So that's where the spot paintings came from-to create that structure to do those colors, and do nothing. I suddenly got what I wanted. It was just a way of pinning down the joy of color.
-Damien Hirst
 
Gagosian Gallery presents &quot;The Complete Spot Paintings 1986-2011&quot; by Damien Hirst.
 
The exhibition will take place at once across all of Gagosian Gallery's eleven locations in New York, London, Paris, Los Angeles, Rome, Athens, Geneva, and Hong Kong, opening worldwide on January 12, 2012. Most of the paintings are being lent by private individuals and public institutions, more than 150 different lenders from twenty countries. Conceived as a single exhibition in multiple locations, &quot;The Complete Spot Paintings 1986-2011&quot; makes use of this demographic fact to determine the content of each exhibition according to locality.
 
Included in the exhibition are more than 300 paintings, from the first spot on board that Hirst created in 1986; to the smallest spot painting comprising half a spot and measuring 1 x 1/2 inch (1996); to a monumental work comprising only four spots, each 60 inches in diameter; and up to the most recent spot painting completed in 2011 containing 25,781 spots that are each 1 millimeter in diameter, with no single color ever repeated.
 
In conjunction with the exhibition will be the publication of The Complete Spot Paintings 1986-2011, a fully illustrated, comprehensive and definitive catalogue of all spot paintings made by Hirst from 1986 to the present. Published by Gagosian Gallery and Other Criteria, The Complete Spot Paintings 1986-2011 includes essays by Museum of Modern Art curator Ann Temkin, cultural critic Michael Bracewell, and art historian Robert Pincus-Witten as well as a conversation between Damien Hirst, Ed Ruscha and John Baldessari.
 
The third issue of the Gagosian App for iPad will also launch January, providing an interactive, in-depth look at the series that features more than ninety spot paintings.
 
&quot;Damien Hirst: The Complete Spot Paintings 1986-2011&quot; precedes the first major museum retrospective of Hirst's work opening at Tate Modern in London in April, 2012.
 
Damien Hirst was born in 1965 in Bristol, England. Solo exhibitions include &quot;The Agony and the Ecstasy,&quot; Museo Archeologico Nazionale di Napoli, Naples (2004); &quot;A Selection of Works by Damien Hirst from Various Collections,&quot; Museum of Fine Arts, Boston (2005); Astrup Fearnley Museet for Moderne Kunst, Oslo (2005); &quot;For the Love of God,&quot; Rijksmuseum, Amsterdam (2008); &quot;No Love Lost,&quot; The Wallace Collection, London (2009); &quot;Requiem,&quot; Pinchuk Art Center, Kiev (2009); and &quot;Cornucopia,&quot; the Oceanographic Museum of Monaco (2010). He received the Turner Prize in 1995. His work is included in many important public and private collections throughout the world.
 
Hirst lives and works in London and Devon, United Kingdom.

[Image: DAMIEN HIRST &quot;Prochlorperazine&quot; (2009) Household gloss on canvas, 82 x 78 inches  (208.3 x 198.1 cm) © Damien Hirst and Science Ltd. All rights reserved, DACS 2011]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/3863-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/3863-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/3863-170" width="170" />
  <Karma>5.96206</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746642</Latitude>
  <Longitude>-74.005728</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/39C1" href="http://www.nyartbeat.com/event/2011/39C1">
  <Name>Michael Snow &quot;In the Way&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/C5DBB9C9">
    <Name>Jack Shainman Gallery</Name>
    <Type>Gallery</Type>
    <Address>513 W 20th St., New York, NY 10011</Address>
    <Phone>212-645-1701</Phone>
    <Fax>212-645-8316</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street, A/C/E to 14th Street, L to 8th Avenue.</Access>
    <Area areaId="chelsea_20">Chelsea 20th</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: Photography</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Jack Shainman Gallery presents a solo exhibition of new work by Michael Snow. The show will examine the act of looking and the process of viewing though projections, holography and photo-based works.

The Viewing of Six New Works is a new seven-part projection which draws on Snow's oeuvre to examine the nature of perception and the physical relationship of the artwork to the viewer. The light projections simulate the varying ways a person might look at a rectangular wall-mounted artwork by digitally mimicking and essentializing the movement of the eyes. The gestures of viewing are revealed as the shifting focus of the spectator's gaze becomes fleetingly tangible and physically manifested through the piece. &quot;The work is an attempt to present only the movements of perception, not perception itself,&quot; explains Snow, &quot;the art of looking at art.&quot;

A second new work, In the Way, is a floor-projection of a trucking pan shot directly above varying terrains of Northern Canada. The work relates to Snow's seminal La Region Central (1971) and &lt;―&gt; (1969) in its pendulum motion and the use of the cinematic apparatus of both camera and projector as a stand-in for the artist and viewer's gaze. The work becomes a virtual extension that the observer is able to get &quot;in the way of&quot; by standing in the image and altering the piece. The ambiguity of the illusionary plane, which simultaneously contains and breaches the demarcated space, creates an opposition unsettling the viewer's own presence. 

Additionally, the show will feature earlier works which explore the act of seeing &quot;as framing and containment&quot; and draw out the continuous themes of conceptual play and self-referentiality which permeate Snow's body of work. Exchange, a hologram from 1985, confronts the observer through a staring spectral face. La Ferme (1998), a photo-based work spanning 23 feet is derived from 16mm film of a pastoral scene whose subject, grazing cows, observes the viewer and blurs the boundary of motion and stillness. Both of these works are a testament to Snow's ability to use a cross-section of media to investigate the tension between the &quot;here&quot; and &quot;there&quot; through technological displacement.

Michael Snow is a visual artist, filmmaker and musician. He first exhibited in New York in the 1960s and became internationally recognized for pioneering avant-garde cinema with the film Wavelength (1967). His work is represented in private and public collections worldwide including the Museum of Modern Art, New York; the Hirshhorn Museum, Washington, DC; the National Gallery of Canada, Ottawa; the Art Gallery of Ontario, Toronto; Museum Ludwig, Cologne; Centre Georges-Pompidou, Paris, and both the Montréal Museum of Fine Arts and the Musée d'Art Contemporain in Montréal. Michael Snow has represented Canada at the Venice Biennale and is a member of the Order of Canada and a Knight of the Order of Arts and Letters in France.

Snow recently had an exhibition Solo Snow at Le Fresnoy, France curated by Louise Déry. In 2012, he will have solo exhibitions at The Vienna Secession, a sculpture retrospective at the Art Gallery of Ontario and a solo show at the Philadelphia Museum of Art.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/39C1-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/39C1-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/39C1-170" width="170" />
  <Karma>1.52654</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-07</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-07" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.745961</Latitude>
  <Longitude>-74.005825</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/4539" href="http://www.nyartbeat.com/event/2011/4539">
  <Name>&quot;Shifting Communities&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/050FFC94">
    <Name>Bronx Art Space</Name>
    <Type>Event Space</Type>
    <Address>305 E 140th St., #1A, Bronx, NY 10454</Address>
    <Phone>718-772-4961 </Phone>
    <Fax></Fax>
    <Access>Between 3rd and Alexander Aves. Subway: 6 to 138th Street </Access>
    <Area areaId="harlem_bronx">Harlem, Bronx</Area>
    <OpeningHour>00:00:00</OpeningHour>
    <ClosingHour>00:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[Shifting Communities highlights dynamic initiatives in culture and the arts currently at work in the margins of the art world and American society. The goal of this project is to create a paradigm where community-centric contemporary art and artist think-tanks can be a tool for public service; a language for the exploration and investigation of the broader aspects of culture and society; and a magnet that can bring different cultures and ideologies together in order to strengthen a more inclusive definition of community.


Exhibition Schedule:
Shifting: J+J, BroLab, and Nicky Enright
September 9th through October 8th 2011

Shifting: SP Weather Station, Laura Napier, and Christy Speakman
October 21st through November 18th 2011

Shifting: Action Club and Hatuey Ramos-Fermin
December 2nd 2011 through January 6th 2012

Shifiting: T.W.O., P.w.O., and W.P.C.
January 20th through February 18th 2012


Bronx artists: Laura Napier (Social Practice/Video), Nicky Enright (Video/Painting/DJ), Hatuey Ramos-Fermin (Installation/Performance), and Christy Speakman (Photography/Sculpture/Video)


Artist Collective Members: Jason Balicki and Jason Eisner (J+J Collective); Ryan Roa, Travis LeRoy Southworth, Robert Amesbury, Adam Brent, Ken Madore, Jonathan Brand, Rahul Alexander, and Edward Lee Bullock (BroLab); Douglas Paulson, Kerry Downey, Christopher Domenick, Christopher Robbins, Justin Rancourt, Chuck Yatsuk, and Jo Q Nelson (Action Club); Heidi Neilson and Natalie Campbell (SP Weather Station); Katarina Jerinic and Naomi Miller (The Work Office); Erica Leone, Heather M. O'Brien, and Felisia Tandiono (Works Progress Collective); Alexandra Woolsey-Puffer and Jeff Maki (Publicworks Office)

Shifting Communities operates multifold: as a roundtable brainstorming series for students, artists, and local residents; as a curatorial/exhibition initiative; and as Bronx-centric social sculpture.

Roundtable Brainstorming Series: An artist built installation in our exhibition facility will serve as the physical infrastructure for a series of roundtable discussions. Featuring the Bronx as a hub, the roundtable installation will host a yearlong series of discussions based on the changing socio-demographics, community development, and non-profit exhibition strategies (to name a few) across the boroughs of New York City. Each roundtable will feature a Bronx artist alongside an artist collective from outside the Bronx. In addition to the roundtable, the artists are charged with creating an exhibit of art inclusive of the discussion and informed by the Bronx community. The roundtable will also be made available to other artists and community members outside the program to schedule events and activities of their own.

Curatorial/Exhibition Initiative: This series was created in response to the current economic, environmental, and political stress across the country and the grassroots initiatives and local communities of artists that have spawned from it to create innovative and effective interpretations of development and progress. Through four separate exhibitions, this initiative changes the gallery from a space of passive art viewing into one of active art creating. The audience is as integral to the creation of the program as the artists. The artwork stems from discussion and consideration for the community it is created in.

Bronx-centric Social Sculpture: Taken as a whole, this program can be seen as one large artwork. The accumulation of sketches, notes, photographs, and other ephemera from the roundtable presentations, along with the artworks created and exhibited will be archived in a published catalog and video series of documentation and critical dialogue. As the series progresses, the roundtable installation will act as a visual timeline of the work and ideas presented culminating in an archive of the entire program at the close of our season.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/4539-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/4539-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/4539-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-09-09</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.811828</Latitude>
  <Longitude>-73.924936</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/459B" href="http://www.nyartbeat.com/event/2011/459B">
  <Name>&quot;The Great Designers: Part One&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/DCBD57BB">
    <Name>The Museum at FIT</Name>
    <Type>Museum</Type>
    <Address>227 W 27th St., New York, NY 10001</Address>
    <Phone>212-217-7642</Phone>
    <Fax></Fax>
    <Access>Corner of 7th Ave. and 27th St.  Subway: 1/9 to 27th Street, C/E/ to 23rd Street, F/V/ to 23rd Street, or R to 28th Street</Access>
    <Area areaId="chelsea_east">East Chelsea</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>20:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails>saturdays openinghour 10:00, saturdays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Fashion</Media>
  <Description><![CDATA[The Museum at FIT presents The Great Designers, Part One, the first of two consecutive exhibitions featuring masterpieces from the museum’s permanent collection of more than 50,000 garments and accessories. From Alaïa, Balenciaga, Chanel, and Dior to Westwood, Yeohlee, and Zoran, the exhibition will feature approximately 50 garments from many of the most important designers of the 20th and 21st centuries.

Elsa Schiaparelli will be represented by a 1935 bias-cut gown inspired by an Indian sari. An evening dress in navy-blue paper silk taffeta by Madame Grès typifies this designer’s dramatic sculptural approach to fashion. Oscar de la Renta’s sense of drama and color is evoked by a 1978 leaf-green and golden-yellow evening ensemble. Miuccia Prada’s prim yet alluring peek-a-boo lace dress, layered over a long cotton shirt, exudes the stylish quirkiness for which her label has become well known.

A number of new acquisitions to The Museum at FIT’s permanent collection will be exhibited for the first time, including an elaborately embroidered black silk coatdress by Alexander McQueen, dating from his time as creative director of Givenchy in the 1990s. The combination of sexuality and theatricality that made Thierry Mugler famous in the 1980s will be seen in his fantastical metallic bustier and fishtail skirt. Another important new acquisition in the exhibition is an elegant evening gown by Valentino, rendered in the designer’s signature shade of bright red and featured in his last-ever couture collection in 2008. The Valentino gown will be shown alongside a Versace suit from 1991, its bold Andy Warhol-inspired print emphasizing the relationship between art and fashion.

The Great Designers, Part One will also feature cutting-edge 21st century design. Rick Owens’s batwing jacket and slinky skirt epitomize his moody yet sensuous aesthetic, which has been described as “glamour meets grunge.” A wool dress by Gareth Pugh from his fall 2007 collection is characterized by the dense application of patent leather strips that gives it a feeling of contemporary armor. Also armor-like is a fierce 2006 ensemble from the English label Boudicca, which was featured in the 2006 exhibition, Love &amp; War: The Weaponized Woman. Rick Owens, Gareth Pugh, and Boudicca are among today’s fashion avant-garde, tipped to be included in any future list of great designers.

Another 50 fashion masterpieces will be shown in The Great Designers, Part Two, which will be on display at The Museum at FIT from May 23 through November 10, 2012. Among the museum’s recent acquisitions that will be included in The Great Designers, Part Two are an extraordinary dress from Alexander McQueen’s spring 2010 “Plato’s Atlantis” collection, which will be on display at the museum for the first time, and a 2002 evening  ensemble  by Jean Paul Gaultier. Avant-garde looks will include Martin Margiela’s iconic dress-form jacket and Junya Watanabe’s blue denim dress. Among the historic masterpieces on display will be Charles James’s pale pink “tree dress” and a 1976 evening ensemble by Yves Saint Laurent.

The Great Designers, Part One and The Great Designers, Part Two will be organized in celebration of The Museum at FIT’s forthcoming book, The Great Designers: Fashion’s Hall of Fame from A to Z, to be published by TASCHEN in spring 2012. The book will feature color photographs of 500 of the museum’s masterpieces by 100 of history’s greatest fashion designers. A short biography of each of the featured designers will be preceded by an extensive essay on the history of fashion museums and exhibitions by Valerie Steele, director and chief curator of The Museum at FIT.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/459B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/459B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/459B-170" width="170" />
  <Karma>1.15155</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-11-29</DateStart>
  <DateEnd>2012-05-08</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>89</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746883</Latitude>
  <Longitude>-73.994378</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/56DB" href="http://www.nyartbeat.com/event/2011/56DB">
  <Name>Patrick McDonough &quot;Awning Studies: Socrates, 2011&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/53ADECAB">
    <Name>Socrates Sculpture Park</Name>
    <Type>Museum</Type>
    <Address>32-05 Vernon Blvd., Long Island City, NY 11106</Address>
    <Phone>718-956-1819</Phone>
    <Fax>718-626-1533</Fax>
    <Access>Subway: N or W to Broadway in Queens.  Walk eight blocks along Broadway toward the East River.</Access>
    <Area areaId="queens">Queens</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>Open all year from 10am to sunset.</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Opening on September 10 is an installation by Washington DC-based artist, Patrick McDonough.  Titled Awning Studies: SOCRATES, 2011, the piece is the culmination of a three-month Public Art Residency (PAR).  The PAR Program was established in partnership with the Washington Project for the Arts (WPA) to support artists in the District of Columbia area and is an extension of the Park's ongoing Open Space series, (a forum for single artist and collaborative projects). 

Awning Studies: SOCRATES, 2011 continues Patrick's exploration of the awning as a key architectural adornment and as central to the domestic vernacular of the northeastern United States.  His project takes the form of a series of fabricated awnings without buildings: some installed in tress, some arching over the water, and others rising on a combination of steel and clear acrylic supports.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/56DB-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/56DB-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/56DB-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-09-10</DateStart>
  <DateEnd>2012-03-04</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2011-09-10" start="14:00:00" end="18:00:00">Opening Reception</Party>
 <DaysBeforeEnd>24</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.767636</Latitude>
  <Longitude>-73.936253</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/5C35" href="http://www.nyartbeat.com/event/2011/5C35">
  <Name>Dennis Oppenheim &quot;Salutations to the Sky&quot; </Name>
  <Venue href="http://www.nyartbeat.com/venue/C0FC248C">
    <Name>The Gabarron Foundation Carriage House Center for the Arts</Name>
    <Type>Other</Type>
    <Address>149 E 38th St., New York, NY 10016</Address>
    <Phone>212-573-6968</Phone>
    <Fax></Fax>
    <Access>Between Lexington and 3rd Ave. Subway: 7 to Grand Central</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>09:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Dennis Oppenheim (1938-2011) exhibited his work in museums and galleries worldwide since 1968. During four decades his practice has employed all available methods; writing, action, performance, video, film, photography, and installation. He has used mechanical and industrial elements, fireworks, common objects and traditional material, materials of the earth, sky, his own or another's body. He has created works for interior, exterior, and public spaces.

The close working relationship and friends hip between the Dennis Oppenheim studio and The Gabarron Foundation was initiated in 1997 with &quot;Stage Set for a Film&lt;&quot; commissioned fro Dennis Oppenheim by the City of Valladolid (Spain), completed in 1998. The studio and the foundation continued to work together on multiple projects between 1997 and 2011, fostered by mutual understanding. The Foundation is please to present the most recent project, &quot;Salutations to the Sky.&quot;

The exhibition at the Carriage House is three projects which focus on the artist's use of the intangible connection, earth to sky. This connection was alluded to often, beginning with Land Art. In &quot;Annual Rings,&quot; (1968) the schemata of annual tree rings cut in snow is severed by the river forming the boundary between the US and Canada. This work could be considered the definition of site-specificity. With &quot;Salutations,&quot; inscriptions are cut in land adjoining a river in Sacramento, California, though any river with adjoining flat land is a potential site. Both works are experienced through photography, the first realized but temporal, the second unrealized, existing in proposal form. It is in aerial photography, which places the viewer in the sky and looking at the earth, by which one best experiences these works. The second work in this exhibition is photo documentation of the project, &quot;Formula Compound, A Combustion Chamber, An Exorcism.&quot; In this work the artist made the connection between earth and sky using lines of light. Through projection, the sculpture is drawing in air, it becomes a fireworks projection machine.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/5C35-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/5C35-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/5C35-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-12-16</DateStart>
  <DateEnd>2012-02-15</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2011-12-15" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>6</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748725</Latitude>
  <Longitude>-73.977383</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/65AC" href="http://www.nyartbeat.com/event/2011/65AC">
  <Name>&quot;ReDraw: The Capital Plan for 35 Wooster Street&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/99C01329">
    <Name>The Drawing Center</Name>
    <Type>Gallery</Type>
    <Address>35 Wooster St., New York, NY, 10013</Address>
    <Phone>212-219-2166</Phone>
    <Fax>212-966-2976</Fax>
    <Access>Between Broome St. and Grand St. Subway: A/C/E to Canal Street</Access>
    <Area areaId="soho">Soho</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>thursdays closinghour 20:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Architecture</Media>
  <Description><![CDATA[In December 2010, The Drawing Center launched ReDraw: The Capital Plan for 35 Wooster Street with the purchase of a 2,000-square-foot unit on the second floor of 35 Wooster Street, which will replace its leased space at 40 Wooster Street.

Plans for the new space have been designed by Claire Weisz and WXY Architecture + Urban Design, an internationally-recognized New York–based firm. ReDraw’s architectural program addresses specific exhibition, educational, and operational requirements, reinforcing The Drawing Center's mission to present the highest-quality cultural programming in galleries proportioned to facilitate a meaningful viewer experience—attributes that have made the institution one of the most respected, beloved, and distinctive non-profits in New York City.

The building project will connect the existing ground floor space to the newly-acquired second floor space and the lower level of the building. A new bookstore and a sky-lit Drawing Room gallery will join the existing visitor services desk and Main Gallery on the ground floor level. Offices and administrative spaces will move to the second floor, and the renovated lower level will accommodate a new education room, a Viewing Program meeting room, and the “Drawing Room 2” gallery, which will feature an audio and video media system for exhibitions and public programs. Integrating these spaces into one building will provide The Drawing Center with 50% more contiguous programmatic space.

The Drawing Center has suspended on-site programming to begin construction, with a projected re-opening date of April 2012.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/65AC-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/65AC-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/65AC-170" width="170" />
  <Karma>0.118435</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-07-01</DateStart>
  <DateEnd>2012-04-01</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>52</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.722333</Latitude>
  <Longitude>-74.002889</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/69D9" href="http://www.nyartbeat.com/event/2011/69D9">
  <Name>Mitch Miller &quot;Natural Selection&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/A7C27FD9">
    <Name>Accola Griefen Gallery</Name>
    <Type>Gallery</Type>
    <Address>547 W 27th St., Suite #634, New York NY 10001</Address>
    <Phone>646-532-3488</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[ACCOLA GRIEFEN GALLERY presents – Mitch Miller: Natural Selection. Mitch Miller’s work is rooted in a fraught relationship with the natural world that began in formative visits to the awe-inspiring sites where his father worked as a petroleum engineer. In Natural Selection, creature-like sculptures in reclaimed Styrofoam, perch on pedestals and hang suspended in the air. The largest hanging pieces are literally moving targets. After assembling and painting, the final stage of production involves invited participants shooting the glacial craters with a bow and arrow. This activity causes the structures to spin, gouges the textured surface and splinters off pieces that are then reassembled to create the smaller-scale sculptures. The paintings in Natural Selection also involve chance: to lay down the initial structure the artist starts blindfolded. The work in this series, Bobcat Mountain Studio, at first appears to be dramatic expressionist washes in white, violent red and charcoal.  On closer inspection an architectural fantasy that somewhat resembles the artist’s own mountain residence can be found nestled into what reveals itself to be a sweeping landscape.  Both in format and subject matter, Eastern scroll painting inspires these works, wherein the shifting scale and grandeur of nature often dwarfs the almost invisible mark of man. Miller’s work is a reminder that humans are capable of the most brutal and beautiful of things.

Mitch Miller earned degrees in Biology and Fine Art from the University of Colorado in 1997. After completing an MFA at the University of Kansas, Miller moved to New York in 2000 where he embarked on ambitious projects including the conversion of a former Times Square strip club into a massive art center. Through this project, Miller received grants from Scope International Art Fair and Socrates Sculpture Park, where he completed his first public sculptures in 2004.  The artist has since exhibited widely in the United States and abroad at venues including Marc DePuechredon, Basel, Switzerland; White Columns, New York City; Central Academy of Fine Arts, Beijing, China; Rare Gallery, New York City and ADA Gallery, Richmond, Virginia, among others. Mitch Miller now lives and works on Bobcat Mountain in Colorado.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/69D9-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/69D9-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/69D9-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750894</Latitude>
  <Longitude>-74.0036</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/6BCF" href="http://www.nyartbeat.com/event/2011/6BCF">
  <Name>David Kennedy Cutler &quot;Come Back New&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/2F9BCE37">
    <Name>Derek Eller Gallery</Name>
    <Type>Gallery</Type>
    <Address>615 W 27th St., New York, NY 10001</Address>
    <Phone>212-206-6411</Phone>
    <Fax>212-206-6977</Fax>
    <Access>Between 11th and 12th Ave. Subway: C/E to 23rd Street or A/C/E to 34th Street</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Derek Eller Gallery presents new sculpture by David Kennedy Cutler.

As an artist whose studio is situated above the Greenpoint Oil Spill, the largest urban oil spill in history, Kennedy Cutler embraces materials fashioned by  petroleum----he considers it as his primary local natural resource (albeit a metaphysical one) amidst an isolated industrial environment of warehouses and former factories. To make these sculptures, he creates molds, lines them with plastic sheeting, pours epoxy resin then integrates elements ranging from clear and tinted plexiglas, acrylic printer's process ink, photographs of oil rainbows on wet asphalt, smashed compact discs, and recycled motor oil.  The results are incandescent towers of shattered beauty.

The modeled undulations of the poured epoxy resin and manipulated plastics interact with light, filtering and distorting it, and destabilizing the sculptures' solidity. This material allows Kennedy Cutler to capture the gestures of his process in hardened sculptural form while giving the appearance of things created through seeping, spreading or sedimentation. Roland Barthes writes that &quot;Plastic is the very idea of its infinite transformation...Plastic remains impregnated throughout with this wonder: it is less a thing than the trace of a movement.&quot; It is no coincidence that plastics share the name of Greek shepherds (polystyrene, polyvinyl, polyethylene), or that the largely forgotten term for physical manipulation of form was once called &quot;The Plastic Arts.&quot; The sculptures preserve incidents, actions, un-doings, and the myriad transformations that occur as Kennedy Cutler grapples with them.

With the progressive tow of digitalization, Kennedy Cutler posits that there is a defiant need to reemphasize the physical in the world while addressing aesthetic changes as a result of the navigation of digital spaces. In Kennedy Cutler's work damage and material distress are strategies of renewal that allow for a reengagement with the skin and viscera of daily experience. These sculptures engage both the corporeal and the aesthetics of our world of plastics and technological ephemera; they act simultaneously as artifacts and as chemical totems of a propositional future. 

David Kennedy Cutler lives and works in Brooklyn, New York. His work has been included in exhibitions at Kate Werble Gallery, New York, Nice &amp; Fit, Berlin, Socrates Sculpture Park, New York, D'Amelio Terras, New York, and Portugal Arte '10, Lisbon amongst others. This will be his second exhibition with the gallery.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/6BCF-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/6BCF-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/6BCF-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-13" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751575</Latitude>
  <Longitude>-74.005528</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/6C44" href="http://www.nyartbeat.com/event/2011/6C44">
  <Name>&quot;Works by Gallery Artists &amp; American Modernists&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/B43332DA">
    <Name>Alexandre Gallery</Name>
    <Type>Gallery</Type>
    <Address>41 E 57th St., 13 Fl., New York, NY 10022</Address>
    <Phone>212-755-2828</Phone>
    <Fax>212-755-2882</Fax>
    <Access>Corner of Madison Ave. Subway: N/R/W to 5th Avenue or 4/5/6 to 59th Street or E/V to 5th Avenue/53rd Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[[Image: Gregory Amenoff &quot;Pinion&quot; (1987) oil on canvas 88 x 78 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/6C44-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/6C44-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/6C44-170" width="170" />
  <Karma>0.257528</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-03-31</DateStart>
  <DateEnd>2013-01-01</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>327</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.762264</Latitude>
  <Longitude>-73.972281</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/70A5" href="http://www.nyartbeat.com/event/2011/70A5">
  <Name>Janet Culbertson &quot;Possible Peril&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/A7C27FD9">
    <Name>Accola Griefen Gallery</Name>
    <Type>Gallery</Type>
    <Address>547 W 27th St., Suite #634, New York NY 10001</Address>
    <Phone>646-532-3488</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[ACCOLA GRIEFEN GALLERY presents –Janet Culbertson: Possible Peril.   For more than four decades Janet Culbertson’s paintings and drawings have been infused with a passionate concern for our planet’s ecology. In her most recent series, Industrial Park, Culbertson imagines a future of disastrous consequences. By mixing mica and iridescent pigments into her paint the artistsimulates the appearance of broken glass, mine tailings, and oil spills.The resulting surfaces lend a lustrous yet threatening quality to her subject matters - jungles of twisted roads, acres of concrete cylinders, massive oil rigs and an unnaturally scorched earth. Primates often appear amidst these dark landscapes as poignant reminders of the many species we have threatened in striving for a rich future with little mind to sustainability.

Janet Culbertson is a pioneering eco-feminist artist. She attended Carnegie Mellon University and earned her Master’s Degree at NYU.  She had her first solo exhibit in New York City in 1969. During the 1970’s Culbertson had four one-woman shows in New York City, received a C.A.P.S. NY state award and wrote and edited for Heresies magazine.  Since that time, Culbertson has received grants from The Pollack-Krasner Foundation, The Vogelstein Foundation and The Puffin Foundation and has exhibited her work at such significant institutions as The National Museum of Women in the Arts in Washington DC.  Culbertson has work in the permanent collections of museums including National Academy of Sciences, Washington D.C.; Hunterdon Art Museum, NJ; National Museo de los Ninos, San Jose, Costa Rica; Telfair Museum, Savannah, GA; Library of Congress, Washington, DC; Fogg Art Museum, Harvard University, Cambridge, MA; Long Island Museum of Art, Stony Brook, NY; National Museum of Women in the Arts, Washington, DC; St. Petersburg Museum of Art, St Petersburg, FL; Zimmerli Art Museum, Rutgers University, New Brunswick, NJ; Guild Hall Museum, East Hampton, NY and Islip Museum, East Islip, NY among others.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/70A5-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/70A5-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/70A5-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750894</Latitude>
  <Longitude>-74.0036</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/7B6B" href="http://www.nyartbeat.com/event/2011/7B6B">
  <Name>Vivian Maier Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/DEBF7504">
    <Name>Steven Kasher Gallery</Name>
    <Type>Gallery</Type>
    <Address>521 W 23rd St., New York, NY 10011</Address>
    <Phone>212-966-3978</Phone>
    <Fax>212-226-1485</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_23">Chelsea 23rd</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Steven Kasher Gallery presents the recently discovered work of Vivian Maier. Vivian Maier features over 40 black and white prints.  Maier, whose day job was as a nanny, took over 100,000 distinctive street photographs, mostly in New York City and Chicago, yet showed the results to no one. This is a startling posthumous discovery of a major photographer, ranking with those of E. J. Bellocq and Mike Disfarmer. The exhibition is accompanied by a publication: Vivian Maier: Street Photographer (powerHouse Books, 2011), foreword by Geoff Dyer. A concurrent exhibition of Maier’s work is being mounted at Howard Greenberg Gallery, December 15, 2011 through January 28, 2012.

What makes Maier unique is that her pictures were made for no one, not even herself. They weren't printed at all. They are pure witness. She records but never plays back. Her pictures have no intention but to represent what her curiosity and her feelings demand. That demand must have been pressing indeed, to generate so much meticulous work.

The recent discovery of Maier’s pictures has resounded through the photography world. Websites and blogs devoted to her work have attracted considerable attention and comment. Successful shows have been mounted in Chicago and London. Stories have appeared in The New York Times, NPR, La Republica, Time, The Wall Street Journal, The Independent, The Guardian, CBS News, Smithsonian (forthcoming), and more.

Maier’s subject is the interaction of the individual and the city in the 1950s-70s. She scouts out solitaries of all ages and frames them in poignant juxtapositions. Her pictures have the tug of effecting urgency. It is hard enough to find this quality and quantity of fresh and moving images in a trained photographer who has benefited from schooling and a community of fellow artists. It is astounding to find it in someone with no formal training and no network of peers.

There is still very little known about the life of Vivian Maier. What is known is that she was born in New York in 1926 and worked as a nanny for a family on Chicago’s North Shore during the 50s and 60s. Seemingly without a family of her own, the children she cared for eventually acted as caregivers for Maier herself in the autumn of her life. She passed away in 2009 at the age of 83.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/7B6B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/7B6B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/7B6B-170" width="170" />
  <Karma>2.24611</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-12-15</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2011-12-15" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748008</Latitude>
  <Longitude>-74.004558</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/82D0" href="http://www.nyartbeat.com/event/2011/82D0">
  <Name>Machiel Botman &quot;One Tree&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/420CC6AB">
    <Name>Gitterman Gallery</Name>
    <Type>Gallery</Type>
    <Address>170 E 75th St., New York, NY 10021</Address>
    <Phone>212-734-0868</Phone>
    <Fax>212-734-0869</Fax>
    <Access>Between Lexington and 3rd Ave. Subway: 6 to 77th St.</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>by Appointment</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[This exhibition of Machiel Botman’s black and white photographs from the past ten years is concurrent with the release of his third monograph, One Tree (Nazraeli Press, 2011). A key figure in Dutch photography, Botman has always photographed as a way to understand life. He is not restrained by photographic conventions; rather, Botman utilizes a variety of exposures, depths of field and focal distances, resulting in a style that is uniquely his own. His books are equally singular. They are autobiographical and chronicle the stages in his life, but they do not follow a linear narrative.

Bookmaking itself is another expressive medium for Botman. He is involved in all aspects of the process and works through ideas with book dummies. Like his photographs, Botman’s books are informed by his knowledge of the history of the medium but remain distinctly his. One Tree utitlizes more text than his past books and includes a short story, The Hawk and The Cat. The story evokes the overall tone of the images and tells of a young boy absorbed in his wonder and fascination for a hawk. Botman’s choice of endpapers is a further example of his personal expression. They feature a collage with 20 photographs of 20 leaves, all different, but all from the same tree.

Machiel Botman was born in 1955 in Vogelenzang, The Netherlands. Self-taught, Botman has photographed since the age of 10. In the early 1980s he learned to print by assisting the master printer Philippe Salaün in Paris, who made prints for Willy Ronis, Izis and Robert Doisneau and others.

[Image: Machiel Botman &quot;Tree House&quot; (2008)]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/82D0-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/82D0-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/82D0-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-12-14</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.772075</Latitude>
  <Longitude>-73.960117</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/90D8" href="http://www.nyartbeat.com/event/2011/90D8">
  <Name>Allison Miller Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/72F1B3A1">
    <Name>Susan Inglett Gallery</Name>
    <Type>Gallery</Type>
    <Address>522 W 24th St., New York, NY 10011</Address>
    <Phone>212-647-9111</Phone>
    <Fax>212-647-9333</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_24">Chelsea 24th</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[Susan Inglett presents the work of Los Angeles based painter Allison Miller in her first solo presentation with the Gallery from 26 January to 3 March 2012. A reception for the artist will be held Thursday evening 26 January from 6 to 8 PM.
 
Allison Miller's paintings attest to the evocative possibilities of abstraction. Imbued with a vibrant and dissonant musicality, her hand-drawn lines, geometrically-inclined forms and structural use of patterning coalesce into a graceful unification of disparate energies. Drawing inspiration from a diverse and unlikely meeting of influences, most recently Vuillard, Fontana, and Magritte, the work seeks to render the uncanny and the absurd in abstract form.
 
From inspiration to execution, Miller's approach is designed to shake both maker and viewer from a well-worn track. Her process is a journey without predetermined destination, a map of its progression contained within each piece. Every line and layer resonates with the improvisational evolution of the process. &quot;There is no plan to stray from,&quot; said Miller in a recent interview, &quot;...I am constantly trying to undermine the ostensible priority of the painting in order to achieve a state of perpetual surprise.&quot; Through varied surface textures, oscillating opacities, complex transitions - Miller's paintings create a distinctive visual syntax culminating in images that give form to the idea of liminal space.

[Image: Allison Miller &quot;Bulletin&quot; (2011) Oil and acrylic/canvas 40 by 40 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/90D8-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/90D8-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/90D8-170" width="170" />
  <Karma>1.97113</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748653</Latitude>
  <Longitude>-74.004194</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/931F" href="http://www.nyartbeat.com/event/2011/931F">
  <Name>Theodoros Stamos &quot;Evidence of Wonder: A Survey 1940s -1990s&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/A7A0A636">
    <Name>ACA Galleries</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., 5 Fl., New York, NY 10011</Address>
    <Phone>212-206-8080</Phone>
    <Fax>212-206-8498</Fax>
    <Access>Between 10th Ave. and West Side Hwy. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_20">Chelsea 20th</Area>
    <OpeningHour>10:30:00</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>June 20 - August 18, Tuesday through Friday, 10:30 - 6pm. The gallery will be closed from August 19 - September 4.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[ACA Galleries presents Theodoros Stamos: Evidence of Wonder - A Survey 1940s - 1990s. This survey features work from 1943 to 1992 and shows how the natural world was a source of inspiration and imagery throughout Stamos' career. This is the first solo exhibition of his work at the gallery since 1993. 

Theodoros Stamos (1922-1997), the youngest member of the first generation of Abstract Expressionists, was born in New York to Greek parents. In 1936 he won a scholarship to attend American Artists' School where he studied sculpture until 1939 when he left to focus on painting. Beginning in 1941 he ran a frame shop where he met Arshile Gorky. In 1943 he had his first solo exhibition at the Wakefield Gallery which was run by Betty Parsons. During this period he met Adolph Gottlieb and Barnett Newman. His work was included in the Whitney Annual in 1945 and the following year the Museum of Modern Art purchased a painting. His first solo museum show was at The Duncan Phillips Collection, Washington DC in 1950 and that year he also taught at Black Mountain College. From 1955 through 1977 he was an instructor at the Art Students League. Starting in 1970 he made yearly trips to the island of Lefkada in Greece. 

His work is in numerous museum collections including Albright-Knox Art Gallery, Buffalo, NY; Art Gallery of Ontario, Toronto, Canada; The Art Institute of Chicago, Chicago, IL, Bayerische Staatsgemaldesammlung, Staatsgalerie Moderner Kunst, Munich, Germany; The Corcoran Gallery of Art, Washington, DC; The Detroit Institute of Arts, Detroit, MI; Hirshhorn Museum and Sculpture Garden, Washington, DC; The Metropolitan Museum of Art, New York, NY; Museu d'Arte Moderno, Rio de Jenairo, Brazil; The Museum of Modern Art, New York, NY; Museum Modernor Kunst, Vienna, Austria; National Picture Gallery, Athens, Greece National Pinacotek, Athens, Greece, The Phillips Collection, Washington, DC, Solomon R. Guggenheim Museum, New York, NY; Tel Aviv Museum, Tel Aviv, Israel and Whitney Museum of Art, New York, NY, among others.

[Image: Theodoros Stamos &quot;Ascent for Ritual&quot; (1947) oil on masonite, 39 x 23 3/4 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/931F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/931F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/931F-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-10-29</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2011-10-29" start="14:00:00" end="17:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746139</Latitude>
  <Longitude>-74.006164</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/9578" href="http://www.nyartbeat.com/event/2011/9578">
  <Name>Caroline Mak &quot;Chain Reaction&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/8F73BEDB">
    <Name>BAC Gallery</Name>
    <Type>Gallery</Type>
    <Address>111 Front St., Brooklyn, NY 11201</Address>
    <Phone>718-625-0080</Phone>
    <Fax></Fax>
    <Access>Between Washington and Adams St. Subway: F to York Street, A/C to High Street</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Call ahead for group visits.</ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[This new 25 foot long, site-specific wall installation was created specifically for BAC Gallery. A seemingly mundane object, a potted plant, initiates a series of chain reactions that travel down the length of the gallery wall. Along the way, collections of objects collide, creating visual puns that are a whimsical play on each object’s intended function.

Rather than attempting to create a large scale kinetic installation, Mak uses commonly found everyday household objects to weave a complex directional, wall-sized collage where carefully chosen formal elements dictate the topsy-turvy, yet strangely logical, sequence. Six-pack rings and garden hoses find their way into the work, becoming critical junctions in this long wall installation.

Chain Reaction continues Mak’s fascination with attempting to translate and recreate natural processes using man-made and found materials. In the process of trying to re-construct and further understand these processes, systems start to become apparent in the spaces they are assigned to, each self-contained worlds with their own inherent logic.

Caroline Mak is an installation and mixed media artist from Hong Kong, now based in Brooklyn, NY. She received a BA in Biology from Stanford University (2002) and an MFA from the University of Chicago (2005). She has been the recipient of an Emerging Artist Fellowship from Socrates Sculpture Park, a BRIC Media Fellowship and she was an NEA Fellow at the Elsewhere Collaborative Residency during the summer or 2010. Exhibition highlights include the installations at Socrates Sculpture Park, NY; Islip Art Museum, NY and ‘Mirage’ at Hong Kong Art Fair. Mak was a resident at Gallery Aferro, Newark, NJ in 2010, and will have a solo exhibition at Aferro in September 2011. In addition, her work will be exhibited at ArtSpace New Haven in the spring of 2012.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/9578-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/9578-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/9578-170" width="170" />
  <Karma>0.211452</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-09-23</DateStart>
  <DateEnd>2012-02-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2011-09-23" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>1</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.702694</Latitude>
  <Longitude>-73.988936</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/9B2C" href="http://www.nyartbeat.com/event/2011/9B2C">
  <Name>&quot;Foreign Bodies&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/1FEF4D0D">
    <Name>SET Gallery</Name>
    <Type>Gallery</Type>
    <Address>287 3rd Ave., Brooklyn, NY 11215</Address>
    <Phone>718-852-7609</Phone>
    <Fax></Fax>
    <Access>Between Carroll and President Sts., Subway: R to Union Street.</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</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>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[We first “make Other” by seeing, by encountering physically. Looking at the body, we begin to categorize it. Othering is one of the first steps to identifying the self; one learns who she is in relation to/ against another. It's a method of self-identification, a construction of roles, a learning of boundaries. But it is also a way to discriminate, stigmatize, demonize, condemn. We exoticise, eroticize, fetishize and objectify what seems foreign. The process of making other applies to female bodies, ethnic bodies, queer bodies, immigrant bodies. It's a mode of exclusion and alienation, of fascination tempered by disgust, a desire covered over by fear.

Each artist in this exhibition is evoking a body or a stand in for the body, and the bodies on view are ethnic, distorted, chaotic, ambiguously gendered. But each artist examines the body through his or her own lens. At times, an overt dialogue of Otherness is made visible; in other cases, it is merely a whisper heard through the layers of multiple voices.

When encountering the video work of Vydavy Sindikat, the audience is a voyeur to a dialogue. The video is of a private conversation where participants are ethnically ambiguous, the language is not English, the state is indistinctly tense. Introduced to this foreign situation, the viewer is simultaneously estranged from and placed into the role of the objectfier. One is invited to view in order to decide how to partake.

Looking at Yevgeniya Baras’s work, one comes in contact with the skin of paint, the crustiness, scarring, dryness, and layering of material, the many different modes that define the process of painting. Sometimes, she weaves the surface out of thin strips of canvas or sheets; occasionally, it’s papier-mâché that composes the initial layer. She draws with yarn, sewing a pattern, gluing glass, foil, and paper onto canvas, or cuts and rips canvas before she begins the application of oil and acrylic paint. These works dance between sculpture and painting. They talk about an uneasy kind of beauty: unsettling and slightly repulsive. They are small and overloaded, sullied, dingy, burdened, compact, demanding bodies, loved and loathed in equal measure.


Irina Danilina’s work is created using hair. The cutting of hair is ceremonial, performative; it marks time, the stages of transformation. Hair is associated with crimes against humanity; it is what is left of the massacred. It is as much an element of beauty as it is what marks the body as ethnic. Hair both repulses and attracts, connoting desire and seediness. These braids on display are traces of a female mourning. These photographs provide context , documentation of performances passed, while the objects are contained in a scientific manner. They are trapped: the ethnic body made safe, nonthreatening, disarmed, limp.

Alina and Jeff Bliumis’s sculpture of bones overtly references the body. The bones are arranged in a circle, used as formal elements to create a composition. It is a mandala, a fragmented body reaching towards wholeness. The wooden sculptures are ambiguously gendered. They hint at masculinity and femininity but they can easily switch, can easily role-play. They make sense as a pair. As a couple, they are less vulnerable, their surface queer but armed, challenging heteronormativity. Unlike the seemingly fleeting material of Danilova’s work, these pieces are heavily present; they repeatedly reaffirm themselves. There is a density, a core of materiality in them. All three sculptures are firmly present, one in its fragmentation and two in their union. All three waver between body and spirit.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/9B2C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/9B2C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/9B2C-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-07</DateStart>
  <DateEnd>2012-02-19</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-07" start="19:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>10</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.677139</Latitude>
  <Longitude>-73.986055</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/9C6B" href="http://www.nyartbeat.com/event/2011/9C6B">
  <Name>Georges Moquay &quot;Toxic Remedy&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/D3A2F1B7">
    <Name>De Buck Gallery</Name>
    <Type>Gallery</Type>
    <Address>511 W 25th St., Suite 502, NEW YORK, NY 10001</Address>
    <Phone>212-255-5735</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 11:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[ In his first New York solo exhibition, Moquay creates large dynamic canvases that transform the gallery into a splashy, colorful swirl of energy and empowerment.
Toxic Remedy is built upon Moquay’s graphic vocabulary, which consists of an amalgam of icons and symbols. Bodiless thick-outlined heads, Moquay’s “warriors”, encircle the long-necked white buddhas in a scene of cultural fusion made up of postmodern hieroglyphics. Moquay’s “warriors” draw on Aztec pictographs, Mexico’s Dia de los Muertos’ skeleton Catrinas, and even the head of Pez candy dispenser. Using colorful x’s, o’s and arrows to fill the background along with interjections of text, Moquay’s grand scale paintings resemble larger-than-life hip-hop cartoons.
Georges Moquay was born in France to Rotraut Uecker, the widow of Yves Klein and sister to Gunther Uecker, and grew up surrounded by artists such as Pierre Restany, Arman, Cesar, and Niki de Saint-Phalle. Beginning painting at 24, Moquay has explored the process of creating work, sometimes incorporating video or music in a rave-like art experience. Moquay has been featured in exhibitions at Guy Pieters Gallery (Belgium), Galerie Be-Air Fine Art (Geneve), and Galerie de Lices (Saint-Tropez).
Georges Moquay lives and works in Paris and Arizona.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/9C6B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/9C6B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/9C6B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-04-14</DateStart>
  <DateEnd>2012-05-26</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>107</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749322</Latitude>
  <Longitude>-74.003679</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/A2DA" href="http://www.nyartbeat.com/event/2011/A2DA">
  <Name>Bill Jensen Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8F716704">
    <Name>Cheim &amp; Read</Name>
    <Type>Gallery</Type>
    <Address>547 W 25th St., New York, NY 10001</Address>
    <Phone>212-242-7727</Phone>
    <Fax>212-242-7737</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</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[Born in Minneapolis, Minnesota in 1945, Bill Jensen has lived and worked in New York since the early 1970s, and was one of the first artists to establish a studio in Williamsburg, Brooklyn. He came into prominence with “the return to painting” of the late 70’s and early 80’s. Intuitive and visceral, Jensen’s abstractions have long been admired for their unconventional compositions and profound sense of color. Saturated, densely worked surfaces, seemingly primordial in origin, transcend any sense of the struggle that Jensen attributes to his painting process. For Jensen, a painting is successful only when the artist’s initial impulse and his material’s properties harmoniously converge; this can sometimes take several years to achieve. Defined by an amorphous, ever-changing search for resolution, Jensen’s results are ultimately determined by the act of painting itself.

While characterized by the same unpretentious, process-driven investigations found in his previous work, Jensen’s new paintings are connected to distinctly identifiable sources; specific forms or compositional elements repeat in several works. This foresight and repetition is a departure for Jensen, as is his format: the majority of the new paintings and drawings are diptychs or triptychs. In discussion, he cites influences as varied as José Clemente Orozco, Clyfford Still, Francisco Goya’s black paintings, Chinese poetry, and the Dogon tribe of Africa. More specifically, in regard to the triptych configuration, he references the Rothko Chapel, a lesser-known Willem de Kooning altarpiece, and Ronald Bladen’s three-paneled painting Untitled, 1960-61 and his sculpture, Three Elements, 1965. Further, the Russian icon painter Andrei Rublev (c. 1360s–1430) has provided specific inspiration for Jensen’s “imagery.” For several canvases, as seen in The Trinity, Mandate of Heaven and Substance, Spirit and Shadow, all 2010-11, Jensen outlined the main element (three angels, seated at Abraham’s table) of Rublev’s icon painting, The Holy Trinity (1410), and repositioned it as a single, abstract shape floating on a multi-layered background of subtly colored ground. Recurring in this triptych and others, the form becomes a self-contained, almost reliquary-like symbol for Jensen’s working process.

The triptych format (which also reinforces the idea of the trinity) allows for multiple interactions between three painted surfaces. Jensen finds the possibilities of different arrangements liberating – each canvas can be re-positioned, rotated, or turned upside-down. More importantly, the format displaces any sense of the temporal or sequential, fracturing narrative constructs of “past,” “present,” and “future.” It also complicates the spatial continuity by interrupting the picture plane with distinct, physical edges; the painting’s three parts do not predictably “line up,” nor do they provide a sense of dimensional unity. Large in scale but not necessarily the same size, Jensen’s canvases create notches when hung together, further enforcing the time/space distortion. (The notches also reference altarpieces in Italy, and the Rothko panels.) Though rooted in Jensen’s profound appreciation for art history, his triptychs, like his other paintings, distill and transcend his many influences, infinitely extending on multiple paths beyond any one classification.

Other paintings in the exhibition are directly related to one of Jensen’s heavily worked etchings, Eclipse, 2011 in which a sandblasted plate was scraped and re-worked to remove blacks and add highlights. The resulting composition proved fruitful for Jensen, who copied and re-worked the abstraction in an etching called Sorrow, 2011 (which then led to the diptych series of paintings called Book of Songs). A graphic palette of grays and blacks dominate, and reference a series of line paintings that Jensen did in the 1990s. The line paintings have been a sustained influence over the last decade, providing a thread of continuity between Jensen’s various bodies of work. A series of black and white drawings (also diptychs and triptychs), made while Jensen was in Italy, emerge from the same palette. Washy, vaguely anthropomorphic forms permeate the paper; the organic abstractions allude to the less deliberate, searching quality of Jensen’s past work but also anticipate his move towards the larger triptych paintings.

All of Jensen’s works are characterized by his concern with the craft of painting. He makes his own paints (using a self-developed oil-based medium and pigment), allowing for a broad spectrum of colors (the wealth and variety of blacks provides an ample example) and controlling texture, saturation, and viscosity. Tools are created to fit his needs – butcher knives become scrapers, masonry-grade trowels become palette knives. Even in the more “planned” iconography of the triptychs, process is paramount, providing impetus for the works’ execution. For Jensen, process and result are inseparably linked: one is inconceivable without the other. This is the “struggle” that he strives to resolve, searching for the moment that material and content coalesce in unexpected, almost psychic unity.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/A2DA-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/A2DA-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/A2DA-170" width="170" />
  <Karma>1.34146</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749508</Latitude>
  <Longitude>-74.004511</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/AD96" href="http://www.nyartbeat.com/event/2011/AD96">
  <Name>Ellen Chuse Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/279BADB4">
    <Name>440 Gallery</Name>
    <Type>Gallery</Type>
    <Address>440 6th Ave., Brooklyn, NY 11215</Address>
    <Phone>718-499-3844</Phone>
    <Fax></Fax>
    <Access>Between 9th and 10th St. Subway: F to 7th Avenue</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>thursdays openinghour 16:00, fridays openinghour 16:00, </ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[The 440 Gallery presents Imagined Light, new paintings by Ellen Chuse inspired by an Italian sojourn
 
Is it possible to revive an old love affair? Almost forty years after living in Italy for a year as a Fulbright Fellow in Sculpture, Ellen Chuse returned to Rome for several months in 2010. She not only rekindled her love affair with the city, the country, and its culture, but also reconnected with the unique light, shapes and colors she encountered during her daily outings. Chuse has brought these impressions to life in a series of acrylic paintings on paper. This new body of work springs directly from her walks in the parks and gardens of Rome where the pines in particular came to represent the city for her. These new paintings, including several very large, bold pieces, reflect Chuse's decades-long fascination with tree forms as well as her continuing exploration of the emotional resonance of color and line.
 
Imagined Light opens at the 440 Gallery on Thursday, January 12th, and will run through Sunday, February 19th, 2012. There will be a reception for the artist from 6:00-9:00 PM, Thursday, January 12th. The 440 Gallery, located at 440 Sixth Avenue, Brooklyn, NY, is in the Park Slope neighborhood and convenient to the F, M, and R subways.
 
This is Chuse's third solo show at the 440 Gallery. On display will be five 61&quot; by 42&quot; acrylic paintings on paper, together with five small studies and two companion pieces. Working with organic forms in nature, both representational and abstract, the work reflects the intensity of her experience of form and place. Chuse said, &quot;I prefer to paint on paper, which entices me with its texture, flexibility and abundance. Painting on paper has renewed my connection to drawing where the paper itself often creates the line. The larger scale works convey the monumentality of the forms and the intensity of the light and atmosphere surrounding them. I bring my experience of light, place and time to the viewer through these paintings, which I think of as landscapes of the mind.&quot;
 
Long a part of the Brooklyn art community, particularly in Gowanus and Red Hook, Ellen Chuse has been a member of the 440 Gallery for over five years. Chuse received a BFA in Sculpture from the Philadelphia College of Art in 1967, and her MFA in Fine Arts from Queens College, CUNY in 1971. In 1972 she was awarded a Fulbright-Hays Fellowship to Italy in Sculpture. During the 1970's her sculpture was exhibited in various galleries in New York and New Jersey. While living in Austin, TX, in the mid-1980s she turned to drawing in charcoal and showed widely there. In recent years her practice has evolved from painting with pastel and chalk to working in graphite and acrylic or oil on paper. She has participated in group exhibitions in New York City, such as at the Kentler International Drawing Space, and has shown regularly during the annual Gowanus Artists Studio Tour since 2000.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/AD96-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/AD96-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/AD96-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</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>40.667664</Latitude>
  <Longitude>-73.984194</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2011/BC40" href="http://www.nyartbeat.com/event/2011/BC40">
  <Name>&quot;Mobilier National&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/E0759F6E">
    <Name>Demisch Danant</Name>
    <Type>Gallery</Type>
    <Address>542 W 22nd St., New York, NY 10011</Address>
    <Phone>212-989-5750</Phone>
    <Fax>212-989-5730</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street, A/C/E to 14th Street or L to 8th Avenue.</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</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>saturdays openinghour 12:00, saturdays closinghour 18:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Furniture</Media>
  <Media>3D: Product</Media>
  <Description><![CDATA[Demisch Danant gallery will unveil the first American exhibition devoted exclusively to the 20th century furniture created under the Mobilier National - an institution of the République française conceived to decorate the official palaces and residences of the Republic and to promote the highest levels of beauty, originality and technical innovation in French decorative arts and design. Mobilier National will present more than 20 rare examples of furniture realized under this extraordinary program between 1964, including Olivier Mourgue’s Montreal Chair and Table (1967), and a selection of Pierre Paulin designs for the Palais de l'Elysée including a rare Bureau de Dame (1981). Also on view will be an important President's Desk (1968) by Henri Lesetre and a Chaise Grains de café (1971) by Francois Xavier and Claude Lalanne.

The exhibition will remain on view through February 2012 at the gallery’s New York space in the West Chelsea arts district of Manhattan.

Dating back to the 17th century, the Mobilier National has been responsible for the decoration of the Republic’s many official government spaces at home and abroad. In 1964, the Atelier de Recherche et Creation (ARC) was created under the Mobilier National to promote a uniquely French contemporary style by engaging and supporting the work of 
French designers and artists. Since the 1960s, the ARC has realized over 500 prototypes for furniture and lighting, including many objects now viewed as icons of modernity. Pierre Paulin and Olivier Mourgue were the first to participate in the Mobilier National’s ARC in the 1960s. They were followed over ensuing decades by such significant figures as Elizabeth Garouste and Mattia Bonetti, and Martin Szekely in the 1980s, and the Bourroullec brothers Ronan and Erwan in the 1990s. Today, ARC continues to promote extraordinary artistic creativity in France, providing leading designers and new talents alike the resources necessary to experiment with new techniques and materials.

The exhibition at Demisch Danant focuses primarily upon the important commissions that emerged during the ARC’s first years. In 1967 the Mobilier National requested Olivier Mourgue to design the seats and tables for the French Pavilion at Expo ‘67 in Montreal. The organization commissioned Pierre Paulin to furnish the private apartments of President George Pompidou at the Palais de l'Elysée in 1969, and for the Exposition Universal in Osaka in 1970, where Paulin’s now famous Amphis sofa was unveiled. In these cases, the ARC-sponsored prototypes gave way to editions through commercial entities, allowing the vision and talent of French designers to emanate beyond the nation’s borders, influencing design internationally: these curved and softened objects heralded the beginning of a broader cultural design shift away from the more functional, hard-edged and streamlined Modernist aesthetic of the early 1960s, and toward an organicism still powerful today.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/BC40-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/BC40-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/BC40-170" width="170" />
  <Karma>1.25252</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-11-08</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747694</Latitude>
  <Longitude>-74.005878</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/C07B" href="http://www.nyartbeat.com/event/2011/C07B">
  <Name>Jean-Frédéric Schnyder Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/27F575F1">
    <Name>Swiss Institute Contemporary Art</Name>
    <Type>Cultural Center</Type>
    <Address>18 Wooster St., New York, NY 10013</Address>
    <Phone>212-925-2035</Phone>
    <Fax>212-925-2040</Fax>
    <Access>Between Canal and Grand Sts., Subway: N/Q/R to Canal Street.</Access>
    <Area areaId="soho">Soho</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>2D: Painting</Media>
  <Description><![CDATA[Swiss Institute presents a solo show of Jean-Frédéric Schnyder (born 1945, lives in Zug, Switzerland) in the United States. Despite his long and successful career the Swiss artist has remained relatively unknown beyond European borders. At Swiss Institute Jean-Frédéric Schnyder will exhibit a series of small format landscape paintings LANDSCHAFT I-XXXV (1990/91) as well as the recent video installation Corso Schnapsparade (2009).

At Swiss Institute, Schnyder exhibits Landschaft (Landscape) I-XXXV (1990/91) a typical example of his vision of painting. After finding a subject, he usually examines every possibility in his imagination without doing any preparatory drawings. The common denominator of this series is the archetypal small house treated in 35 small-sized oil paintings. From the hut of Hansel and Gretel to suburban architecture with a Swastika-lit sky, the modality of a small world is investigated by painting. “I do not care which associations my paintings provoke. Swastika, cruxifix and sugar cubes are just motives which are interesting to paint. To apply color—this is what painting is about, right?—is for me the common thread.” Schnyder’s manifesto is purely nonchalant, a balancing act between humor, kitsch and a persiflage about Western art.

Also on view is Corso Schnapsparade (Liquor Parade, 2009) an animated film featuring a highly eccentric procession. Small wooden horses pull trailers loaded with miniature versions of Swiss liquor bottles. The horses and trailers are cut in wood by Schnyder himself with painstaking craftmanship. The scenery has a childish or almost naïve element that is instantly contradicted by the presence of hard liquor. The soundtrack from the well-known film Sissy further enhances the grandeur of the parade. Schnyder’s Liquor Parade at once celebrates and ridicules festival culture and its rituals.

The exhibition has been made possible with public funds from Kanton Zug.

]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/C07B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/C07B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/C07B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-11-23</DateStart>
  <DateEnd>2012-02-26</DateEnd>
  <ScheduleNote>closed on December 24th and 25th 2011, as well as on December 31st 2011 and January 1st 2012.</ScheduleNote>
 <Party type="1" date="2011-11-22" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>17</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.721408</Latitude>
  <Longitude>-74.003248</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/C94E" href="http://www.nyartbeat.com/event/2011/C94E">
  <Name>Damien Hirst &quot;The Complete Spot Paintings 1986-2011&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/F35D4C50">
    <Name>Gagosian Gallery 24th Street</Name>
    <Type>Gallery</Type>
    <Address>555 W 24th St., New York, NY 10011</Address>
    <Phone>212-741-1111</Phone>
    <Fax>212-741-9611</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_24">Chelsea 24th</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[I was always a colorist, I've always had a phenomenal love of color... I mean, I just move color around on its own. So that's where the spot paintings came from-to create that structure to do those colors, and do nothing. I suddenly got what I wanted. It was just a way of pinning down the joy of color.
-Damien Hirst
 
Gagosian Gallery presents &quot;The Complete Spot Paintings 1986-2011&quot; by Damien Hirst.
 
The exhibition will take place at once across all of Gagosian Gallery's eleven locations in New York, London, Paris, Los Angeles, Rome, Athens, Geneva, and Hong Kong, opening worldwide on January 12, 2012. Most of the paintings are being lent by private individuals and public institutions, more than 150 different lenders from twenty countries. Conceived as a single exhibition in multiple locations, &quot;The Complete Spot Paintings 1986-2011&quot; makes use of this demographic fact to determine the content of each exhibition according to locality.
 
Included in the exhibition are more than 300 paintings, from the first spot on board that Hirst created in 1986; to the smallest spot painting comprising half a spot and measuring 1 x 1/2 inch (1996); to a monumental work comprising only four spots, each 60 inches in diameter; and up to the most recent spot painting completed in 2011 containing 25,781 spots that are each 1 millimeter in diameter, with no single color ever repeated.
 
In conjunction with the exhibition will be the publication of The Complete Spot Paintings 1986-2011, a fully illustrated, comprehensive and definitive catalogue of all spot paintings made by Hirst from 1986 to the present. Published by Gagosian Gallery and Other Criteria, The Complete Spot Paintings 1986-2011 includes essays by Museum of Modern Art curator Ann Temkin, cultural critic Michael Bracewell, and art historian Robert Pincus-Witten as well as a conversation between Damien Hirst, Ed Ruscha and John Baldessari.
 
The third issue of the Gagosian App for iPad will also launch January, providing an interactive, in-depth look at the series that features more than ninety spot paintings.
 
&quot;Damien Hirst: The Complete Spot Paintings 1986-2011&quot; precedes the first major museum retrospective of Hirst's work opening at Tate Modern in London in April, 2012.
 
Damien Hirst was born in 1965 in Bristol, England. Solo exhibitions include &quot;The Agony and the Ecstasy,&quot; Museo Archeologico Nazionale di Napoli, Naples (2004); &quot;A Selection of Works by Damien Hirst from Various Collections,&quot; Museum of Fine Arts, Boston (2005); Astrup Fearnley Museet for Moderne Kunst, Oslo (2005); &quot;For the Love of God,&quot; Rijksmuseum, Amsterdam (2008); &quot;No Love Lost,&quot; The Wallace Collection, London (2009); &quot;Requiem,&quot; Pinchuk Art Center, Kiev (2009); and &quot;Cornucopia,&quot; the Oceanographic Museum of Monaco (2010). He received the Turner Prize in 1995. His work is included in many important public and private collections throughout the world.
 
Hirst lives and works in London and Devon, United Kingdom.

[Image: DAMIEN HIRST &quot;Eucatropine&quot; (2005) Household gloss on canvas, 34 x 34 inches  (86.4 x 86.4 cm) © Damien Hirst and Science Ltd. All rights reserved, DACS 2011]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/C94E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/C94E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/C94E-170" width="170" />
  <Karma>10.7317</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749122</Latitude>
  <Longitude>-74.005472</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="2011/CC7F" href="http://www.nyartbeat.com/event/2011/CC7F">
  <Name>Gordon Moore &quot;Paintings &amp; Photo-Emulsion Drawings&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/18EB3383">
    <Name>Betty Cuningham Gallery</Name>
    <Type>Gallery</Type>
    <Address>541 W 25th St., New York. NY 10001</Address>
    <Phone>212-242-2772</Phone>
    <Fax>212-242-5959</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</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>
  <Description><![CDATA[The current group of large scale paintings further develops the abstracted format and reduced palette of the works exhibited in Moore’s previous shows. Notably, these new paintings reflect the artist’s interest in photography, positing dimensional space next to drawn space. Moore combines three or more distinct spaces within a single canvas with drawn lines that vary from deliberate to random. Moore describes himself as an empiricist and the paintings reveal an abstract but very tangible world. 

The works on paper in this exhibition are, as the title implies, ink and acrylic on photo-emulsion paper.  Here the tangible meets the abstract as the incidental photograph of a broken umbrella or a bent coat hanger converse with the drawn lines and the painted areas.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/CC7F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/CC7F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/CC7F-170" width="170" />
  <Karma>1.60273</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-12-08</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2011-12-08" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749667</Latitude>
  <Longitude>-74.0043</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/D18F" href="http://www.nyartbeat.com/event/2011/D18F">
  <Name>Natalia Fabia &quot;Punk Rock Rainbow Sparkle&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/6C7F9E5E">
    <Name>Jonathan LeVine Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., 9E, New York, NY 10011</Address>
    <Phone>212-243-3822</Phone>
    <Fax></Fax>
    <Access>Between 10th Ave and West Side Highway. Subway: A/C/E to 14th Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_20">Chelsea 20th</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></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Jonathan LeVine Gallery presents Punk Rock Rainbow Sparkle, a new series of works by Los Angeles-based artist Natalia Fabia, in what will be her highly anticipated debut solo exhibition in New York.

For her first solo show on the East Coast, Fabia chose to use the location as creative direction for her paintings and spent three months exploring the region, doing research, gathering visual materials and staging photo shoots to serve as reference imagery for her new body of work. Particularly inspired by people and places with a raw, punk sensibility, she spent time in New York City (Manhattan and Brooklyn), Philadelphia, and Asbury Park in New Jersey.

In the artist’s words: “Punk rock is one of my true loves. Punk to me is an attitude, a lifestyle. Punk is a middle finger, punk is do-it-yourself, do what you want. It’s a kind of freedom. I’m attracted to my subjects for having that quality. This attitude is what I wanted to convey in this series. My models (many of which are friends) are all tough, independent, strong, fun, hard working, talented, tattooed and stylishly dressed. I look at punk rock as being dirty and rough, yet sparkly and enticing at the same time, and that’s the theme of my paintings.”

  A skilled young oil painter, Fabia selects luminous subjects with an intriguing dichotomy—adult yet innocent, strong yet vulnerable. To view her work is a voyeuristic endeavor. Lingerie-wearing vixens lounge in intimate rooms with all the comforts of home, or gather in groups for after-hour parties at dimly-lit bars. Fabia’s playfully erotic female figures are adorned with alluring details—glimmering jewelry and intricate tattoos. These confident, empowered beauties evoke burlesque and pin-up traditions. A seductive mixture of glitter and grit, they pose provocatively in the artist’s carefully arranged compositions.

  Lush settings include environmental textures, elements of graffiti, iconic landmarks and other geographically specific architecture. Infused with Fabia’s signature style, vividly saturated candy color palette and dazzling spectrum of light, scenes in these paintings—like most of her work—are a combination of fantasy narratives and actual moments captured from the artist’s vibrant life, her passion for ornate fashion, nightlife and glamour with a punk rock edge.

ABOUT THE ARTIST 
Natalia Fabia is of Polish descent, born in 1983 in Burbank, California, and currently based in Los Angeles. In 2007, she graduated from Art Center College of Design in Pasadena. Inspired by light, color, punk rock music, hot chicks and sparkles, her work has been featured in numerous gallery exhibitions and publications.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/D18F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/D18F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/D18F-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-14</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="4" date="2012-02-11" start="15:00:00" end="17:00:00">Closing Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746167</Latitude>
  <Longitude>-74.0062</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/DB56" href="http://www.nyartbeat.com/event/2011/DB56">
  <Name>Jitka Hanzlová &quot;Here&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/EDE6BD0B">
    <Name>Yancey Richardson Gallery</Name>
    <Type>Gallery</Type>
    <Address>535 W 22nd St., 3 Fl., New York, NY 10011</Address>
    <Phone>646-230-9610</Phone>
    <Fax>646-230-6131</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>Summer Hours: Monday thru Friday, 10am to 6am. Closed on Labor Day Weekend. Winter Hours: Tuesday thru Saturday, 10am to 6pm.</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[The Yancey Richardson Gallery presents HERE, a project gallery exhibition of works by Czech photographer Jitka Hanzlová, marking the debut exhibition of the artist’s work at the gallery. The decade-long series documents the artist’s experience of acclimation to her new home in the Ruhr region of northwest Germany. Formed by a conglomeration of industrial centers, including Hanzlová’s adopted town of Essen, the landscape of the Ruhr region is in sharp contrast to the pristine forests of her childhood.

The residual sense of foreignness to the landscape, language and people is at the heart of the series. As Hanzlová explains, “Otherness is a challenge. It keeps you alert and sharpens your senses.” The images reflect this visual acuity, presenting curious landscapes clearly shaped by human intervention yet resplendent in their poetic sensibility. “The feel of a place is very important to my work, especially the light,” says the artist. Hanzlová’s expert treatment of light and attention to detail lend a sense of the transformative in these landscapes, as seen through the eyes of a poet.

Hanzlová has produced several other bodies of work since beginning HERE in 1998, including: Cotton Rose, a series of portraits in Japan, published as a monograph by Steidl; Leonardo, a series of Renaissance inspired portraits; Female, a portrait series of women the artist encountered on the streets of Europe and America; and Forest, a quiet yet powerful exploration of the forest near the Czech village where she grew up. Void of any trace of civilization, the Forest images possess an out-of-time, enchanted quality. As critic John Berger writes in the introduction to Steidl’s monograph of Forest, “the longer one looks at Jitka Hanzlová’s pictures of her forest, the clearer it becomes that escape from the prison of modern time is possible.”

Born in Czechoslovakia in 1958, Jitka Hanzlová has lived in Germany since 1983. She has had solo exhibitions in several international museums, including the Deichtorhallen, Hamburg, the Fotomuseum, Winterthur, and the Stedelijk, Amsterdam. She is the winner of the 2007 BMW Prize at Paris Photo, the 2003 Grand Prix Award, Arles, and was shortlisted for the 2001 Citibank Photography Prize. Her work is held in the permanent collections of several major museums, including the Museum of Modern Art, San Francisco Museum of Modern Art, Stedelijk Museum, and the Fotomuseum Winterthur, among many others.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/DB56-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/DB56-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/DB56-170" width="170" />
  <Karma>3.44948</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-05" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747592</Latitude>
  <Longitude>-74.005639</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/E92F" href="http://www.nyartbeat.com/event/2011/E92F">
  <Name>&quot;f/P Editions Portfolio&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8F7F43F4">
    <Name>fordPROJECT</Name>
    <Type>Gallery</Type>
    <Address>57 W 57th St., Penthouse Fl.19 &amp; 20, New York, NY 10019 </Address>
    <Phone>212-219-6557</Phone>
    <Fax></Fax>
    <Access>Between 5th and 6th Aves. Subway: F to 57th Street or N/Q/R to 59th Street.</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>2D: Prints</Media>
  <Description><![CDATA[The f/P Editions portfolio is an ongoing exhibition, newly expanded in time for the holidays. The exhibition features a selection of prints and multiples which are also available online.

The expanded portfolio includes new work by Shin il Kim, Jason Gringler, Stephen Posen, and Lisha Bai. Stephen J. Shanabrook &amp; Veronika Georgieva’s &quot;Nude Descending a Staircase&quot; from their &quot;Paper Surgery Project” deals with the consumption of images as a reflection of contemporary culture.  Zdravko Toic’s works on paper express feelings and emotional memories through a language beyond speech, the written word, or logic itself. Manuela Paz’s “Hello Manuela this is your father…”, 2011, is a series of hand carved stamps used in the artist’s performative intervention, “Call Me” which took place during the opening of “Summer Affair” at the gallery.

[Image: Stephen J. Shanabrook &amp; Veronika Georgieva &quot;Nude Descending a Staircase&quot; (2005-2011) digital c-prints from crumbled magazine pages 44 3/8 x 43 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/E92F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/E92F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/E92F-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-12-13</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.7638</Latitude>
  <Longitude>-73.975564</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/EAC4" href="http://www.nyartbeat.com/event/2011/EAC4">
  <Name>Donald Baechler &quot;Painting and Sculpture&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/6E8CA5FD">
    <Name>Fisher Landau Center For Art</Name>
    <Type>Cultural Center</Type>
    <Address>38-27 30th St., Long Island City, NY 11101</Address>
    <Phone>718-937-0727</Phone>
    <Fax>718-937-9397</Fax>
    <Access>Between 38th Ave. and 39th Ave.  Subway: N/W to 39th Avenue</Access>
    <Area areaId="queens">Queens</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Fisher Landau Center for Art presents an exhibition exploring a wide range of Donald Baechler's artwork in two and three dimensions, created over the last 25 years. In the mid 1980's, the subject matter of his large-scale paintings began quite literally to jump off the walls, transforming into monumental bronze sculptures. Installed on two floors of the Center, the exhibition is made up of work from Fisher Landau Center for Art, supplemented by work from Donald Baecher's personal collection, highlighting the interplay of recurring motifs as they transform from the painted surface to objects in space.

Born in Hartford, Connecticut in 1956, Baechler's artistic training took place in New York, Baltimore, and Germany. In the early 80s, Baechler came into prominence alongside Basquiat, Haring, Condo and the German artists - Dokoupil and Kippenberger. He has exhibited internationally since the outset of his career and is renowned for a distinctive practice, evoking a child-like fascination with cultural symbols and commonplace elements. Emily Fisher Landau began collecting his artwork in 1985 with the purchase of &quot;Globe&quot;, 1984/85, a 52 inch square canvas whose surface is made with acrylic, cotton, paper &amp; rhoplex. Since that time Mrs. Landau has added close to 30 pieces, comprising a selection of painting, sculpture &amp; works on paper that form a cohesive cross section of Baechler's thematic vocabulary.

Included in the installation are &quot;Priceless, Wordless, Loveless&quot;, 1987-88, (111 x 111 inches), exhibited in the 1989 Whitney Biennial, a painting on linen that became the inspiration for &quot;Tree&quot;, 1988, one of Baechler's first sculptures cast in bronze. Other paintings on display include &quot;Deep North&quot;, 1989, also included in the 1989 Whitney Biennial, a seminal example of his textural layering process using acrylic, oil and fabric collage on linen, as well as &quot;Autonomy or Anarchy #1&quot; (102 ½ x 117 3/4 inches) &amp; &quot;Autonomy or Anarchy #2&quot; (99 x 114 inches), both 2003, enormous works on paper depicting disembodied horse heads, facing each other and floating on a frenetic field of collaged paper and fabric, and mounted to linen. &quot;Scarecrow&quot;, 2006, (136 x 70 x 37 inches) a towering bronze installed on the outdoor entry ramp, welcomes the viewers to the Center with a passive demeanor that belies its aggressive scale. The third floor gallery presents an oversized landscape made up of Baechler's bronze &quot;Plants&quot;, 2003-04 and &quot;Flowers&quot;, 2003-07, ranging in size up to seven feet tall. Forming a progression in space, they lead to &quot;Bather (large version)&quot;, 1997 (78 x 66 x 60 inches), a fountain of cast bronze featuring an archetypal Baechler figure, immersed in an enormous water-filled bucket.

Housed in a former parachute harness factory, Fisher Landau Center for Art was designed by Max Gordon in association with Bill Katz and is devoted to the exhibition and study of the contemporary art collection of Emily Fisher Landau. The core of the 1500 work collection spans 1960 to the present and contains key works by artists who have shaped the most significant art of the last 50 years. Emily Fisher Landau's insightful selection of works by contemporary masters, many of which she purchased from the artists at the outset of their careers, is reflected in exhibitions presented at Fisher Landau Center for Art. Her ongoing commitment to emerging artists extends to the annual presentation of the Columbia University School of Visual Arts MFA Thesis Exhibition. In May of 2010, Mrs. Landau made a historic pledge of 417 artworks by nearly 100 artists, to the Whitney Museum of American Art. Excerpts from &quot;Legacy&quot; a traveling exhibition that highlights the gift to the Whitney Museum, will be on view at the Center concurrently with Donald Baechler: Painting &amp; Sculpture.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/EAC4-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/EAC4-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/EAC4-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-12-10</DateStart>
  <DateEnd>2012-04-01</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2011-12-10" start="14:00:00" end="17:00:00">Opening Reception</Party>
 <DaysBeforeEnd>52</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.753972</Latitude>
  <Longitude>-73.933017</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/EDEB" href="http://www.nyartbeat.com/event/2011/EDEB">
  <Name>Jayson Keeling &quot;See Jungle! See Jungle! Go Join Your Gang, Yeah. City All Over! Go Ape Crazy.&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/E69EA51F">
    <Name>Third Streaming</Name>
    <Type>Event Space</Type>
    <Address>10 Greene St., 2nd fl., New York, NY 10013</Address>
    <Phone>646-370-3877</Phone>
    <Fax></Fax>
    <Access>Between Canal and Grand St. Subway: 6/N/Q/R to Canal Street</Access>
    <Area areaId="soho">Soho</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays closinghour 18:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Third Streaming presents an exhibition by Jayson Keeling. See Jungle! See Jungle! Go Join Your Gang, Yeah. City All Over! Go Ape Crazy., marks Keeling’s first one-person show at the gallery. The exhibition features a selection of rarely seen photographs shown alongside a new series of paintings and videos.
 
Taking its cue from a 1981 Bow Wow Wow album, See Jungle! highlights the strong influence of music on the artist’s practice and his fascination with popular and street culture. Drawing from hip-hop, punk, jazz, the 1980‘s New Wave movement as well as from film, and modern and pop art, the work blends visual imagery and text - often appropriated from music lyrics and film narratives -  into unexpected outcomes. In addition, Keeling’s bi-cultural upbringing between Jamaica and the Bronx, New York comes into play in subtle ways.
 
The exhibition title provides a direct example of the cultural-recycling that saturates Keeling’s work. The Bow Wow Wow album cover features a photograph of the band posed as a tableau vivant of Manet’s Luncheon on the Grass, making Keeling’s appropriation of the title a playful commentary on cultural fluidity, the urban jungle, and the power of reinterpretation.
 
Several of the works on display straddle the gritty physicality of punk and hip-hop and the high-gloss aesthetic of fashion photography. The dialogue between these seemingly disparate outlooks creates a raw energy that Keeling takes advantage of to highlight themes of gender, race and sexuality as well as to provide a critique on commercialism and socio-political issues. In Vampire, 2004/printed 2011 and Mathias, 2002/printed 2011, the careful composition mixes with the interplay of textures to emphasize the strength and sensuality of the human body, as well as, provides a commentary on the dominance of advertising and branding in contemporary culture.
 
Jayson Keeling was born in New York and raised between Jamaica and the Bronx. He currently lives and works in Brooklyn. His work has been included in exhibitions at El Museo del Barrio (New York), The Andy Warhol Museum (Pittsburgh, PA), Queens Museum of Art, The Bronx Museum, and The Studio Museum in Harlem, among others. Keeling has been awarded residencies from the Lower Manhattan Cultural Council as well as the Apex Outbound Residency in Ethiopia.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/EDEB-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/EDEB-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/EDEB-170" width="170" />
  <Karma>1.00129</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-10-28</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote>Hours: Wednesday to Friday, noon to 6 pm and Saturday, 1 pm to 6 pm or by appointment.</ScheduleNote>
 <Party type="1" date="2011-10-27" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.720678</Latitude>
  <Longitude>-74.002944</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/F308" href="http://www.nyartbeat.com/event/2011/F308">
  <Name>&quot;Mongol Visions: Winged Horses and Shamanic Skies&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/F027B9B1">
    <Name>Tibet House</Name>
    <Type>Cultural Center</Type>
    <Address>22 W 15th St. New York, NY 10011</Address>
    <Phone>212-807-0563</Phone>
    <Fax>212-807-0565.</Fax>
    <Access>Between 5th and 6th Ave. Subway: F/L/V to 6th Ave.and 14th St. or 4/5/6/L/N/Q/R/W to Union Square.</Access>
    <Area areaId="flatiron_gramercy">Flatiron, Gramercy</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Calligraphy</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Crafts</Media>
  <Description><![CDATA[For more than two thousand years the Mongols have dominated the center of the Silk Road. Here, under the guidance of the great Khaans like Genghis and Kublai, the ancient traditions of shamanism and Indo-Tibetan Buddhism merged into a profound stream. The vast influence of Mongolia on Euro-Asian civilization is only now being fully appreciated. Tibet House is delighted to join in the celebration of this inspiring and magical legacy by hosting an exhibition with six of Mongolia’s greatest award-winning young artists whose works bring together the integrity of tradition and the creative impulse of the contemporary aesthetic.

These celebrated artists include Gankhuyag Natsag, whose paintings, statues and traditional lama dance masks have shown in more than a dozen cities around the world; D. Soyolmaa, renowned for bringing the clarity and precision of traditional Buddhist art into a contemporary ambiance; T. Nurmaa, famed for her ability to capture on canvas the radiance and raw intensity of the Mongolian spirit; D. Bulgantuya, an acclaimed artist who has received rave reviews in Sofia, Budapest, Warsaw, Kiev, and Vienna; and Ts. Bolor, especially known for her “aesthetics of the feminine.” 

Please join us for the opening reception. Robert Thurman, Glenn Mullin and several of the artists will be present in this celebration of their works.

]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/F308-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/F308-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/F308-170" width="170" />
  <Karma>0.690789</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-12-01</DateStart>
  <DateEnd>2012-02-15</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2011-12-01" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>6</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.737083</Latitude>
  <Longitude>-73.993736</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/F43D" href="http://www.nyartbeat.com/event/2011/F43D">
  <Name>Jacco Olivier &quot;Outdoor Exhibition of Six Painterly Animations&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/1A8017B1">
    <Name>Mad. Sq. Art</Name>
    <Type>Other</Type>
    <Address>1 W 23rd St., New York, NY, 10010</Address>
    <Phone>212-538-6667</Phone>
    <Fax>212-538-3970</Fax>
    <Access>Between 5th and 6th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="flatiron_gramercy">Flatiron, Gramercy</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>Screen: Video installation</Media>
  <Description><![CDATA[Mad. Sq. Art announces an outdoor exhibition of six painterly animations by acclaimed Dutch artist Jacco Olivier as the final presentation of its 2011 season. Mad. Sq. Art celebrates the artist’s first public art commission in New York City, which will feature both new, site-specific and existing works displayed throughout the Park. Olivier's series of stop-motion animations will brighten New York's winter landscape with moving images exemplary of the artist's characteristically rich color palette and lavishly textured style. The exhibition will remain on view daily in Madison Square Park from December 15, 2011 through March 12, 2012.

Beginning with a single image, Olivier introduces subtle alterations with each additional layer through his process of over-painting. After he paints and re-paints his images, Olivier photographs each stage of the process as stop-motion animation until an original no longer exists. The resulting work reveals a history of the painting process that captures scraps of narrative and visual iconography brought to light as a moving painting.

According to the artist, Jacco Olivier, exhibiting in Madison Square Park provides &quot;an opportunity to go totally abstract and see things on a molecular level, to change perspective[…] to show an animation in the ground, you really have to look down to see it, which creates a little private moment for the viewer that is free of narrative, subject or meaning.&quot;

President of the Madison Square Park Conservancy, Debbie Landau comments, &quot;Mad. Sq. Art is pleased to bring Jacco Olivier and his richly colorful work to Madison Square Park. The subtle yet engaging quality of his animations will infuse an appreciated energy into the Park during the winter months ahead, drawing connections between scenes of natural landscape in his beautiful, painterly animations and the natural life of the Park that so commonly lays hidden beneath the snow each winter.&quot;

Olivier's exhibition for Madison Square Park will feature a combination of his larger and more intimate works including: Stumble (2009); Hide (2004); Rabbit Hole (2011); Bird (2011); Deer (2011); and Home (2004). Animations will be displayed on screens imbedded in and suspended throughout the Park’s existing landscape, equally animating life in the Park's heavily trafficked and quieter spaces. Olivier's moving images of flora and fauna are set to artfully draw parallels to their natural accompaniments in Madison Square Park for its 50,000 daily visitors.

In connection with the exhibition, Mad. Sq. Art will publish a limited-edition exhibition catalogue designed by Pentagram, featuring a scholarly essay about Olivier’s new work along with full-color photographs by acclaimed photographer James Ewing. The publication will mark the first time Mad. Sq. Art has documented a moving-image project with a printed catalogue.

About the Artist:

Dutch artist Jacco Olivier (b. 1972) studied at the Rijksakademie, and lives and works in Amsterdam. In 2010 he had solo exhibitions at the Centro de Arte de Caja de Burgos, Spain, and at the Blaffer Gallery at the University of Houston, Texas. He was included in exhibitions at the MCA Denver (2006), ZKM, Museum fur Neue Kunst &amp; Medienmuseum, Karlsruhe (2007) and in the 8th SITE Santa Fe Biennial: The Dissolve, curated by Daniel Belasco and Sarah Lewis (2010). In 2012, Olivier will participate in a residency program at Artspace in San Antonio, Texas. Jacco Olivier is represented by Marianne Boesky Gallery, New York; Victoria Miro Gallery, London; Galerie Thomas Schulte, Berlin; and Parra &amp; Romero Galeria de Arte, Madrid; and Ron Mandos Gallery in Amsterdam. His exhibition in Madison Square Park is Olivier's New York public art debut.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/F43D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/F43D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/F43D-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-12-15</DateStart>
  <DateEnd>2012-03-12</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>32</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.741569</Latitude>
  <Longitude>-73.989592</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0041" href="http://www.nyartbeat.com/event/2012/0041">
  <Name>Regina Walker &quot;New Work&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/3DFCE83B">
    <Name>Ceres Gallery</Name>
    <Type>Gallery</Type>
    <Address>547 W 27th St., Suite 201, New York, NY 10001</Address>
    <Phone>212-947-6100</Phone>
    <Fax>212-947-6100</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>thursdays closinghour 20:00</ScheduleDetails>
    <ScheduleNote>August 9-August 31, 2009   Gallery Closed for the summer break, to reopen September 1, 2009.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[&quot;To me, photography is an art of observation. It's about finding something interesting in an ordinary place... I've found it has little to do with the things you see and everything to do with the way you see them.&quot;. - Elliott Erwitt]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0041-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0041-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0041-170" width="170" />
  <Karma>1.43236</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-31</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750694</Latitude>
  <Longitude>-74.003639</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/007E" href="http://www.nyartbeat.com/event/2012/007E">
  <Name>&quot;The Architecture of Space&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/006A0DA0">
    <Name>Klompching Gallery</Name>
    <Type>Gallery</Type>
    <Address>111 Front St., Suite 206, Brooklyn, NY 11201</Address>
    <Phone>212-796-2070</Phone>
    <Fax></Fax>
    <Access>Between Washington and Adams St. Subway: F to York Street, A/C to High Street</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Extended Hours: 1st Thursdays, 11am — 8:30pm.  Closed August 15-25.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[KLOMPCHING GALLERY presents the New York showing of The Architecture of Space, originally curated for and enthusiastically received at the inaugural Flash Forward Festival in Toronto.

This is an exhibition of contemporary photography exploring the perception and representation of space—the collapse between public and private, it’s abstract form and its role as metaphor. In many respects, the selected artists also embody the state of contemporary photography itself; in that their artworks are not easily packaged into identifiable genres, but illustrate the blurring of those categories. This can be seen through the wide-reaching visual strategies employed, as well as the imaginative modes of production that bring attention to the photograph as an abject of construction.

Monika Sziladi provides a voyeuristic look into social networks and subcultures, presented as panoramic fictions, assembled so tightly that you might believe they’re ‘shot from the hip’. Ben Lowy’s images of Iraq also play on this notion of voyuerism, but in his case he provides the spectator with a rare viewpoint of war, as seen from the photographer’s perspective. Street photography is addressed in Matthew Baum’s photographs, of the passing moments of people he encounters and observes, but re-presented as a kind of hyper-reality that results from a subtle and perceptive use of post-production.

The intervention of the artist is also utilized to great effect in the work of Sebastian Lemm, who creates negative space in his large-scale landscapes and new work by S. Billie Mandle, who transforms the familiarity of car parks into spaces of quiet meditation. The idea of a shared private space is also evident in the restrained portraits, by Andrea Land; of little girls in their bedrooms that entice the viewer into their imaginative worlds of make believe.

This highly personalized insight can be seen in the work of Justine Reyes too, where she fuses personal family artifacts within the tropes of traditional dutch still life. Greg Stimac’s images of built-up grit and bugs register tangible evidence of road journeys but also conjure up a sense of time and distance. James Pomerantz’s, images of anonymous landscapes culled from a CCTV camera, on the other hand, bring about mystery and intrigue.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/007E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/007E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/007E-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-25</DateStart>
  <DateEnd>2012-03-02</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>22</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.702694</Latitude>
  <Longitude>-73.988936</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0083" href="http://www.nyartbeat.com/event/2012/0083">
  <Name>Elizabeth Yamin &quot;Wallabout&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/1EC68E01">
    <Name>The Painting Center</Name>
    <Type>Cultural Center</Type>
    <Address>547 W 27th St., Suite 500, New York, NY 10001</Address>
    <Phone>212-343-1060</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street Station</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[My studio location on Wallabout Bay in the Brooklyn Navy Yard has strongly influenced my work: the dry docks, the river, the tugs and barges that make up the shifting scene. Looming as backdrop to the Yard’s day-to-day activities, the relics of shipbuilding and repairing on the grandest scale still stand and rust. The paintings are concerned with the seemingly solid blackness of barges, the thrust of cranes, the tenuous delicacy of worn-out metal. They incorporate the element of time in their allusions to the industrial past, as well as in the interplay between layers of perception, Poised between confusion and resolution, they invite the viewer into the process of their own composition.

In his review of Yamin’s 2007 show in AbstractArtOnline, Joe Walentini wrote: These paintings feel playful even as they present a tension between chaos and order ... . While composition in these pieces is tight there is a feeling that by pulling a thread they could explode in your face. Herein lies the content of the work – the push-pull between the forces of the open and closed space, variety of contrast and a democratic mix of earth tones and brighter hues. Yamin pulls it all together magnificently in an equilibrium between consistency and individuality.

Yamin has exhibited at St. John’s University, NY; The Brooklyn Museum; Haverford and William and Mary Colleges; as well as at The Painting Center. She was included in the 183rd Invitational at the National Academy Museum and has received Fellowships from the New York Foundation for the Arts and the Getty Foundation. Concurrently with Wallabout, she is included in MIC:CHECK (occupy) at the Sideshow Gallery, Williamsburg, Brooklyn.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0083-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0083-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0083-170" width="170" />
  <Karma>2.86472</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-31</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750899</Latitude>
  <Longitude>-74.003599</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/008B" href="http://www.nyartbeat.com/event/2012/008B">
  <Name>John Miller &quot;Suburban Past Time&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/1BFE12E5">
    <Name>Metro Pictures</Name>
    <Type>Gallery</Type>
    <Address>519 W 24th St., New York, NY 10011</Address>
    <Phone>212-206-7100</Phone>
    <Fax>212-337-0070</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_24">Chelsea 24th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[John Miller elaborates on many of the tropes he has masterfully cultivated throughout his thirty-plus year career in “Suburban Past Time,” his latest exhibition at Metro Pictures. Through artificial rocks and plants ranging in scale from massive to ordinary, wallpaper, store-bought and handmade decorative elements and the continuous presence of two people, Miller transforms the gallery into a bizarre yet familiar public space. The works included in the exhibition are a continuation of the artist’s ongoing sociological investigation into so-called middlebrow culture, which focus on artifice in Western consumer societies. 

To evoke a sense of the generic, Miller pastes two vector print wallpapers depicting exterior views of nondescript plattenbauten, or apartment blocks, in Berlin and a beach resort on the working class tourist island of Mallorca, Spain. With the wallpapers are two carpets spelling “NO,” filing cabinets painted in what Miller describes as “hot rod finish,” and an oversized tree and rock that refer to the practice of using fake “natural” objects to hide pool pumps in suburban backyards. Continuously present amidst the installation are two people who either sit on a chair reading or rest on a plinth. 

Also on view are a series of flash animations Miller created with long time collaborator Takuji Kogo under the name Robot. Lifting the text from personal ads and setting them to MIDI voice recordings, cultural hierarchies related to age and wealth emerge from the borrowed lyrics of these videos projected on the gallery’s walls.

[Image: &quot;Suburban Past Time,&quot; installation view, 2012. Metro Pictures, New York.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/008B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/008B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/008B-170" width="170" />
  <Karma>6.84492</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.74875</Latitude>
  <Longitude>-74.004292</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/01C0" href="http://www.nyartbeat.com/event/2012/01C0">
  <Name>Norbert Brunner &quot;Smiling Broadly&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/EF0C5F09">
    <Name>Claire Oliver</Name>
    <Type>Gallery</Type>
    <Address>513 W 26th St., New York, NY 10001</Address>
    <Phone>212-929-5949</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[As Brunner’s work delights both visually and conceptually, the Artist has taken great care to ask more questions in the work than he answers, melding seamless fabrication with deeply meaningful content. The experience one has with Brunner’s work is deeply personal and interactive and yet the work speaks universally.  We must stand directly in front of a Brunner work in order for its full content to be revealed to us.  As Brunner states, “only by confronting head-on what is possible can you stay true to your pathway.  When you move to the side even a little bit, my work dissolves into dots of color and flashes of brilliant crystal, a glittery yet shadowy world not clear or precise, a metaphor for losing your way or wandering off of your chosen direction.&quot;

These works call into question our interpretation of a “portrait” as a fixed moment in time. Neither a mirror nor a photograph can capture reality; we see only an interpretation of that which is secured in the confines or perception of time. Artists have an historical precedent of foreshadowing and influencing world cultural shifts. By focusing on art as an empowering encounter, Norbert Brunner brings an artistic voice to an engaged audience. The Artist hopes to instill a desire, not a driving force, which could lead to realizing one's singular capabilities to determine the path of his or her own life and recognizing each individual’s ability to change the world for the better.

[Image: Norbert Brunner &quot;You are exceptional&quot; (2012) Digital print on acrylic glass, acrylic mirror, Swarovski crystals, MDF, LED lights 51.2 x 25.59 x 4.33 in. Image courtesy Claire Oliver Gallery, New York]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/01C0-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/01C0-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/01C0-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-16</DateStart>
  <DateEnd>2012-03-24</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="3" date="2012-02-16" start="18:00:00" end="20:00:00">Reception For The Artist</Party>
 <DaysBeforeEnd>44</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749761</Latitude>
  <Longitude>-74.003139</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0210" href="http://www.nyartbeat.com/event/2012/0210">
  <Name>&quot;happenings&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/510B609E">
    <Name>The Pace Gallery (534 W 25th St)</Name>
    <Type>Gallery</Type>
    <Address>534 W 25th St., New York, NY 10001</Address>
    <Phone>212-929-7000</Phone>
    <Fax>212-929-7001</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_25">Chelsea 25th</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="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>Screen: Film</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[The first exhibition to document the origins and historical development of the transient, yet pivotal “Happenings” movement from its inception in 1958 through 1963. The experimental performances forever changed the definition of art and the possibilities for what it could be. The show captures more than thirty of the original Happenings and the contributions of the main participants—Jim Dine, Simone Forti, Red Grooms, Allan Kaprow, Claes Oldenburg, Lucas Samaras, Carolee Schneemann, and Robert Whitman. It brings together for the first time more than 300 photographs by five photographers who witnessed and documented the performances, as well as artworks, rare film footage, and original ephemera. The exhibition is accompanied by a book published by The Monacelli Press and authored by Milly Glimcher.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0210-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0210-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0210-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-10</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749383</Latitude>
  <Longitude>-74.004239</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="2012/0312" href="http://www.nyartbeat.com/event/2012/0312">
  <Name>&quot;In Living Color&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/E13CCD41">
    <Name>The FLAG Art Foundation</Name>
    <Type>Museum</Type>
    <Address>545 W 25th St, 9 and 10 Fls., New York, NY 10001</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>16:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Open every Friday from 11am to 3pm and occasional Saturdays.  Otherwise open by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Prints</Media>
  <Description><![CDATA[The exhibition presents a chromatic study from a wide range of artists including: Assume Vivid Astro Focus, Kristin Baker, Olaf Bruening, Dan Colen, Mark Grotjahn, Anselm Reyle, Gerhard Richter, Fred Tomaselli, Cy Twombly, and Rachel Whiteread. The majority of the works being shown have been completed in the past 2 years and many are on view for the first time in America. Several have never been shown at all prior to this exhibition.
 
Among the newly completed works are Kristin Baker's Once in a Mooning, a night sky streaked with hues of luminescent blue injected with electrifying pink. Dan Colen created Zero for Conduct, a flower painting of deep reds, purples and blues specifically for the exhibition.
 
The following works will be on view in the United States for the first time: Gerhard Richter's digital print Strip is comprised of a system of parallel lines generated by dividing an earlier abstract painting by the artist vertically into a pattern of 8190 strips. Shown in Athens at the last gallery exhibition of his work prior to his passing, Cy Twombly's Leaving Paphos Ringed with Waves (IV) employs rich tones of turquoise with vermillion and yellow to portray the Mediterranean landscape and reference ancient literature and mythology. Rachel Whiteread's sculpture A.M. from her last show at her Rome gallery, inhabits the negative space within a windowpane, utilizing a jewel-like pink resin.
 
The exhibition explores color in a variety of contexts and ranges: within a framework of order and chaos, as a signifier of time and place, in relation to the medium of the work, and in monochromatic forms.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0312-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0312-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0312-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-21</DateStart>
  <DateEnd>2012-05-19</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-21" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>100</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749528</Latitude>
  <Longitude>-74.004503</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/03B8" href="http://www.nyartbeat.com/event/2012/03B8">
  <Name>Michelle Doll Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/904B151A">
    <Name>Blank Space</Name>
    <Type>Gallery</Type>
    <Address>511 W 25th St., Suite 204, New York, NY 10001</Address>
    <Phone>212-924-2025</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave.  Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</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[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/03B8-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/03B8-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/03B8-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-16</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-16" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749322</Latitude>
  <Longitude>-74.003679</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0423" href="http://www.nyartbeat.com/event/2012/0423">
  <Name>Robert Buck &quot;Kahpenakwu&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/F7CD35E1">
    <Name>CRG Gallery</Name>
    <Type>Gallery</Type>
    <Address>548 W 22nd St, New York, NY 10011</Address>
    <Phone>212-229-2766</Phone>
    <Fax>212-229-2788</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street, A/C/E to 14th Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[For his second show at CRG Gallery, Robert Buck (who previously showed under the name Robert Beck) exhibits sculptures, assemblages, paintings, and drawings inspired by the deserts of the American southwest – Kahpenakwu, or “west” in the Comanche language. In his desert sojourns, Buck finds source material in the natural environs (lechuguilla seed pods, devil’s head cactus areoles, yucca dagger leaves) and the detritus of American consumerism (rusted sheet metal, a wooden shipping palette, soda cans bleached by the sun). With this found desert material, the artist incorporates construction materials used in off-the-grid structures, including cinder blocks, concrete pavers, and metal fence poles.

In Through the Night That, an American flag, dyed pitch black and affixed to a metal pole, stands in a roll of barbed wire. The black flag is graphically reminiscent of a star spangled night sky, while the spiked, tangled physicality of the barbed wire itself echoes desert flora, notably ocotillo plant stalks. Buck finds the tranquility of nature at odds with the artificial and heavily enforced boundaries imposed by the border.
Contending with the “other” permeates Buck’s work. In a new series of drawings in which the artist redrafts drawings by American Indians – “savages” after his earlier drawings by “children” – the source material includes drawings by a Kiowa Native American named Silver Horn. Buck redraws Big Horn’s depictions of torture and conflict, highlighting not only the Kiowa tribe’s encounter with otherness, in the White Man, but also the sense that identity and intent are determined historically and contextually.

Language informs much of Buck’s work. In his “By Any Other Name” and “Second Hand” painting series, he appropriates signatures from sign-in books from his previous gallery shows. The “Second Hand” series is comprised of thrift store paintings, across which the artist enlarges a signature, and then signs it “R. Buck”. With this action, the artist questions the notion of authorship, while blurring the line between the painting’s original artist, gallery observer, and himself. Both series utilize the grid, as a kind of foundation or screen, either as a means to transcribe a signature to a canvas, or as a digitally printed background – specifically the “transparency” layer found in Adobe Photoshop.

The artist employs smoked Plexiglas as a stand-in for gorilla glass—the reflective surface of hand-held Apple products, like iPhones and iPads. In the same way that the Photoshop grid is apperceived as a limit, the murky Plexiglas functions as a marker of our times—before and, ultimately, after Apple. It also serves as a pane through which we encounter images, like the Navajo buck, gleaned from the internet (like all of the images in show) in El Camino Real, or the dismembered victims of a Mexican cartel in An Eye For An Eye For An Eye For An Eye For An Eye. Alongside the natural elements, the lustrous material highlights that what appears literally in reach and immediate may be in truth remote and transitory.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0423-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0423-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0423-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747488</Latitude>
  <Longitude>-74.006126</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/043F" href="http://www.nyartbeat.com/event/2012/043F">
  <Name>Monica Cook “Volley”</Name>
  <Venue href="http://www.nyartbeat.com/venue/10EF30FF">
    <Name>Postmasters Gallery</Name>
    <Type>Gallery</Type>
    <Address>459 W 19th St., New York, NY 10011</Address>
    <Phone>212-727-3323</Phone>
    <Fax></Fax>
    <Access>Between 9th and 10th Ave., Subway: A/C/E to 14th Street or L to 8th Avenue.</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</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></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[In her first solo show with Postmasters Monica Cook presents “Volley,” a stop-animation video, and a group of moveable sculptures and photographs. In “Volley” a series of intimate narrative vignettes takes place in a world of human-like cave dwelling monkeys. Tender, expressive, attractive and repulsive all at once they live, love, dream, and die. The video is hard to watch and at the same time impossible to stop watching.
 
Animation is a form of magic because movement is a sign of life. To endow a creature with the power of motion is to bring it, partially, imperfectly, to life. Monica Cook’s monkey-creatures are animated by some very wild magic. Cursed by their creator with deeply corrupted bodies, with scarred skin and secret interiors, with pustules and orifices and inconvenient fluids, these creatures are uncomfortably, undeniably alive. And in their imperfection, they are not only individual, they are beautiful. Volley is a love story, in a sense it is the Love Story, that grand tale which we never cease to applaud: The brutality of biological lust tempered by the delicate delusions of adoration. Cook’s beast-beings inhabit a world the colors of spun sugar and wedding mints,  where rutting lust and infinite tenderness are indivisible. A mutant monkey with too-human eyes strokes a contented wolf-puppy who dreams of devouring entrails. A perfect luminous monkey-goddess hovers unapproachably, bedecked in lewd sequins.  Idealized passions fuse with the violence of birth. Cook renders the sufferings and storms of biological life with loving, unflinching regard, inviting the viewer to both voyeurism and self-reflection.
 
“It's tempting to call the film sweet and captivating, except that it is simultaneously repulsive and disturbing. The monkeys are pockmarked with surreal, iridescent growths. We are confronted with bodily functions of fluid and flesh that accompany the typically romanticized themes of love and animal connection. Even more disconcerting is that these terrifying-looking monkeys move and act in a way that reminds us of ourselves. It's unsettling to think that our bodies have anything in common with these bodies”.
-Wyatt Williams
 
 
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/043F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/043F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/043F-170" width="170" />
  <Karma>1.21557</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-07</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-07" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.744756</Latitude>
  <Longitude>-74.004783</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/04C1" href="http://www.nyartbeat.com/event/2012/04C1">
  <Name>Kim Dong Yoo Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/57E7DAC9">
    <Name>Hasted Kraeutler</Name>
    <Type>Gallery</Type>
    <Address>537 W 24th St., New York, NY 10011 </Address>
    <Phone>212-627-0006</Phone>
    <Fax>212-627-5117</Fax>
    <Access>Between 10th and 11th Aves. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_24">Chelsea 24th</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></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Hasted Kraeutler presents the first exhibition of paintings by KIM DONG YOO in the United States.

Kim Dong Yoo is best known for paintings of iconic images that are comprised of thousands of smaller images, which either contradict or support the primary subject, such as John F. Kennedy, Mao Tse-Tung, Marilyn Monroe, Michael Jackson, Madonna and Albert Einstein.

Born in 1965 in Gongju, Korea, Kim Dong Yoo has exhibited widely in Korea and internationally since 1988, when he completed his MFA at Mokwon University. He now lives in Seoul, Korea. 

[Image: Kim Dong Yoo &quot;Marilyn &amp; JFK&quot; (2010)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/04C1-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/04C1-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/04C1-170" width="170" />
  <Karma>1.26774</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-24</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>44</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748989</Latitude>
  <Longitude>-74.004833</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/04ED" href="http://www.nyartbeat.com/event/2012/04ED">
  <Name>Sangram Majumdar &quot;New Work&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/F4FDDA60">
    <Name>steven harvey fine art projects</Name>
    <Type>Gallery</Type>
    <Address>208 Forsyth St., New York, NY 10002 </Address>
    <Phone>917-861-7312</Phone>
    <Fax></Fax>
    <Access>Between Stanton and E. Houston Sts.  Subway: F to 2nd Avenue.</Access>
    <Area areaId="lower_east_side">Lower East Side</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>2D: Painting</Media>
  <Description><![CDATA[Steven Harvey Fine Art Projects presents the second solo exhibition of paintings by Sangram Majumdar. Born in 1976 in Calcutta, Majumdar is an image-based painter who received his BFA from Rhode Island School of Design and his MFA from Indiana University and is currently on the faculty at Maryland Institute College of Art.
 
This new body of work ranges thematically from a portrait (Portrait Projected), to a painting that plays with geometric abstraction (Fall Into). Yet underlying all of the paintings is a complex compositional process of perceptually-based image overlays - paintings atop paintings. Majumdar’s work of ten years ago explored figure groups and crowds as subjects. In his recent work, the figures are often erased, with just traces or remnants of their presence remaining. Detailed, precisely drawn forms become pieces of a dense, but ultimately unified surface. Open spaces and voids are explored as much as accumulations of objects.
 
The layering of fragmentary information relates to Majumdar’s reflections on Bengali culture – the multi-day, multi-sensory religious festivals (pujas) that were part of his childhood in Calcutta. These paintings contain references to the myth of Durga – a Hindu Goddess who slayed the buffalo demon with her lion. The image layering is also an exploration of our relationship to social media, where partial knowledge becomes embedded in us – but only as fragments. The paintings in the exhibition are inter-related: we find small segments of imagery repeated and re-mixed in different ways, for example, in Smoke and Mirror and Fall Into.  They become half-truths, a questioning of image and narrative, and Majumdar invites the viewer to discover what is actually there.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/04ED-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/04ED-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/04ED-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-19</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-13" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>10</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.722397</Latitude>
  <Longitude>-73.990608</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/05C6" href="http://www.nyartbeat.com/event/2012/05C6">
  <Name>Norman Mooney &quot;Works on Paper&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/6675D8B6">
    <Name>Sasha Wolf Gallery</Name>
    <Type>Gallery</Type>
    <Address>548 W 28th St., 2nd Fl., New York, NY 10001</Address>
    <Phone>212-925-0025</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave.  Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_28_above">Chelsea 28th - 33rd</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>and by appointment</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[Sasha Wolf Gallery presents a solo exhibition by artist, Norman Mooney. This is his second solo show at the gallery.

Norman Mooney’s new drawings are based on the artist’s intuitive approach to the process of mark making. Most of Mooney’s works are made with carbon directly on paper using a lit torch. It is a very physical and immediate process, almost performance in its nature.  In this new work Mooney continues his quest to blur the boundaries between positive and negative, interior and exterior, density and weightlessness. The marks have an organic, primal quality, yet their exact reference is ambiguous.

Norman Mooney was born in Dublin, Ireland in 1971.   He studied at Crawford College of Art and Design in Cork and completed his BFA at the National College of Art and Design in Dublin in 1992.  He then had the distinguished honor of participating in the Third Degree Program at the Irish Museum of Modern Art from 1992 to 1993.  In 1994 he relocated to New York City and has been exhibiting locally and internationally for more than 16 years. Recent exhibitions include, “1, 2, 3 Volume” at the Siqueiros Museum in Mexico City, Beyond Borders in Abu Dhabi, Close your Eyes at Martine Chaisson in New Orleans and “Wall Flowers” at Causey Contemporary in New York.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/05C6-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/05C6-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/05C6-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-19" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751298</Latitude>
  <Longitude>-74.003362</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/060D" href="http://www.nyartbeat.com/event/2012/060D">
  <Name>James Busby &quot;Wingspan&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/BB53F343">
    <Name>Stux Gallery</Name>
    <Type>Gallery</Type>
    <Address>530 W 25th St., New York, NY 10011</Address>
    <Phone>212-352-1600</Phone>
    <Fax>212-352-0302</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_25">Chelsea 25th</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>3D: Installation</Media>
  <Description><![CDATA[One of the enigmatic centerpieces of James Busby’s fourth exhibition at Stux Gallery is attempting an escape. A meticulously polished black painting rests on a cart that appears as if it emerged from an ancient shipwreck. Gnarly fiberglass growth threatens to consume the pristine surface from all sides as the rusty cart wheels the piece away to a determined but indecipherable destination.

Poets have been comparing artworks to wings that transport the artist and viewer to the realm of aesthetic imagination since the Romantic Era. Works in “Wingspan”, on the other hand, remind us that in addition to the ability to sponsor intellectual flight, various properties of the figurative “wings” themselves are fascinating in their own right. Influenced by Russian Constructivism, Suprematism and the works of Robert Ryman, Donald Judd and Richard Tuttle, amongst others, Busby’s new paintings are also inspired by the physical, temporal, and interactive process of art creation. They raise important questions about the way visual art initiates dialogue with its viewers and influences—or becomes influenced by—its surrounding environment.

The effects of Busby’s obsessive attention to surface texture and geometric relations are magnified in his new works of unprecedentedly large scale, for the artist. Created by sanding thick layers of gesso, his already low reliefs become vanishingly subtle amidst the enlarged overall dimensions. However, up close the viewer will discover forms that hover above or sink below one another in their new spacious habitat, creating frictions and spatial tensions that echo beyond the visual field. Oddly, the compounded complexity renders his works even more intimate as Busby’s trademark techniques dazzle in in their expanded venue.

The three-dimensionality and variations in surface quality allow Busby to paint with the light cast upon them to create ephemeral colors and textures unachievable by applying paint alone. Viewing his larger works requires viewers to completely immerse themselves in Busby’s meticulous world of visual and spiritual poetry, and engage thoroughly with the newly acquired wingspan before taking off.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/060D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/060D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/060D-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749336</Latitude>
  <Longitude>-74.004122</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0635" href="http://www.nyartbeat.com/event/2012/0635">
  <Name>Alfred Jensen / Sol LeWitt &quot;Systems and Transformation&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/C4A326ED">
    <Name>The Pace Gallery (32 E 57th St)</Name>
    <Type>Gallery</Type>
    <Address>32 E 57th St., 2 Fl., New York, NY 10022</Address>
    <Phone>212-421-3292</Phone>
    <Fax>212-421-0835</Fax>
    <Access>Between Madison and Park Ave. Subway: 4/5/6 to 59th St. and N/R to 5th Ave.</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>09:30:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 10:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Exhibited side-by-side, Jensen’s colorful and tactile abstract paintings and LeWitt’s minimalist white structures reveal the vastly different outcomes that can arise from similar conceptual foundations. Jensen uses mathematical systems to construct two-dimensional grid paintings and demonstrate color theories, but the work itself is metaphorical, referencing pre-Colombian and Asian cultures, textiles, and divination. LeWitt’s three-dimensional grid sculptures, in contrast, are self-referential, rooted in logic and reality, and governed by mathematical instructions that objectively organize space. The exhibition will include eight paintings by Jensen and eight open geometric structures by LeWitt. 

Jensen's intricately organized diagrams reflect his distinctive conceptual approach, begun in the late 1950s when he started to refine his wide-ranging studies of systems and philosophies—from theories of color and light, mathematics, and the Mayan calendar, to scientific formulations—into multicolored checkerboards. The paintings on view, made between 1960 and 1975, include one of Jensen’s largest and most complex works, &quot;A la Fin de l’automne&quot; (1975). A honeycomb of color, numbers, and symbols, the elements alternate between light and dark, with each square bearing an abstract marker. Jensen had travelled to Brazil and Peru just one year earlier, and the work suggests the pattern of a pre-Colombian tapestry rendered in thick impasto. 

In contrast, LeWitt’s austere open structures, made from basic geometrical units arranged according to pre-determined mathematical sequences, reflect their own poetics. A pillar of minimalist and conceptual art, Sol LeWitt helped revolutionize the definition of art in the 1960s with his famous declaration that “the idea becomes a machine that makes the art.” Reducing art to its essentials, the cube became the basic modular unit for his artistic inquiry—the “grammatical device” from which his work would proceed. A universally recognizable form that could not be mistaken to represent anything other than itself, the cube eliminated the necessity of inventing another form, allowing the form itself to be used for invention. The exhibition will feature all manner of structures of forms derived from the cube, made out of wood or aluminum and painted white, from between 1971 and 1997, including the ceiling-mounted work &quot;Hanging Structure&quot; (1992), and a maquette for an outdoor structure similar to those recently featured in the Public Art Fund’s landmark survey exhibition &quot;Sol LeWitt Structures: 1965–2006,&quot; installed in New York’s City Hall Park from May to December 2011. 

Concurrently, Pace has installed a monumental concrete block structure by Sol LeWitt on the roof of its Chelsea gallery at 510 West 25th Street, which is visible from the High Line. The structure, &quot;Horizontal Progression&quot; (1991), continues LeWitt’s interest in generating variety within self-imposed constrictions, moving only horizontally, vertically, or diagonally to the left or right. 

[Image: Alfred Jensen &quot;A la fin de l'automne&quot; (1975) oil on canvas, four panels, overall: 6 ft. 2 in.&quot; x 12 ft. 4 in. © Estate of Alfred Jensen/Artists Rights Society (ARS), New York. Photo by: Bill Jacobson/Courtesy The Pace Gallery.]
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0635-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0635-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0635-170" width="170" />
  <Karma>3.90572</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.762086</Latitude>
  <Longitude>-73.972417</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/065B" href="http://www.nyartbeat.com/event/2012/065B">
  <Name>Allen Glatter &quot;Trots and Bonnie&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/7B8C9EDC">
    <Name>Rawson Projects</Name>
    <Type>Gallery</Type>
    <Address>223 Franklin St., Brooklyn, New York 11222</Address>
    <Phone>718-388-2706</Phone>
    <Fax></Fax>
    <Access>Corner of Eagle St. Subway G to Greenpoint Avenue.</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>13:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="1" fri="1" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment.</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Rawson Projects is pleased to announce an exhibition of new sculptures by Allen Glatter. Born in 1967, Glatter received his BFA from Pratt Institute and currently lives and works in Brooklyn.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/065B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/065B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/065B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-28</DateStart>
  <DateEnd>2012-03-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-28" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>31</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.7346</Latitude>
  <Longitude>-73.958633</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/077A" href="http://www.nyartbeat.com/event/2012/077A">
  <Name>&quot;Expanding the Landscape&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/35626DC5">
    <Name>Art 101</Name>
    <Type>Gallery</Type>
    <Address>101 Grand St., Brooklyn, NY 11211</Address>
    <Phone>718-302-2242</Phone>
    <Fax></Fax>
    <Access>L train to Bedford Ave. Walk on Bedford, past Metropolitan Ave. to Grand Street, turn right and walk one block to 101.</Access>
    <Area areaId="williamsburg">Williamsburg</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: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Limpert's figurative sculptures reflect the architectural structures of her native New York.
&quot;Steel allows me to create life-size open bodily forms while leaving space for the unseen aspects of the figure. Several pieces in the exhibition are manually operated by a hand-crank...Interestingly, the mechanical motion adds an element of humanity to the work.&quot;
 
She has been creating the animation for the holiday windows for Lord &amp; Taylor, Macy's and Saks Fifth Avenue for ten years. In 2006 and 2007, her sculptures were featured in the windows of Bergdorf Goodman.
 
Limpert has exhibited extensively here in New York and in Europe. She is a teaching Artist with the Rush Foundation.
 
Patrick Whalen began exhibiting in California, at the Yerba Buena Center for the Arts in San Francisco and the Berkeley Art Museum, prior to moving to New York where he has shown at White Columns and Smack Mellon Studios among other venues. This is his third exhibition at ART 101.
           
His drawings examine both time and memory.
&quot;How memory can mash events together. How it can play tricks on you. How your perceptions can be off, but so sharp in remembering a tiny detail. I base my work on photos I take. I have hundreds of them and I work from those re-assembling my memories... (The installation) ... all came together to be a fiction, an image of something that very well could have happened.&quot;
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/077A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/077A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/077A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-13" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.715389</Latitude>
  <Longitude>-73.963497</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/07A2" href="http://www.nyartbeat.com/event/2012/07A2">
  <Name>Tula Telfair &quot;Out of Sight: Imaginary Landscapes&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/4F06D054">
    <Name>Forum Gallery</Name>
    <Type>Gallery</Type>
    <Address>730 5th Ave., New York, NY 10019</Address>
    <Phone>212-355-4545</Phone>
    <Fax>212-355-4547</Fax>
    <Access>At 57th St. Subway: N/R/W to Fifth Avenue or F to 57th Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Call for Summer hours.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[An exhibition of twelve panoptic paintings that transport the viewer to emotive land formations derived entirely from the artist’s mind. Representing both a place and moment in time not reachable by mankind, these landscapes offer a private glance at the beauty and majesty of nature.

[Image: Tula Telfair &quot;Built Exclusively for Delight&quot; (2011) oil on canvas 60 x 80 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/07A2-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/07A2-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/07A2-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.762694</Latitude>
  <Longitude>-73.974364</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/07C2" href="http://www.nyartbeat.com/event/2012/07C2">
  <Name>Udomsak Krisanamis &quot;Space Out&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/7E1DB1CC">
    <Name>Gavin Brown's Enterprise</Name>
    <Type>Gallery</Type>
    <Address>620 Greenwich St., New York, NY 10014</Address>
    <Phone>212-627-5258</Phone>
    <Fax></Fax>
    <Access>Corner of Leroy St. Subway: 1 to Houston Street.</Access>
    <Area areaId="soho">Soho</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[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/07C2-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/07C2-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/07C2-170" 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>40.730397</Latitude>
  <Longitude>-74.008208</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/09B0" href="http://www.nyartbeat.com/event/2012/09B0">
  <Name>&quot;Viridian Affiliate Artists&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/7852D8D9">
    <Name>Viridian Artists, Inc.</Name>
    <Type>Gallery</Type>
    <Address>530 W 25th St., #407, New York, NY 10001</Address>
    <Phone>212-414-4040</Phone>
    <Fax>212-414-4040</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>10:30:00</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: Prints</Media>
  <Description><![CDATA[The Viridian Artists Affiliate program is a special gallery program that is an important aspect of Viridian's mission to expand exhibition and sales opportunities for outstanding contemporary artists. 

Sheila Smith has been creating a series of photos she has been taking of wall surfaces in the streets of New York City for ages. After photographing her image digitally, she then reconstructs it in Photoshop to create an abstract painterly look. To complete the work, she then prints them on canvas and glues it to a gesso board so that the photographic image &quot;becomes&quot; a painting. 

Sarah Riley is the Head of Printmaking at Southeast Missouri State University. Her book on mixed-media printmaking techniques was published in December 2011 by A &amp; C Black, London. Her artwork, too, is an exploration and mixture of media and techniques that combine drawing, collage, printmaking and paint. Many of her works contain feminist overtones and are drawn from myth, literature and personal history; the juxtaposition of images suggests both memories and re-imaginings.

Rosemary Lyons is enthralled by the multitude of Latin phrases still in use centuries after the language was declared dead. Her illuminated manuscripts are inspired by that 'dead' language but she uses Latin with contemporary imagery to create Illuminated Manuscripts of 'Renaissance choir books with an ironic twist. These images are part of a larger Manu Scriptus Series.

Lauren Purje's current paintings are part of what she calls &quot;the disaster series&quot;, a series of paintings of children thrown into disastrous-looking landscapes.  She sees the content of the paintings as allegories and metaphors for her own anxieties and fears: fear we all share like the fear of death and anxiety over circumstances out of our control.  The characters in the works are hopeless and accompanied by universal symbols of death and/or impending doom in backgrounds loosely inspired by 19th century romantic paintings.

Nancy Macina paints the great cities of the world and their environs, focusing on their beauty and how the light of nature falls upon them. Her hope is to capture the ethos of a place and how its history has evolved into the present through our perception and memory. As she travels and paints, she is recreating these places with imagination and in some situations, a sense of surreality. 

Katherine Ellinger Smith's new series of paintings and drawings is an exploration of her favorite films with female characters like Rebecca or Bette Davis in 'What Ever Happened to Baby Jane' who have double-edged personalities. To begin the development of a painting or drawing, she first photographs film “moments” with a digital camera while viewing the movie on television and then edits the shots until she finds an image that she feels directly connected to. Her intent is to draw the viewer directly and powerfully into the content of the piece. She is a tenured art professor at South East Missouri State University.

Vernita N'Cognita is a visual/ performance artist/ curator who has exhibited her art throughout the world. Her artwork ranges across a variety of disciplines, from creating installations, m/m collages and tangible art objects such as the “Endless Junkmail Scroll to the creation of performance art that conceptually investigates theatre and its edges – using language, space, and time, silence and stillness as well as movement and voice as instruments of self-expression. In 1995, she assumed the name VERNITA N’COGNITA in homage to under-recognized artists.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/09B0-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/09B0-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/09B0-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-31</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749267</Latitude>
  <Longitude>-74.004028</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0CDB" href="http://www.nyartbeat.com/event/2012/0CDB">
  <Name>&quot;SIGHT (UN)SCENE Contemporary Landscape&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/B4B26044">
    <Name>Benrimon Contemporary</Name>
    <Type>Gallery</Type>
    <Address>514 W 24th St., Fl.2, New York, NY 10011</Address>
    <Phone>212-924-2400</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Avenues. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_24">Chelsea 24th</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>sundays openinghour 12:00, sundays closinghour 18:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Benrimon Contemporary presents its first group exhibition of 2012, SIGHT (UN)SCENE, featuring paintings, photographs, works on paper and sculpture by a selection of international artists.

Historical landscape paintings call to mind bucolic yet contrived scenes where every tree, rock and cloud appear carefully placed to capture a pastoral moment in time. This exhibition challenges the notion of classical landscape art, exposing the unseen and forgotten, forcing the viewer to reconsider what defines this pillar of art history through a contemporary lens. 

Landscape painting can be traced back to Greek and Roman antiquity, and became the platform for religious artwork in the western world through the 16th century. The prestigious European art academies resisted the genre because a hierarchy of subject matter placed historical, religious, and allegorical themes above all other subjects - portraits, still life, and landscapes were seen as inferior. During the 19th century the hierarchy of subjects crumbled and landscape painting gained a new supremacy in Europe and North America. Artists became less concerned with idealized, classical themes and focused on painting directly from nature. Revolutionary artists emerged, such as Gustave Courbet, who pushed boundaries with their radical painting techniques and paved the way for the next generation of painters, the Impressionists, to break from the academy. 

Today artists continue to explore landscape as subject matter, but for different purposes. The landscapes are now manipulated, re-appropriated and re-imagined by contemporary artists to not only challenge the traditional trajectory of art history, but also to comment on the social and political forces that shape our surroundings. These ideas will be further explored through the works of gallery artists Shay Kun, whose paintings are both sublime and incongruent, Amanda Burnham’s urban landscape illustrations and Simon Patterson’s “Landskip” photographs. Dimitri Kozyrev’s paintings comment on man’s mental and physical impact on the environment and Trey Speegle’s playful pieces re-invent the landscape through a paint-by-number context. We will also introduce paintings by new gallery artist Christopher Mir, in addition to works by Jorge Mayet, Amanda Ross Ho, Tom Bamberger, Julia Oschatz and Kunié Sugiura.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0CDB-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0CDB-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0CDB-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748531</Latitude>
  <Longitude>-74.004427</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0CEF" href="http://www.nyartbeat.com/event/2012/0CEF">
  <Name>&quot;New City&quot; Art Fair</Name>
  <Venue href="http://www.nyartbeat.com/venue/65007A7F">
    <Name>Hpgrp Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., 2W, New York, NY 10011</Address>
    <Phone>212-727-2491</Phone>
    <Fax>212-727-7030</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street Station</Access>
    <Area areaId="chelsea_20">Chelsea 20th</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="0" hol="1" />
    <ScheduleDetails>sundays openinghour 12:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[H.P. FRANCE NY, Inc presents the launch of the NEW CITY ART FAIR, the first art fair dedicated solely to contemporary Japanese art in New York.

Open from March 7-11, 2012—dates that coincide with SCOPE, VOLTA, ADAA, and The Armory Show - the event will include booths by eleven premiere galleries from Tokyo, Osaka, and Kyoto.

 The New City Art Fair will benefit the Japanese art world, which has been deeply affected by the traumas of the earthquake and tsunami that devastated the coastline in early 2011. Additionally, it will expose new Japanese art to a Western audience.

Exhibitors: Aisho Mura Arts, eitoeiko, FOIL GALLERY, GALLERY KOGURE, hpgrp GALLERY TOKYO, Shonandai MY Gallery, TEZUKAYAMA GALLERY, unseal contemporary, waitingroom, YOD Gallery, and YUMIKO CHIBA ASSOCIATES.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0CEF-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0CEF-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0CEF-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-03-07</DateStart>
  <DateEnd>2012-03-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-03-08" start="17:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>31</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746264</Latitude>
  <Longitude>-74.006225</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0D0D" href="http://www.nyartbeat.com/event/2012/0D0D">
  <Name>Sergej Jensen Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/DEB0F835">
    <Name>Anton Kern Gallery</Name>
    <Type>Gallery</Type>
    <Address>532 W 20th St., New York, NY 10011</Address>
    <Phone>212-367-9663</Phone>
    <Fax>212-367-8135</Fax>
    <Access>Between 10th Ave and West Side Highway. Subway: C/E to 23rd Street or A/C/E to 14th Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_20">Chelsea 20th</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[For his third solo show at Anton Kern Gallery, Danish artist Sergej Jensen will present a new body of paintings. 
 
Jensen’s work has been exhibited in numerous one-person shows at galleries in Berlin, New York, London, Sao Paulo and Brussels, as well as in museums such as MoMA PS1 (2011); Portikus, Frankfurt; the Aspen Art Museum (both 2010); Kunstwerke, Berlin (2009); Pinakothek der Moderne, Munich; Kunsthalle Bergen, Norway (both 2008); Douglas Hyde Gallery, Dublin (2007); and the Kunstverein Braunschweig (2003). His work was prominently featured in All of This and Nothing, Hammer Museum, Los Angeles; Precarious Worlds: Contemporary Art From Germany, Kemper Art Museum, St. Louis (both 2011); Made in Germany, Sprengel Museum, Hannover (2007); Of Mice and Men, the 4th Berlin Biennale (2006); Down By Law during the Whitney Biennial, New York (2006); Modern Art. Formalism Today, Kunstverein Hamburg (2005); the Sao Paulo Biennale (2004); and deutschemalereizweitausendrei (German-painting-two-thousand-three), Frankfurter Kunstverein (2003).

[Image: Sergej Jensen &quot;Untitled&quot; (2011) Oil on jute fibre, 23.6 x 15.7 in.]
 ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0D0D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0D0D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0D0D-170" width="170" />
  <Karma>1.91176</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746222</Latitude>
  <Longitude>-74.006233</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0D6D" href="http://www.nyartbeat.com/event/2012/0D6D">
  <Name>Robert Grosvenor Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/DD2D07C7">
    <Name>Paula Cooper Gallery &quot;534 W 21 St.&quot;</Name>
    <Type>Gallery</Type>
    <Address>534 W 21st St., New York NY, 10011</Address>
    <Phone>212-255-1105</Phone>
    <Fax>212-255-5156</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street, A/C/E to 14th Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_21">Chelsea 21st</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Robert Grosvenor presents a new work at Paula Cooper Gallery. Untitled (2011) is a two-part sculpture whose components include fiberglass, aluminum and concrete blocks. The exhibition will also present Untitled (1986-87), a piece consisting of a fragment of concrete wall lying on a blue tarp and sheltered by a steel structure.
 
Since first exhibiting at Park Place Gallery in 1965, Robert Grosvenor has created varied and stimulating bodies of sculpture and works on paper. His recent work, created out of materials such as wood, fiberglass or concrete, often consists of discrete and dissimilar elements put into relationship within a given space.  While abstract and at times inscrutable, his structures make oblique allusions to our everyday environment: bridges, fences, terraced patios or low-slung rock walls are variously suggested, yet, through the artist’s entirely original idiom, they are transfigured into singular and evocative forms that offer a fresh redefinition of sculpture.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0D6D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0D6D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0D6D-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-04</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-03" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746709</Latitude>
  <Longitude>-74.006198</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0D92" href="http://www.nyartbeat.com/event/2012/0D92">
  <Name>Andrew Lenaghan &quot;Recent Paintings&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/B47DBB34">
    <Name>George Adams Gallery</Name>
    <Type>Gallery</Type>
    <Address>525 W 26th St., 1 Fl., New York, NY 10011</Address>
    <Phone>212-564-8480</Phone>
    <Fax>212-564-8485</Fax>
    <Access>Between 10th and 11th Ave.  Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Mondays by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[George Adams Gallery presents an exhibition of new smaller-scaled paintings by Andrew Lenaghan. The exhibition includes 19 cityscapes, landscapes, and interiors (with figures), all painted from life.

In his new paintings of Brooklyn, Lenaghan returned to several sites he previously depicted, notably the once empty lots and abandoned piers around North 8th Street, now East River Park, as well as the streets and yards near his home in the Midwood section of Brooklyn. In addition, Lenaghan has continued to introduce the figure and even narrative into his work. The exhibition includes several paintings featuring his wife and children in and around their house. Finally, there are four views of Santa Fe in the show, the results of a month-long stay and as is often the case, Lenaghan chose to depict some of the least likely sites, including a local cemetery and an abandoned housing complex.

This is Lenaghan’s tenth exhibition with the gallery since his debut in 1995. He is currently an adjunct art professor at Pratt, Brooklyn College, and New York Academy of Art, and is a 2011 recipient of the Joan Mitchell Foundation Painters and Sculptors Grant.

[Image: Andrew Lenaghan &quot;East River Park&quot; (2011) oil on panel, 24 x 32 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0D92-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0D92-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0D92-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749974</Latitude>
  <Longitude>-74.003548</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0DE6" href="http://www.nyartbeat.com/event/2012/0DE6">
  <Name>Slater Bradley &quot;Don't Let Me Disappear&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/5AC9BC2D">
    <Name>Team Gallery</Name>
    <Type>Gallery</Type>
    <Address>83 Grand St., New York, NY 10013</Address>
    <Phone>212-279-9219</Phone>
    <Fax>212-279-9219</Fax>
    <Access>Between Greene St. and Wooster St. Subway: A/C/E or N/Q/R/W to Canal St</Access>
    <Area areaId="soho">Soho</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Don’t Let Me Disappear consists of a single video from which the exhibition takes its name. While he has worked in a variety of media, Bradley is best known for his work in film. This highly literate work, an update on his previously shown Boulevard of Broken Dreams, follows Bradley’s Doppelgänger, model and actor Benjamin Brock, as he wanders alone through New York City. Brock, who distinctly resembles Bradley, has been a consistent subject of the artist’s work over the past decade. While he acts in part as a stand-in for the artist, he does not neccesarily portray him directly, instead representing a variety of figures, a kind of everyman. 

The work strongly alludes to perhaps the best-known wanderer of New York City, The Catcher in the Rye’s Holden Caulfield. Like the Doppelgänger, Salinger’s iconically alienated character walks aimlessly through New York’s streets, critical of and emotionally removed from his surroundings. The Doppelgänger perceives an artificiality as he examines the city; his anguished expression as he absorbs the city recalls Holden’s condemnation of its “phonies.” At the end of Bradley’s film, the Doppelgänger finds and puts on a red hunting hat, identical to the one described in the novel, and in doing so transforms into Holden. 

The film depicts the New York City of E.B. White’s famous essay Here is New York. White divides New York into three separate cities: that of the native New Yorker, that of the commuter, and, the most significant of the three, that of the transplant, for whom New York is a final destination. The inhabitant of this third New York, paradoxically, is surrounded by people but perpetually alone. Though he has long resided in New York, Bradley originates from San Francisco, and the film shows his delicate relationship with the City.  It is one of intimacy and distance, awe and terror, adoration and distrust. 

The Doppelgänger observes and touches the built environment and crowds of the city, all without actually engaging any person or thing. Bradley continually draws attention to the act of walking: the video opens with a shot of legs waiting at a crosswalk, then follows the walking feet of its subject, waiting two and half minutes before showing the rest of his person. Here, Bradley refers to to Walter Benjamin’s conception of the flâneur, Flaubert’s archetypal figure who strolls through the modern city. Benjamin’s flâneur perceptively observes his surroundings but remains wholly uninvolved with them. Department store window displays, like the ones the Doppelgänger desparately examines, are a product of the flâneur’s prevalence in the post-industrial citiy. 

Throughout the video, the Doppelgänger’s disembodied voice mumbles brief passages from little-known Russian author Mark Levi’s mysterious 1934 Novel with Cocaine, which chronicles an adolescent male’s descent into hedonism and drug addiction during Russia’s tumultuous years 1916 through 1919. Like the novel, Don’t Let Me Disappear examines the depravity of a young man’s existance during a period of national strife. 
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0DE6-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0DE6-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0DE6-170" width="170" />
  <Karma>0.804878</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.721708</Latitude>
  <Longitude>-74.002433</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0E0B" href="http://www.nyartbeat.com/event/2012/0E0B">
  <Name>Magnus Plessen Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/3A325A19">
    <Name>Gladstone Gallery (Chelsea 24th Street)</Name>
    <Type>Gallery</Type>
    <Address>515 W 24th St., New York, NY 10011</Address>
    <Phone>212-206-9300</Phone>
    <Fax>212-206-9301</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_24">Chelsea 24th</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[Gladstone Gallery presents our fourth solo exhibition of new paintings by Magnus Plessen. For over a decade, Plessen has been known for his subtle investigations into the phenomenological structure of vision, tactility, and form that are the foundation of his painting practice. Looking to the immediate material properties of paint and the two-dimensional surface, Plessen constructs his compositions by systematically adding and subtracting sections of paint to create a shifting field of positive and negative space, revealing not only the artist's process of mark making, but also the ghostly presence of what has been removed. Plessen's imagery is determinedly generalized, often showing just a suggestion of a face, bottle, or hand. These motifs emerge from a fractal landscape of lines, shapes, and colors to provide a palpable tension between abstraction and representation.

This exhibition brings together two new series of large-scale paintings that together continue to expand upon Plessen's formal strategies.  Returning to the female form, the first set of works present the image of a pregnant woman. In these paintings, the figures are positioned frontally, facing the viewer in a collage-like assemblage of fragmented body parts, creating a feeling of spatial flatness while celebrating the subject’s physical presence. 

In the second body of work, Plessen adopts the notion of rotation as an analogy for building movement and momentum within the structure of each painting. Plessen employs this as an organizational principle, invoking a visual sense of rotation by positioning the figure of a head at the center of each canvas to create a generative force of action around which the painting's elements are arranged. Unlike the directness of the female figure, these works eschew specific subject matter and instead build upon an internal logic of rhythm, motion, and temporality. Plessen explains:

These paintings take less notice of the presence of the viewer than earlier works. Imagine
a theater performance being in full blast as you enter the space of the theater to take your
seat. This indifference to me or possibly the onlooker, and a feeling of unfamiliarity of the
depicted heads and body parts, give the rotation paintings a quality of coming from a long
distance to my mind. 

While Plessen's color values have previously remained distinctly muted, both new series playfully engage a palette of bright pinks, blues, and yellows, which further punctuate the artist’s depth of space as well as a newly explored painterly light. Through these works, Plessen establishes a vibrant exchange between his rigorous formal structures, developed sense of materiality, and the ever-unfolding experience of viewing a painting. 

[Image: Magnus Plessen &quot;Untitled&quot; (2010) oil on canvas, 82 3/8 x 72 1/8 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0E0B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0E0B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0E0B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-15</DateStart>
  <DateEnd>2012-03-15</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-14" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>35</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748569</Latitude>
  <Longitude>-74.004161</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0E5A" href="http://www.nyartbeat.com/event/2012/0E5A">
  <Name>Eric Fischl Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/1233C381">
    <Name>Mary Boone Gallery (Midtown)</Name>
    <Type>Gallery</Type>
    <Address>745 5th Ave., New York, NY 10151</Address>
    <Phone>212-752-2929</Phone>
    <Fax>212-752-3939</Fax>
    <Access>Between 57th and 58th St. Subway: F to 57th Street or 4/5/6 to 59th Street</Access>
    <Area areaId="midtown">Midtown</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[Dating from 1992 to 2011, the works in the exhibition range from sketched portraits cropped to the face, to commanding single figures, to complex arrangements of couples, families, or groups. As in the fraught suburban scenes for which he first rose to prominence, with each approach to portraiture Fischl demonstrates his mastery of conjuring form and light from paint to communicate the psychological bearing of his subjects.

A highlight of the exhibition is three large group portraits painted at intervals of several years that depict the Artist and his circle of friends at the beach. The earliest, The Gang (2006), is a congregation of sun-enveloped bodies with paraphernalia suggesting an extended day of revelry. Saint Barts Ralph’s 70th (2009) presents a smaller group, parched in bright light, bags packed and seemingly on the move -- a record of transition that is echoed in the painting’s title. The third, the most recent work in the exhibition, is Self-Portrait: An Unfinished Work (2011), an unsettling painting within-a-painting in which the Artist sits facing the viewer with his back to an unfinished canvas. Here, the friends Fischl portrays are pressed toward the front of the picture plane by dark rocks and waves. At the center of this group a conspicuously incomplete figure, presumably a surrogate for the Artist himself (who, until now, has been absent from the gatherings) hovers above the foreground self-portrait. Fischl allows us to see the Artist, so adept at capturing others, wrestling with seeing himself.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0E5A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0E5A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0E5A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-11</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-11" start="17:00:00" end="19:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.763461</Latitude>
  <Longitude>-73.973572</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0E72" href="http://www.nyartbeat.com/event/2012/0E72">
  <Name>Randy Polumbo Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/20A51708">
    <Name>Morgan Lehman Gallery</Name>
    <Type>Gallery</Type>
    <Address>535 W 22nd St., Fl.6, New York, NY 10011</Address>
    <Phone>212-268-6699</Phone>
    <Fax>212-268-6766</Fax>
    <Access>Between 10th and 11th Avenues. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Randy Polumbo lives and works in New York City &amp; Joshua Tree, California.  His interests in recycling, salvation, &amp; transformation originate from early mad science projects with medical supplies and toys, and has progressed into monumental, techno-organic glass and crystal proliferations of &quot;blossoms&quot; with which he is colonizing, pollinating, and retooling libidinal and biological structures and systems.

[Image: Randy Polumbo &quot;Six Pack #9&quot; (2011) Vintage Louis Vuitton, cast glass baby bottle nipples, LEDs, battery pack, 4.5 x 9 x 6 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0E72-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0E72-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0E72-170" width="170" />
  <Karma>1.33484</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747592</Latitude>
  <Longitude>-74.005639</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0EA2" href="http://www.nyartbeat.com/event/2012/0EA2">
  <Name>Ryan Foerster and Ben Schumacher Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/E5EAB56F">
    <Name>Martos Gallery</Name>
    <Type>Gallery</Type>
    <Address>540 W 29th St., New York, NY 10001</Address>
    <Phone>212-560-0670</Phone>
    <Fax>212-560-0671</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street Penn Station.</Access>
    <Area areaId="chelsea_28_above">Chelsea 28th - 33rd</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Martos Gallery presents a two-person exhibition featuring work from Ryan Foerster and Ben Schumacher.


Teddy Bear »
Polar Bear Pictures »
Black Bear »
Love You Bear »
Clean »
Wash Machines »
Fuentes Agua »
Tipografia »
Two-Fisted Bird Watcher
Industrial Sensors
Stainless Steel Scales
Affordable Scales For The Lab, Office Or Home

the most terrific liar you ever saw in your life. its awful. if im on my way to buy a magazine and somebody asks me where im going im liable to say im going to the opera. its terrible so you said you wanted to give me one out of your own pocket, but it would create jealously
among the other secretaries. Now, was that true, or did you just not want to pony up the dough? don't believe me, do you? Of course not. Okay, ask me something you think I would normally lie about. Alright. Remember, a few months ago, when I wanted a raise, Forget it. I don't wanna do this! and the company wouldn't give me one, GRETA, PLEASE!

Ben Schumacher born 1985 Kitchener, Ontario and Ryan Foerster born 1983 Newmarket, Ontario met in 2006 in Brooklyn, New York where they were next door neighbors.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0EA2-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0EA2-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0EA2-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751928</Latitude>
  <Longitude>-74.002611</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0EB1" href="http://www.nyartbeat.com/event/2012/0EB1">
  <Name>Weegee &quot;Naked City&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/DEBF7504">
    <Name>Steven Kasher Gallery</Name>
    <Type>Gallery</Type>
    <Address>521 W 23rd St., New York, NY 10011</Address>
    <Phone>212-966-3978</Phone>
    <Fax>212-226-1485</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_23">Chelsea 23rd</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Steven Kasher Gallery presents “Weegee: Naked City” in conjunction with two major specifically-Focused Weegee exhibitions, “Weegee: Naked Hollywood” at MQCA and “Weegee: Murder is My Business” at the ICP. With over I25 Weegee prints we explore the Full emotional and satirical and aesthetic ranges of Weegee’'s photographs of New Yorkers and other urbaites. The exhibition features multiple prints each of Weegee’s basic subjects: Song and Dance. Drink, Party, Spectacle, Circus, Love and Sex. Crime and Disaster.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0EB1-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0EB1-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0EB1-170" width="170" />
  <Karma>8.48837</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748008</Latitude>
  <Longitude>-74.004558</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/1036" href="http://www.nyartbeat.com/event/2012/1036">
  <Name>&quot;Detonate: Chaos and Consumerism&quot; Exhibiton</Name>
  <Venue href="http://www.nyartbeat.com/venue/91E1B154">
    <Name>Denise Bibro Fine Art</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., 4 Fl., New York, NY 10011</Address>
    <Phone>212-647-7030</Phone>
    <Fax>212-647-7031</Fax>
    <Access>Between 10th Ave. and West Side Highway. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_20">Chelsea 20th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Denise Bibro Fine Art presents Detonate: Chaos and Consumerism. The exhibition features artists Nancy Baker, Carol Es, Bill Gusky, Leslie Kneisel, Tim Ripley and Oriane Stender. Economic and cultural turmoil are the impetus of each artist's works, creating unique dialogues in various mediums and styles, sparking conversations that seem inescapable.

Nancy Baker's works explode and swirl with objects of industry, as though an eruption has just occurred resulting in disjointed chaos. Baker's works include glitter and pop culture iconography as well as fetishized grenades. Full of angst and energy, Baker's work is anything but introverted.

Having grown up in what the artist describes as the sweatshops of the Los Angeles apparel industry; Carol Es' work evokes a dialogue between the overtly commercial and the deeply personal. Her textured works weave dysfunctional family values with industrial objects, accented by her inclusion of embroidery.

Bill Gusky projects TV cartoons from the 1960's and 1970's, reworks the images, re-appropriating these nostalgic objects to create a new dialogue or history, finding new meaning in the present. Commenting on the &quot;technology will save us&quot; mentality of that era, Gusky's work makes us wonder, in our present technological culture, what now?

Leslie Kneisel's otherworldly images move from past to present to future, taken of retro-looking rides in a visit to Disneyland. These alien-like images tempt us far away from everyday life, looking for an escape from reality.

Tim Ripley's icons are specific, particular and deftly painted. These isolated objects are oddly familiar, evoking the starkness of certain commercial advertisements.

In a nod to minimalism, Oriane Stender's painted dollar bills break down the complex. Her elegant works diverge from the explosive, the excess of consumerism, and meditate on the singular, pared down object; reminding us of the downsizing that many have had to accept.

[Images clockwise from top left: Nancy Baker, Bill Gusky, Oriane Stender, Carol Es, Leslie Kneisel, Tim Ripley]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/1036-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1036-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1036-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746167</Latitude>
  <Longitude>-74.0062</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/119A" href="http://www.nyartbeat.com/event/2012/119A">
  <Name>&quot;A Large Anonymous Artwork&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/CAF7825C">
    <Name>Specific Object </Name>
    <Type>Gallery</Type>
    <Address>601 W 26 St., Room M285, New York, NY 10001</Address>
    <Phone>212-242-6253</Phone>
    <Fax></Fax>
    <Access>Between 11th and 12th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[On the morning of May 14, 2011 I encountered this artwork outside my apartment. At the time it struck me as being a humorous, ironic and ominous statement of where things were heading: on the verge of Occupy Wall Street, prior to the ramp-up of political campaigns, and at the cusp of the United States debt-ceiling debate. Early in the first week of January 2012 it felt like the right time to present it in the gallery, thus Specific Object now presents I've Seen the Future &amp; It Doesn't Look Good.

Spray painted onto a discarded 1/8 inch thick plywood shipping crate lid, I've Seen the Future &amp; It Doesn't Look Good measures 46 1/2 x 113 1/2 inches [108 x 208.5 cm]. The artwork either pokes a stick at Banksy's infamous rats that inhabit SoHo from time to time, comments on cheap consumer commodities sold by Crocs, or maybe it was just painted in the spirit of good fun.

Nevertheless, it's now an artwork, hanging on a gallery wall, within a white cube in Chelsea.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/119A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/119A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/119A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-30</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>50</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751008</Latitude>
  <Longitude>-74.005783</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/11A4" href="http://www.nyartbeat.com/event/2012/11A4">
  <Name>&quot;Alchemy&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/97F50849">
    <Name>7 Eleven Gallery</Name>
    <Type>Gallery</Type>
    <Address>711 Washington Street, New York, NY 10014 </Address>
    <Phone>646-649-4177</Phone>
    <Fax></Fax>
    <Access>Between 11th St. and Perry St. Subway: 1/2 to Christopher Street.</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>fridays openinghour 11:00, saturdays openinghour 11:00, fridays closinghour 20:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[7Eleven Gallery presents “Alchemy”, a group exhibition, running from January 12th – February 18th at 711 Washington Street in the West Village. The exhibition features artists Thomas Beale, Lucas Blalock, Nick Doyle, Adam Fuss, GAINES, Elissa Goldstone, Eve Andrée Laramée, Eva Lewitt, Dylan Lynch, Thomas McDonell, Casey Neistat, Lesley Raeside, Jason Reppert, Alex Rickard, Keith Sonnier, Michael St. John, William Stone and Rob Wynne.
The most common definition of alchemy is the process of turning base metals into gold. Over the years it has also been interpreted, metaphorically, as the transmutation of materials into a higher form; scientifically, as a study of compounds and matter; religiously and mystically, as the union of man and the divine for the goal of achieving a level of perfect balance on a quest for the greater refinement of self.
 
These interpretations were the inspiration behind the work of the eighteen artists featured in 7Eleven Galleryʼs “Alchemy.” The making of art is alchemy. Artists have the ability to transmute ordinary objects into extraordinary works, giving new meaning to their previous purpose. The artists featured in this exhibition seized this power.
 
Many of the works directly reference alchemy, while others imply it. Some deal with elements found in nature and their transformation into art; others use science to create natural forms, such as light. Materials found in everyday life are distorted into various structures, which transcend their original significance. Nature, science, mysticism and the altering of common items give a sense of enchantment and wonder to the overall exhibition.
 
This exhibition was curated by Sabrina Blaichman, Caroline Copley and Genevieve Hudson- Price. 7Eleven is a nomadic art gallery first opened in the Summer of 2008 in the West Village. After two group shows in a warehouse in Chelsea, including 2010ʼs “Make Yourself At Home” featuring seventy-six artists, the gallery has found its way back to the West Village. 7Eleven is dedicated to showcasing the work of young and emerging artists as well as the more established of the art world.
 ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/11A4-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/11A4-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/11A4-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.735119</Latitude>
  <Longitude>-74.008217</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/11B7" href="http://www.nyartbeat.com/event/2012/11B7">
  <Name>&quot;Subliminal Sunlight&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/47879A0F">
    <Name>Number 35</Name>
    <Type>Gallery</Type>
    <Address>141 Attorney St., New York, NY 10002 </Address>
    <Phone>212-388-9311</Phone>
    <Fax></Fax>
    <Access>Between at Stanton St. Subway: J/M/Z and F to Essex Street or F to 2nd Avenue.</Access>
    <Area areaId="lower_east_side">Lower East Side</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>2D: Drawing</Media>
  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[numberthirtyfive gallery presents &quot;Subliminal Sunlight&quot; curated by Howard Hurst as its first exhibition for 2012.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/11B7-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/11B7-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/11B7-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-07</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-07" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.716183</Latitude>
  <Longitude>-73.989619</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/11CB" href="http://www.nyartbeat.com/event/2012/11CB">
  <Name>Katrin Sigurdardottir &quot;Stage&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/53EAC23D">
    <Name>Art in General</Name>
    <Type>Cultural Center</Type>
    <Address>79 Walker St., New York, NY 10013</Address>
    <Phone>212-219-0473</Phone>
    <Fax>212-219-0511</Fax>
    <Access>Between Broadway and Lafayette St.. Subway: 6/N/Q/R/W/J/M/Z to Canal Street</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Art in General presents Katrin Siggurdardottir’s Stage, a New Commissions installation in the storefront Project Space.

A miniature theater hangs from the ceiling of an empty, unlit storefront space. A single spotlight illuminates the theater’s stage, casting wild shadows that permeate the space and break through onto the street. The stage hangs precariously, a suspended moment of tension irradiating from within. As the day unfolds and the sun sets, the shadows grow stronger, marking time with their formidable presence. Though lit the stage is empty, the theatrics of such architecture being transposed to the shadow play within the space.

Real and imagined, miniature yet enormous, Katrin Sigurdardóttir’s site-specific installation, Stage, pushes beyond the physical boundaries of the storefront, compelling an immediate, direct, and intimate encounter for the passer-by. Emphasizing the relationship between inside-outside and passage-enclosure, Stage causes viewers to rethink their own perception of space, assuming an unexpected mise-en-scène that blurs what “is”, and what is imagined.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/11CB-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/11CB-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/11CB-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-28</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-28" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.718186</Latitude>
  <Longitude>-74.001742</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/1288" href="http://www.nyartbeat.com/event/2012/1288">
  <Name>D.W. Mellor &quot;Garvey 30 Years, A Photographic Portrait&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/2C586556">
    <Name>Rick Wester Fine Art</Name>
    <Type>Gallery</Type>
    <Address>511 W 25th St., Suite 205, New York, NY 10001</Address>
    <Phone>212-255-5560</Phone>
    <Fax>212-255-2504</Fax>
    <Access>Between 10th and 11th Ave.  Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</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>saturdays openinghour 11:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[The series focuses on a prolonged project of photographing a man who, at first, was a stranger but eventually evolved into a muse and friend. Garvey — 30 Years embodies the tradition of the extended portrait in photography, as practiced by Alfred Stieglitz; Harry Callahan; Emmet Gowin and Robert Mapplethorpe. All have served as highly respected influences on Mellor's approach to photographing Garvey.

Mellor first encountered Tom Garvey in 1976 while on a commercial assignment in Valley Forge, PA. Mellor was immediately struck with the urge to photograph this unique character when Garvey passed by on an old Harley motorcycle. Thus began their relationship and the resulting ritual of annual portrait sessions in and near Garvey's home in South Philadelphia. Garvey had been a technical inspector at Boeing Aircraft and could afford a much more lavish lifestyle than the one he chose but it was his unexpected graceful and modest personality, in contrast to his gruff appearance, that made him an attractive subject for Mellor's lens. As a subject, Garvey displayed remarkable range emotionally and physically. Whether clad in costumes of his own design, nude, posed indoors or out Tom Garvey personifies the American iconoclast rebel living beyond but acutely aware of the mainstream. He is a Tom Waits ballad, wrapped in a parachute, seemingly ageless with his shock of white hair and grizzled beard.

D.W. Mellor, originally from Bryn Mawr, Pennsylvania, has been working as a photographer since the early 1970s. His work has been featured in solo and group exhibitions both nationally and internationally. In addition to his work as a fine artist, he has held positions as a professor of photography at the University of the Arts in Philadelphia, and as the Director of the Photography Gallery in Philadelphia.

This exhibition will feature 30 photographs selected from the large body of work including &quot;No Stealing,&quot; Mellor's first
8 x 10 negative shot in 1976.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/1288-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1288-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1288-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749322</Latitude>
  <Longitude>-74.003679</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/14B5" href="http://www.nyartbeat.com/event/2012/14B5">
  <Name>Nicholas Buffon &quot;Applied Flesh&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/E58021B2">
    <Name>Callicoon Fine Art</Name>
    <Type>Gallery</Type>
    <Address>124 Forsyth St., New York, NY 10002</Address>
    <Phone>212-219-0326</Phone>
    <Fax></Fax>
    <Access>Between Broome and Delancey Sts., Subway: B/D to Grand Street or F/M/J/Z to Delancey Street.</Access>
    <Area areaId="lower_east_side">Lower East Side</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>2D: Illustration</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[Callicoon Fine Arts presents Applied Flesh, an exhibition of paintings and drawings by Nicholas Buffon on view from January 27th to February 26th, 2012. A performance by the artist will take place in the gallery during the exhibition, date to be announced.   

Nicholas Buffon’s works, completed over the last 6 months in Washington State, are shown here together with a small painting by the artist’s father, Dave Buffon, who started covering areas of his images of faces with white paint. The exhibition’s title, Applied Flesh, is taken from the artist’s thesis on performance, a detailed study that defines his performance practice, its methods and meanings.

While the drawings illustrate actions specific to the artist’s performances, the paintings are a parallel practice utilizing abstraction and articulate relationships between the two genres. With each painting the metaphoric “flesh” is applied on canvases that have been stretched, un-stretched and re-stretched over the course of working on them. Often the abstract images are formed around and within the textures that the canvases pick up during this process. For the artist, the materials and processes of painting are analogous to the body in performance: flesh as material, movement as method.

Nicholas Buffon, born 1987 in Seattle, Washington, lives in Brooklyn, NY. He attended the School of the Museum of Fine Arts at Tufts University, Boston MA (BFA 2008) and the Milton Avery Graduate School of the Arts, Bard College, Annandale-on Hudson, NY (MFA 2011). His work was included in Art on Paper 2010: The 41st Exhibition at the Weatherspoon Art Museum, Greensboro, NC. He has performed many times since 2007 including at Mount Tremper Arts, NY and at the 10th OPEN International Performance Festival in Beijing.    

Gallery hours are Wednesday to Sunday, 12 to 6pm. Callicoon Fine Arts is located at 124 Forsyth Street, between Delancey and Broome Streets. The nearest subway stops are the B and D trains at Grand Street, the J and Z trains at Bowery and the F, J, M and Z trains at Delancey-Essex Street.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/14B5-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/14B5-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/14B5-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-27</DateStart>
  <DateEnd>2012-02-26</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-27" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>17</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.719301</Latitude>
  <Longitude>-73.992207</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/150D" href="http://www.nyartbeat.com/event/2012/150D">
  <Name>&quot;The Art Of....&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/46FE916E">
    <Name>Fischbach Gallery</Name>
    <Type>Gallery</Type>
    <Address>210 11th Ave, #801, New York, NY, 10001</Address>
    <Phone>212-759-2345</Phone>
    <Fax>212-366-1783</Fax>
    <Access>Between 24th and 25th Street Subway: C/E to 23rd Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays closinghour 18:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[the ART of features recent paintings and works on paper examining the current stylistic trends and diverse interests of the Fischbach Gallery Artists’.  the Art of considers what creative challenges these Artists strive to accomplish in continuing perfecting their artistic abilities.  Whether an intricate still life, a vivid seascape, an ancient structure, a lush landscape, or a magnificent city building, each of these Fischbach Artists’ paintings portray the ultimate in excellence, resplendent in their unique styles and enchanting subject matter.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/150D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/150D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/150D-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749922</Latitude>
  <Longitude>-74.005956</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/15A8" href="http://www.nyartbeat.com/event/2012/15A8">
  <Name>Donald Ian McCaw &quot;Corporate Mba Fabrications Inc.&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/86EA3B3A">
    <Name>AnnaKustera</Name>
    <Type>Gallery</Type>
    <Address>520 W 21st St., New York, NY 10011</Address>
    <Phone>212-989-0082</Phone>
    <Fax>212-989-0456</Fax>
    <Access>Between 10th Ave and West Side Highway. Subway: A/C/E to 14th Street or C/E to 23rd Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_21">Chelsea 21st</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>In summer closed on Saturdays.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[In an age when artists routinely become so successful and prolific that they morph into corporations, we are left to ponder the imponderable: what if a faceless corporation began creating its own art?  If  ideas go from focus groups straight into production,  doesn't  the  artist   become   merely   a  superfluous  middleman?  It  was  with  this  notion  that  Mba Fabrications  Inc., the brainchild of entrepreneur Donald Ian McCaw, was born.      
 
Initially, McCaw identified the fine art production industry as an ideal way to incorporate economic diversity into his business interests. As he describes it, &quot;Here was a high-profile industry with great margins that had somehow missed out on the transformative innovations of modern management science.&quot;  In 2010 the company began manufacturing appealing and marketable fine art.
 
To generate these Business Pop paintings, a revolving cast of employees work under the direction of a senior management team to perform every function from design to modeling to paint application. Multiple sketches, templates and painting techniques have been employed in the creation of each canvas. 
 
The resulting paintings produced by Mba Fabrications Inc. are as revelatory as they are handsome. They expose The Businessman for what he is: a headless suit that despite his many layers of accomplishment, can't escape the burdens of his urges, unease and endless ambition.  A contemporary anti-hero, created from an amalgam of arms, belts, wristwatches and designer wing-tipped shoes.  Sartorial vanity becomes a kind of armor.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/15A8-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/15A8-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/15A8-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746525</Latitude>
  <Longitude>-74.005625</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/162C" href="http://www.nyartbeat.com/event/2012/162C">
  <Name>Richard Kalina Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/CCAF1AAB">
    <Name>Lennon, Weinberg, Inc.</Name>
    <Type>Gallery</Type>
    <Address>514 W 25th St., New York, NY 10011</Address>
    <Phone>212-941-0012</Phone>
    <Fax>212-929-3265</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_25">Chelsea 25th</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[The New Yorker said of him, “A painter’s painter, Kalina has affinities with other New York artists who came of age in the sixties and seventies, from Jennifer Bartlett to Philip Taaffe.” The magazine referred to Luquillo, a resincoated crumpled striped canvas from 1970 as “post-painterly abstraction,” and said of A Cartesian Diver, 2009, “the buoyant hexagons traverse a grid, the intersections of which are cut into squares of raw canvas, giving the delicate composition a satisfyingly rough contrast.” It called the recent paintings “elegantly tessellated collages, his strongest work yet.” Along with A Cartesian Diver, the current exhibition includes seven
additional paintings and a group of new watercolors, all inspired by the representation of scientific phenomena — astronomy, chemistry, physics, and cybernetics. In the last decade Kalina has refined a unique method of making these paintings. He begins with a small sketch, and then draws the composition to scale on vellum placed over the surface of a panel. This “cartoon” becomes the guide for the next steps: masking the edges and areas intended to remain exposed, laying down a white ground layer, and adhering hundreds of cut and torn pieces of painted paper onto the linen. Painting sheets of rice paper using only transparent pigments, Kalina rips and cuts small pieces of paper and overlaps or abuts them to form an array of ovals, rings, circles, bands and hexagons. The shapes are distributed across fields of irregular, interleaved polygons in variegated tones of close colors that establish a shallow planar space.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/162C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/162C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/162C-170" width="170" />
  <Karma>1.34146</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-19" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749144</Latitude>
  <Longitude>-74.003667</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/1679" href="http://www.nyartbeat.com/event/2012/1679">
  <Name>Edwin Schlossberg &quot;Beneath Suddenly&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/942C5461">
    <Name>Ronald Feldman Fine Arts</Name>
    <Type>Gallery</Type>
    <Address>31 Mercer St., New York, NY 10013</Address>
    <Phone>212-226-3232</Phone>
    <Fax>212-941-1536</Fax>
    <Access>Between Grand and Canal St.. Subway: N/R/J/M/Z to Canal Street, or 4/5/6 to Spring Street.</Access>
    <Area areaId="soho">Soho</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>Monday by appointment only.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[In his twelfth solo show at the Feldman Gallery, Edwin Schlossberg will exhibit a series of new paintings that combine stenciled text and abstract images on aluminum panels.  In Beneath Suddenly, Schlossberg investigates patterns of perception by refracting the visual field with reflective surfaces created from Scotchlite and dust of lapis lazuli, ruby, and silver. 

 

In addition to his work in the visual and literary arts, Edwin Schlossberg is the founder and principal designer of ESI Design, a company that takes an interactive and technology-centered approach to large-scale projects including the Pepsi Family Center in North Carolina, the National Immigration History Museum at Ellis Island, and INFINITY at NASA Stennis Space Center. Schlossberg holds a PhD in Science and Literature from Columbia University and has exhibited and published extensively.

 ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/1679-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1679-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1679-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-07</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-07" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.721097</Latitude>
  <Longitude>-74.001606</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/1690" href="http://www.nyartbeat.com/event/2012/1690">
  <Name>Kim MacConnel &quot;Pleasure&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/C27F0076">
    <Name>Salomon Contemporary</Name>
    <Type>Gallery</Type>
    <Address>526 W 26th St., #519, New York, NY 10001</Address>
    <Phone>212-727- 0607</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>11:00:00</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>Also by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[&quot;Pleasure&quot; comes from &quot;American Responses&quot;, a four-part series organized by Ned Smyth.

[Image: Kim MacConnel &quot;Fishin&quot; 1978 (detail)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/1690-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1690-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1690-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-06</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-06" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749852</Latitude>
  <Longitude>-74.003766</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/1756" href="http://www.nyartbeat.com/event/2012/1756">
  <Name>Fré Ilgen &quot;Shaping Presence&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/DA84F137">
    <Name>Sundaram Tagore Gallery</Name>
    <Type>Gallery</Type>
    <Address>547 W 27th St., New York, NY 10001</Address>
    <Phone>212-677-4520</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Sundaram Tagore Gallery presents Shaping Presence, an exhibition of abstract metal and wood sculpture and works on paper by Berlin-based Dutch artist Fré Ilgen. 

Shaping Presence introduces the latest developments in Ilgen’s work, which are the result of the artist’s intense interest in the mechanics of the creative process. Ilgen has delved into the realm of neuroscience in order to learn more about creativity, in particular the conscious decision-making and the unconscious reflexes—motions learned by the body through long repetition—that form artistic expression.

With his sculpture, the artist aims to challenge viewers’ visual memory and encourage them to think about visual perception. Many of his sculptures are based on the complex movements of his own arms and hands that are part of the fabrication process. He uses concrete and wood in combination with stainless steel and industrial paint to create free-standing sculpture, wall constructions, and mobiles that vary in size from modest to monumental.

Working on paper is for Ilgen, as for many other artists, a useful method to prepare for working in other media. But for Ilgen, working on paper is also a type of physical training that prepares the body to respond by reflex when elaborating similar subjects in other media.

Fré Ilgen is a unique figure in the world of contemporary art. He is not only a sculptor and a painter, but also a theorist and curator. Ilgen lives and works in Berlin. His work is exhibited widely in the United States, Europe, South America, Russia, Asia, and Australia. He has created many site-specific pieces for private, corporate, and public collections in The Netherlands, Germany, Switzerland, Japan, Korea, and the United States. Ilgen’s work is in the collections of the Museum of Modern Art, Hünfeld, Germany; NOKIA, Dallas, Texas; and the Merzbacher Collection, Zug, Switzerland.

[Image: Fré Ilgen &quot;Nothing Changes, Everything Changes&quot; (2011) stainless steel, industrial paint, 82 1/4&quot;H x 68 1/2&quot;L x 55 1/2'W]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/1756-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1756-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1756-170" width="170" />
  <Karma>1.48148</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750789</Latitude>
  <Longitude>-74.003658</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/178F" href="http://www.nyartbeat.com/event/2012/178F">
  <Name>Elizabeth Jordan, Shannon Boyle &quot;Written Offerings&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/3A05B159">
    <Name>Saint Peter's Church</Name>
    <Type>Gallery</Type>
    <Address>619 Lexington Ave., New York, NY 10022</Address>
    <Phone>212-935-2200</Phone>
    <Fax></Fax>
    <Access>Between 54th and 53rd St. Subway:  6/E/F to 51st St.</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>09:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[The show is a participatory experience in which viewers put the power of prayer and positive thoughts into action by writing their reactions directly on the images, graffiti-style. The exhibitions diverse imagery includes large-scale photos of children from near and far, all of whom are in need of prayer. The final image is a mirror on which viewers can write prayers for themselves. The works aim to inspire hope, healing and spiritual reflection. All the exhibition's photographs are for sale, with all profits going to charity.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/178F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/178F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/178F-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-17</DateStart>
  <DateEnd>2012-02-20</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-05" start="17:00:00" end="20:30:00">Opening Reception</Party>
 <DaysBeforeEnd>11</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.758456</Latitude>
  <Longitude>-73.970746</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/17A3" href="http://www.nyartbeat.com/event/2012/17A3">
  <Name>&quot;Under the Influence: The Comics and Contemporary Art&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/A6C9C115">
    <Name>Lehman College Art Gallery</Name>
    <Type>University or School</Type>
    <Address>250 Bedford Park Blvd. West, Bronx, NY 10468</Address>
    <Phone>718-960-8731</Phone>
    <Fax>718-960-6991</Fax>
    <Access>Lehman College campus.  Subway: 4 or D to Bedford Park Boulevard</Access>
    <Area areaId="harlem_bronx">Harlem, Bronx</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>16:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Under the Influence: The Comics and Contemporary Art will examine the work of approximately 25 artists indebted to the style and energy of comics imagery. The comics connote humor with the term &quot;funnies&quot; suggesting a lighthearted sensibility and playfulness with irony and satire also a part of the territory. But the comics often explore a more complex side of human existence - for Freud humor was a path to the unconscious. The exhibition will feature a range of media. There will be an online catalogue.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/17A3-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/17A3-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/17A3-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-07</DateStart>
  <DateEnd>2012-05-12</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>93</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.874925</Latitude>
  <Longitude>-73.892961</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/17D5" href="http://www.nyartbeat.com/event/2012/17D5">
  <Name>&quot;one and the other are another&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8AE19062">
    <Name>Ludlow 38 / The Goethe-Institut New York</Name>
    <Type>Gallery</Type>
    <Address>38 Ludlow St., New York, NY 10002</Address>
    <Phone>212-228-6848</Phone>
    <Fax></Fax>
    <Access>Between Grand and Hester Sts. Subway: F to East Broadway or B/D to Grand</Access>
    <Area areaId="lower_east_side">Lower East Side</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>Screen: Film</Media>
  <Description><![CDATA[The Goethe-Institut New York presents the first exhibition by Clara Meister, the 2012 Curatorial Resident at the contemporary art space Ludlow 38.

one and the other are another  includes new and recent works by five mostly Berlin-based artists. It deals with language and translation  in a reflection about the emergence of new meaning in communication – in text and speech as well as in well-known images and shared concepts.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/17D5-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/17D5-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/17D5-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-16</DateStart>
  <DateEnd>2012-03-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-15" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>38</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.715789</Latitude>
  <Longitude>-73.990583</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/1963" href="http://www.nyartbeat.com/event/2012/1963">
  <Name>&quot;Corporations Are People Too&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/90D87E54">
    <Name>Winkleman Gallery</Name>
    <Type>Gallery</Type>
    <Address>621 W 27th St., New York, NY 10001</Address>
    <Phone>212-643-3152</Phone>
    <Fax>212-643-2040</Fax>
    <Access>Between 11th and 12th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>2D: Prints</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Winkleman Gallery presents Corporations Are People Too, a group exhibition of artists whose work has touched on corporate culture and our love-hate relationship to these powerful organizations. In a time where protesters across the country, and the world, are objecting to the influence corporations have over democratically elected governments and one leading candidate for the Republican nomination for President, Mitt Romney, was roundly criticized for claiming during a campaign stop that “Corporations are people too,” a bright spotlight is being shined on the complicated role they play in contemporary life.

The exhibition begins with a selection of vintage photographs by Berenice Abbott, Louis Faurer, Lewis Hine and Dorothea Lange, showing the arc of attitudes in America about the relationship between huge companies and the average person. From Depression-era images of child laborers and migrant workers up through post-WWII images of happy shiny Americans enjoying all the conveniences that modernized manufacturing brought them in their new age of posterity, these black-and-white photos set the stage for a relationship that continues to ebb and flow with the changing economics of the nation.

The exhibition continues with works by contemporary artists that flesh out the complexity of corporate culture as it has evolved to influence, if not define, many of our political and cultural ideologies. A 2005 installation by Yevgeniy Fiks offers a broader look at how we have come to recognize corporations’ individual identities. Fiks sent 100 US corporations a copy of Lenin’s book Imperialism: The Highest Stage of Capitalism as a gift for their library, asking only that they acknowledge receipt. The 34 letters he received, some accepting the gift, others returning it, provide a series of fascinating and, in turns, hysterical portraits of the corporate personalities.

Kota Ezawa’s series of IKEA lightbox works (2008), in which he redraws the pages from the international home furnishing store’s catalog, stem from his mixed feelings about our need for furniture chosen not as an object to be kept or cherished but rather as an inexpensive solution to a living problem. Within these paired-down renderings, the catalog pages lose their function as advertisements and their staged domestic interiors become instead theater stages for the drama of contemporary life. In Ian Davis’ small paintings (2011), scores of men in black suits populate landscapes or auditoriums devoid of any clear hierarchy or leaders. In unison they raise their hands as if making a pledge or collaborate to mug other suited men, suggesting armies of blindly obedient Yes Men, answering to a particular culture more so than an obvious power figure.

In Jacqueline Hassink’s “The Table of Power” series (1993-1995), photographs of uninhabited boardrooms of well-known corporations are completely absent the executives who usually meet there, but still communicate an intimiating degree of order and control. One of the images, totally black, reflects the refusal of Shell Oil to let their excutive boardroom be photographed. People are also absent in the photographs from Phillip Toledano’s “Bankrupt” series (2001-2003), but traces of their having been there remain in the emptied offices of corporations that went out of business. Toledano has described these abandoned objects as “signs of life, interrupted,” and they speak to how the corporate experience is a big part of who they are for many people.

The exhibition concludes with an installation by Chris Dorland incorporating large- and small-scale paintings as well as video. The way that many corporations market their (often banal) products to the public by associating our collective ideals and hopes with their corporate brands is one of the themes connecting Dorland’s various series. From his well-known toxic-colored landscapes insinuating the failure of Modernist architecture to realize its promise of a utopian future, to his newer series of decontextualized, muted logotypes and mixed media paintings of sexy, happy people so interchangeable we recognize them as part of an advertising language even without any hint of their ad’s original product, to a new video titled “Restoration Hardware”, these works, seen in dialogue with one another, bring full circle his exploration of the cynical association of progressive values with consumption and desire. Dorland’s work deals head on with how, as he has said, “'Progress' gets aestheticised and then ultimately instrumentalized by Capitalism.”

[Image: Louis Faurer &quot;Times Square Convertible, New York&quot; (1949) Silver gelatin print (printed in 1980), 11&quot; x 14&quot;]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/1963-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1963-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1963-170" width="170" />
  <Karma>2.73469</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-04</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-04" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751797</Latitude>
  <Longitude>-74.005731</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/1A2E" href="http://www.nyartbeat.com/event/2012/1A2E">
  <Name>Alexandra P. Spaulding Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/00038288">
    <Name>Stephan Stoyanov Gallery</Name>
    <Type>Gallery</Type>
    <Address>29 Orchard St., New York, NY 10002</Address>
    <Phone>212-582-4425</Phone>
    <Fax>212-582-2366</Fax>
    <Access>Between Hester &amp; Canal Sts.  Subway: F to East Broadway, B/D to Grand Street</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 12:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Stephan Stoyanov/Luxe Gallery presents two site-specific light and sound environments by Alexandra P. Spaulding. With a background in photography and video work, Spaulding’s practice combines a profound interest in minimalist visual aesthetics and its legacies with a keen interest in sound. As visual points of reference, she has cited work by Robert Irwin and James Turrell. Although the inspirations for her sound pieces are varied, the nature of her compositions is as stark and stripped back as her visual work.

Using a limited color scheme, her works often come across as distinctly sensuous through the use of light and reflective surfaces, which are offset by the slightly unnerving layered aural compositions that resonate within them.

[Image: Alexandra P. Spaulding &quot;into the light&quot; (2012) work in progress. Image courtesy of the artist]
Expanding on the combined use of visual and aural elements, the artist has stated that she is not interested in concepts of beauty and seduction on their own, but in the tension created between visual parts that are distinctly aesthetic, and sound elements that potentially create a feeling of unease, threat and maybe even discomfort. The artist strives to identify an ideal tension point located between seduction and repulsion.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/1A2E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1A2E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1A2E-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-15</DateStart>
  <DateEnd>2012-02-19</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-15" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>10</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.715628</Latitude>
  <Longitude>-73.991703</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/1B67" href="http://www.nyartbeat.com/event/2012/1B67">
  <Name>Giuseppe Luciani &quot;Brooklyn Views&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/F1212C26">
    <Name>Brooklyn Public Library (Central)</Name>
    <Type>Other</Type>
    <Address>10 Grand Army Plz., Brooklyn, NY 11238</Address>
    <Phone>718-230-2100</Phone>
    <Fax></Fax>
    <Access>At Eastern Pkwy. Subway: 2/3/Q to Grand Army Plaza or Eastern Parkway/Brooklyn Museum of Art, or Q to 7th Avenue. </Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>09:00:00</OpeningHour>
    <ClosingHour>21:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>friday closinghour 18:00, saturdays closinghour 18:00, saturdays openinghour 10:00, fridays openinghour 10:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Aiming to create a visual account of the everyday, my immediate surroundings have been the subject of recent paintings. This body of work articulates an effort to reinterpret my impressions of both the beauty and the blight of contemporary urban daily life.

My influences are culled from the entire history of Western painting: Greek/Roman murals and mosaics, Byzantine schemas, Renaissance portraiture, Dutch and Flemish peasant scenes, post-impressionist color, and twentieth-century social realism.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/1B67-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1B67-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1B67-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-12-08</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.672903</Latitude>
  <Longitude>-73.968878</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/1D6C" href="http://www.nyartbeat.com/event/2012/1D6C">
  <Name>Catherine Yass &quot;Lighthouse&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/F6303922">
    <Name>Galerie Lelong</Name>
    <Type>Gallery</Type>
    <Address>528 W 26th St., New York, NY 10001</Address>
    <Phone>212-315-0470</Phone>
    <Fax>212-262-0624</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Film</Media>
  <Description><![CDATA[Galerie Lelong presents the U.S. debut of British artist Catherine Yass's new film &quot;Lighthouse&quot; (2011), a dynamic portrait of the Royal Sovereign lighthouse located off the coast of East Sussex, England. The single large-scale projection offsets the sense of equilibrium as the camera circles, soars, plunges, and hovers over the anomalous structure set in the vast expanse of sea and endless horizon. Complementing the film are a series of atmospheric lightboxes depicting the lighthouse and its surroundings. Lighthouse is Yass's second solo exhibition at Galerie Lelong and will open to the public on Friday, February 3rd from 6 to 8pm. The artist will be present.
 
Five miles out to sea, the Royal Sovereign lighthouse perches at the edge of a massive square platform balanced over a 108-foot concrete column. Yass describes it as &quot;a magnet or siren attracting you in, but also signaling dangerous waters.&quot; The film begins at water level, moving out to sea with the waves, then slowly soaring up and falling down each side of the lighthouse, and finally circling the platform. Eventually, the camera dives down into the sea through the dark, hazardous waters, inducing a sense of drowning. Yass disorientates the viewer and captures these different perspectives by filming from boat, helicopter and underwater. The muted sound and slowed pace also contribute to Yass's aim of displacing the viewer to &quot;somewhere slightly different, either physically or somewhere in their mind.&quot;
 
Equally captivating and alluring, Yass's series of surreal lightboxes draw the viewer into abstracted images of the structure. In this new lightbox series, Yass continues her signature technique of laying a photographic color transparency over a blue negative transparency, taken about 5 seconds apart. As a result, the areas that reflect light come out in vivid blue and the intensity of the sun is shifted to black, as seen in Lighthouse (East), 2011. The line between reality and illusion is blurred, giving the works a disturbingly calm and powerful presence.  
 
Lighthouse is Yass's first major film since High Wire (2008) and joins the ranks of her other critically-acclaimed films, Lock (2006) and Descent (2002). In each of these works, Yass's focuses on a well-known structure and explores both the physical and psychological effects of architectural space. Yass first became fascinated with the Royal Sovereign lighthouse while visiting the De La Warr Pavilion, and thus, chose it as the subject of the film commissioned in conjunction with her mid-career retrospective there in 2011.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/1D6C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1D6C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1D6C-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-03" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749925</Latitude>
  <Longitude>-74.003667</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/1D89" href="http://www.nyartbeat.com/event/2012/1D89">
  <Name>Tian Xiaolei &quot;Song of Joy&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/5AC235AC">
    <Name>Meulensteen</Name>
    <Type>Gallery</Type>
    <Address>511 W 22nd St., New York, NY 10011</Address>
    <Phone>212-633-6999</Phone>
    <Fax>212-691-4342</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</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="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>July &amp; August,  Monday – Friday, 10:00 – 18:00</ScheduleNote>
  </Venue>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Meulensteen presents the first solo exhibition in the United States of Tian Xiaolei. Born and based in Beijing, he creates surreal animated videos and images that engage with the history of Chinese art and the rapidly evolving social, economic, and political realities of contemporary China. The exhibition feautres “Song of Joy,” an ambitious computer-animated film through which Tian talks about the relationship between pretended joy and real pain, and discusses the truth regarding the era of consumption and desire. This boisterous and ironic celebration of the new China features hundreds of identically outfitted businessmen frolicing in a chaotic amusement park and participating in choreographed dances and marches to the tune of Mozart's Requiem. Also on view is Tian’s print series of “Chinese Contemporary Paintings.” Employing modern techniques to re-present Chinese traditional landscape painting, Tian digitally creates nature-centered images of dramatic topographies that become dwarfed by fantastic animal figures. In the artist’s own words: I used to be more inclined to accept the conception of Daoism, which praises highly the integration of nature and human. With the fast development of technology, we are now experiencing a transition from being in awe of Mother Nature to conquering and changing it. This seems to be a sign of the great progress of human civilization, but behind that progress there is a breaking down of something about which most of us cannot become aware. Our inherent spiritualism and our integrated relationship with nature are degenerating as technology is making progress faster and faster. Tian Xiaolei graduated from the Digital Media Department of the Central Academy of Fine Arts (CAFA) in Beijing in 2007. His work has been featured in exhibitions in Beijing, Meulensteen's group show “In a Perfect World…”, curated by James Elaine in 2011, and the Milwaukee Art Museum. Tian was recently selected by the Martell Art Fund and the Today Art Museum for the “Focus on Talent Project.”]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/1D89-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1D89-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1D89-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-08</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-13" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747172</Latitude>
  <Longitude>-74.00495</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/1DBB" href="http://www.nyartbeat.com/event/2012/1DBB">
  <Name>Joseph Montgomery Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/D7B3A48B">
    <Name>Laurel Gitlen</Name>
    <Type>Gallery</Type>
    <Address>261 Broome St., New York, NY 10002</Address>
    <Phone>212-274-0761</Phone>
    <Fax>212-274-0756</Fax>
    <Access>Corner of Orchard St. Subway: D/B to Grand Street, J/M/Z to Essex Street</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[In his second solo exhibition at the gallery, Joseph Montgomery's approach to generating paintings is both streamlined and complicated by a number of repeated forms, radical scale shifts, and combinatory structures. Montgomery's paintings, often built up over time, substitute objects and images for the act of painting. Fragments pretend to be wholes and images collapse into their constituent parts from different angles. Employing found and fabricated shims, his recent works play with the idea of an abstract form as a readymade, creating an increasingly closed and circuitous loop of image making. With a more refined palette and an increasing number of painting subsets, Montgomery's exhibition focuses and expands his interrogation of painting as “image.”]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/1DBB-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1DBB-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1DBB-170" width="170" />
  <Karma>1.36752</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-08</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-08" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.718083</Latitude>
  <Longitude>-73.990492</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/1EB3" href="http://www.nyartbeat.com/event/2012/1EB3">
  <Name>Jen Casad &quot;Drawings&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/B43332DA">
    <Name>Alexandre Gallery</Name>
    <Type>Gallery</Type>
    <Address>41 E 57th St., 13 Fl., New York, NY 10022</Address>
    <Phone>212-755-2828</Phone>
    <Fax>212-755-2882</Fax>
    <Access>Corner of Madison Ave. Subway: N/R/W to 5th Avenue or 4/5/6 to 59th Street or E/V to 5th Avenue/53rd Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[Known to many as the subject of Sharon Lockhart’s recent film &quot;Double Tide,&quot; Jen Casad is a master draftsman as well as a professional clammer. Casad’s first one-person New York exhibition will present 12 small-scaled and meticulously rendered views of coastal life, local workers, and views of the landscape, both imagined and based on observation, done in graphite on rag board.
 
Writing on the recent work, the critic Linda Norden says “Casad’s individual drawings share an approach to portraiture that parallels Lockhart’s approach to her films: both artists learn about their subjects by watching them at work in a very particular, defining landscape.” Norden continues, “Casad is both exuberant and tenacious; her drawings are seductive and gratifyingly slow-burn.”

[Image: Jen Casad &quot;Eastern Gut&quot; (2008) graphite on board 5.75 x 7.75 in. © Jen Casad, courtesy Alexandre Gallery, New York]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/1EB3-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1EB3-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1EB3-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="17:30:00" end="19:30:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.762264</Latitude>
  <Longitude>-73.972281</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/1FC1" href="http://www.nyartbeat.com/event/2012/1FC1">
  <Name>&quot;We Are Cinema: 50 Years of Film-Makers' Coop&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/4326E405">
    <Name>Microscope Gallery</Name>
    <Type>Gallery</Type>
    <Address>4 Charles Place, Brooklyn, NY 11221</Address>
    <Phone>347-925-1433</Phone>
    <Fax></Fax>
    <Access>On the corner of Myrtle and Willoughby Aves. Subway: J/M/Z to Myrtle Avenue.</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>13:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="1" 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: Prints</Media>
  <Description><![CDATA[We are Cinema is a month-long exhibit and screening series celebrating 50 years of the Film-Makers’ Co-op in NYC. The exhibit features paintings, drawings, prints, light boxes, and other artworks from the group’s earliest to most recent members. Additionally, rare early documents, posters, catalogues, archival materials and historical sound recordings will also be on exhibit. Events start on Saturday February 11, at 5PM – just prior to the official exhibition opening – with the first screening of restored, fresh-from-the-lab 16mm prints of rare short works by legendary filmmaker/artist Jack Smith (Respectable Creatures, Song for Rent, Hot Air Specialists, Overstimulated, Scotch Tape, and Yellow Sequence), all new editions to the Co-op’s distribution. Original founding director Jonas Mekas and current director MM Serra will introduce the works. The four-part screening series continues with unique programs by Ken Jacobs (2/18), Jonas Mekas (2/25), and a group show of recent editions to the Co-op’s collection (3/4). Seating is limited. Please RSVP to rsvp@microscopegallery.com.
 
It was in January of 1962 that filmmaker Jonas Mekas called an urgent meeting of about 20 avant-garde/independent filmmakers including Stan Vanderbeek, Rudy Burckhardt, Jack Smith, Ken Jacobs, and Gregory Markopoulos to discuss taking the means of exhibition and distribution into their own hands. Within months the Film-Makers’ Co-op was born. Under the stewardship of filmmaker MM Serra since 1991, the organization is now the oldest and largest artist-run cooperative in the world and membership continues to be open to anyone with a film or video work. The Film-Makers’ Co-op continues to operate as a vibrant archive and distributor, housing more than 5,000 films and videos by over 900 artists. It is now located at 475 Park Ave South in Manhattan.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/1FC1-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1FC1-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1FC1-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-11</DateStart>
  <DateEnd>2012-03-05</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-11" start="19:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>25</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.697638</Latitude>
  <Longitude>-73.931215</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/20B7" href="http://www.nyartbeat.com/event/2012/20B7">
  <Name>Sarah Hardesty &quot;Imminent&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/4E5D5B72">
    <Name>Maxwell Davidson Gallery/Davidson Contemporary</Name>
    <Type>Gallery</Type>
    <Address>724 5th Ave., Fl. 4, New York, NY 10019</Address>
    <Phone>212-759-7555</Phone>
    <Fax>212-759-5824</Fax>
    <Access>Between 56th and 57th St. Subway:N/R/W to 5th Avenue.</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Summer Hours: (Memorial Day - Labor Day): Monday - Friday 10:00 AM - 5:30PM</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[The exhibition will feature new work in a variety of media, including paintings, works on paper, and sculptural installations.

Sarah Hardesty’s sculptures and installations use found and reclaimed wood, mason’s string and thread, and are almost always site-specific. The works hang from ceilings, emerge from floors, and penetrate walls. They feel precarious, as though they are about to tumble down, yet are serene in their taut stillness. The visual impression is one of both explosive force and magnetic attraction, as though the walls themselves are either erupting outward, or pulling inward.

In her paintings and drawings, Hardesty often depicts animals - usually birds - entwined with lines or covered with actual thread. The viewer is never certain whether the creatures, with their impeccably rendered silhouettes, are being ensnared by the artist’s delicate cross-hatching, or are liberating themselves from restraints.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/20B7-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/20B7-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/20B7-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-07</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-10" start="17:30:00" end="19:30:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.762547</Latitude>
  <Longitude>-73.974473</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/224A" href="http://www.nyartbeat.com/event/2012/224A">
  <Name>Brad Nelson &quot;Even Mountains Cast Shadows&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/61A8B8AA">
    <Name>frosch &amp; portmann</Name>
    <Type>Gallery</Type>
    <Address>53 Stanton St., New York, NY 10002</Address>
    <Phone>646-266-5994</Phone>
    <Fax></Fax>
    <Access>Between Forsyth and Eldridge Sts., Subway: F to 1st Avenue</Access>
    <Area areaId="lower_east_side">Lower East Side</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>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[frosch&amp;portmann presents “Even Mountains Cast Shadows”, Brad Nelson’s first solo exhibition in New York.

The invisibility and intangibility of faith and the reliance on language to convince someone to believe, instead of direct phenomenological observations, is a prevalent theme in Brad Nelson’s work. Having grown up in Kentucky, Nelson was surrounded by vocal religious convictions and absolute faith-based belief. His artwork creates a vivid visual language in the form of artificial landscapes and paintings of handwritten notes that hover close to nature and attempt to destruct or obscure the sense of what came before. As mountains and rock formations are very influential on the surrounding landscape, ideas and beliefs similarly loom over our contemporary environment.

Nelson moved to northern Arizona in 2008 and his experience in the southwest inspired him to use mountains as the conceptual platform for this show. While the mountains in Brad Nelson’s oils don’t exist in nature, they do exist as a physical manifestation before he paints them. He creates the model first in his studio as sculptures made from raw pigments using a variety of sculpting tools, such as rulers, razor blades, straws, and paper. The artist is using elements of the earth to create artificial constructions of natural landscapes.

During the opening reception of the exhibition, the artist will create a new work through a performance. Nelson will work publicly in the gallery in the same manner that he normally works in the privacy of his studio. He will sculpt a mountain still life, which will function as the origin of the image presented in the new painting. Nelson will then paint on a stage consisting of an unfinished stretched canvas representing an aerial view of the neighborhood where frosch&amp;portmann is located.

Viewers will have the opportunity to observe the original and the reproduction. Once the painting is finished the sculpture will be positioned behind the wall on which the finished painting will hang, so the original event will now be invisible. The reproduction will be the new authority in which faith will be placed and transmitted to the viewer.

Brad Nelson lives and works in Falmouth, Massachusetts. He received his B.A. from the University of Kentucky in Lexington, KY and his M.F.A. from the School of the Museum of Fine Arts, Boston/ Tufts University.

[Image: Brad Nelson &quot;EMCS #7&quot; oil on canvas 11 x 14 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/224A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/224A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/224A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-26</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>17</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.721912</Latitude>
  <Longitude>-73.990496</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/22BE" href="http://www.nyartbeat.com/event/2012/22BE">
  <Name>Miao Xiaochun and Cui Xiuwen &quot;Restart, Spiritual Realm, Disillusion&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/F5F95143">
    <Name>Eli Klein Fine Art</Name>
    <Type>Gallery</Type>
    <Address>462 W Broadway, New York, NY 10012</Address>
    <Phone>212-255-4388</Phone>
    <Fax>212-255-4316</Fax>
    <Access>Between Houston and Prince St.  Subway: 1 to Houston Street, C/E to Spring Street</Access>
    <Area areaId="soho">Soho</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Graphics</Media>
  <Media>2D: Photography</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/22BE-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/22BE-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/22BE-170" width="170" />
  <Karma>1.21212</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-03-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>31</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.726333</Latitude>
  <Longitude>-74.000636</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/24C0" href="http://www.nyartbeat.com/event/2012/24C0">
  <Name>Trevor Shimizu &quot;Late Work&quot; </Name>
  <Venue href="http://www.nyartbeat.com/venue/17F2732A">
    <Name>47 Canal Street</Name>
    <Type>Gallery</Type>
    <Address>47 Canal St., 2nd Fl., New York, NY 10002</Address>
    <Phone>646-415–7712</Phone>
    <Fax></Fax>
    <Access>Between Orchard and Ludlow Sts., Subway: F to East Broadway.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</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>2D: Photography</Media>
  <Description><![CDATA[Trevor Shirnizu was born March 30. of Japanese born Americanized parents. Like President Obama, he is from humble Hawaiian beginnings. Hawaii. a tourist destination in the mid-‘50s. was popularized by the TV personality Arthur Godfrey. Godfrey also introduced to the American public the ukulele. American pop culture was fixated on Hawaii in the '50s. “Hawaii became an American cliche.‘ Pop culture is very important to Shimizu. He is an aficionado of film and considered becoming a filmmaker. Francis Ford Coppola. the Aries filmmaker had a big influence on San Francisco. where many films were made. and where Shimizu was introduced to media and performance art. Here. he was introduced Io the work of William Wegman, Ernie Koval-ts. and Andy Kaulman. He found a very idealistic situation in New York. The great women artists Carole Schneemann. Shigeko Kubota. Dara Birnbaum and Joan Jonas have been important in his development. He also does technical work for Dan Graham. His studio work is ditterent from his day fob. Trevor Shimizu's work has a conceptual. laconic humor. This element 0| humor is especially important. Shimizu's Japanese background informs his practice, relating to Japanese Manga and Anime. When he discovered he shared a birthday with Vincent Van Gogh and Francisco Goya. he wanted to paint. His self-portraits locate him in commonplace situations. and tor this show he projects himself into the future as a to 80-year-old man. Trevor Shimizu's goal is to have fun and live a good life.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/24C0-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/24C0-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/24C0-170" width="170" />
  <Karma>1.27619</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-05" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.714916</Latitude>
  <Longitude>-73.991463</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/24FF" href="http://www.nyartbeat.com/event/2012/24FF">
  <Name>&quot;Cheat Chains and Telephone&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/B61547DB">
    <Name>Kansas</Name>
    <Type>Gallery</Type>
    <Address>59 Franklin St., New York, NY 10013</Address>
    <Phone>646-559-1423</Phone>
    <Fax></Fax>
    <Access>Between Broadway and Lafayette St. Subway: 6/N/R/Q/W to Canal Street.</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[KANSAS presents Cheat Chains and Telephone, a group exhibition featuring new works by Fabienne Lasserre, Elisa Lendvay, John Newman and B. Wurtz.
 
By obscuring material hierarchy and challenging the codification of an art object, the artists in Cheat Chains and Telephone expose the pluralism of sculptural assemblage. Together, these works enumerate a spectrum of approaches to parallel concerns: collection, found objects, the currency of labor, economics of material content and the general multiplication of visual assemblage.  
 
Fabienne Lasserre's practice involves the use of pliable materials such as linen, wood, handmade felt and paint, and the work represents what the artist calls an &quot;excluded middle&quot; - the part that is left out when things are named or divided into categories. To achieve this hybridity, Lasserre stretches and elongates forms, arriving at shapes and volumes through pressure and touch that evoke the language of furniture, playground equipment and commercial signage, among others. Reflecting the artist's interest in science fiction and mythology, these works take on the shape and stance of a familiar yet ethereal form.
 
Elisa Lendvay's work absorbs ideas about the underlying poetics of natural phenomena, and combines with formal considerations about art making to create a byproduct of what she terms &quot;colliding forces.&quot; She depicts this force or surge in her work as dispersal - each of the works seem to simultaneously come together and break apart. Studio detritus and found objects are cohered into composed sculptures based on their formal attributes and their allegorical imperatives.
 
John Newman's tabletop sculptures are involved with a rich vernacular of materials and components, both found and fabricated, that obscure the categories to which each belongs. Newman's inexhaustible and ever changing list of materials - bronze, wicker, stone, paper, glass, fabric to name a few - are meticulously and laboriously composed. Impossible couplings of material, shape, color and techniques pile up and offer a dizzying constellation of effects both specific and otherworldly. Forms are imbued with a language connected to a cultural world of object specificity including votive and historical relics and the belongings of a &quot;wunderkammer&quot; - a strange intersection of oddity, craft and artifact.
 
Since the early 70's, B. Wurtz has limited his involvement with found materials to three fundamental categories: Food, Clothing and Shelter. With a lightness of touch, Wurtz adopts and fashions those qualifying items in a manner that suggests other familiar forms while preserving and emphasizing the utilitarian origin of the found object. The artist transforms plastic bags, shoelaces, wood, yogurt tops, buttons and other orphaned scraps into lowly but charming sculptural objects and wall hanging compositions in an effort that's part &quot;green&quot; and part fetishistic.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/24FF-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/24FF-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/24FF-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-14</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-14" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.717086</Latitude>
  <Longitude>-74.002854</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/2626" 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="2012/2700" href="http://www.nyartbeat.com/event/2012/2700">
  <Name>Ai Weiwei, Wang Xingwei, Ding Yi &quot;Persona 3&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/951E6DE5">
    <Name>Chambers Fine Art</Name>
    <Type>Gallery</Type>
    <Address>522 W 19th St., New York, NY 10011 </Address>
    <Phone>212-414-1169</Phone>
    <Fax>212-414-1169</Fax>
    <Access>Between 10th and 11th Aves. Subway: C/E and L to 14th Street/ 8th Avenue</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</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>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Chambers Fine Art presents Persona 3, a cooperative work by Ai Weiwei, Wang Xingwei and Ding Yi. First exhibited in Beijing in 2004, Persona 3 is an audacious experiment in which the three artists agreed temporarily to exchange artistic profiles in a demonstration of their mutual admiration for the Chinese art scholar Hans van Dijk who had died in 2002. Resident in China since 1986, van Dijk was actively involved in the documentation and promotion of contemporary Chinese art at a particularly important time in its development.

As described by Britta Erickson: “Mature artists with widely recognized signature styles, Ai Weiwei, Ding Yi, and Wang Xingwei resolved to turn the iconic nature of each unique body of work on its head. Each artist would produce works of art to be exhibited as the creations of the others. This exercise required serious stretching of both artistic imagination and technical skills, and it was brought off with great aplomb….. Each artist worked in great secrecy, revealing the works to one another only immediately prior to the installation of the exhibition. It was a challenge among the three artists, to fathom the depths of each other’s artistic approach, and then to capture that spirit in concrete form.”

For this exercise, Ai Weiwei produced Appearance of Crosses, a sculptural form in iron that is derived from Ding Yi’s series of paintings Series of Crosses on which he had been working since 1988. One of the very few abstract painters to have emerged with the remarkable growth of contemporary Chinese art in the 1990s, Ding Yi narrowed the focus of his investigations to the repetition of cross forms in endless variations and on a wide variety of supports including ready-made fabrics such as tartans. In deciding to perforate a sheet of iron with rows of crosses, Ai Weiwei produced a sculpture of the type that Ding Yi might have produced if he had ever decided to work in three dimensions.

Known for his ironic use of a naturalistic painting style to comment on a wide variety of social and cultural issues, Wang Xingwei chose to channel Ai Weiwei in his Long Ring Tea-Table, a rosewood painting table reconfigured as a round tea-table. Unlike Ai Weiwei who uses furniture and architectural members surviving from the Ching dynasty and later in his ongoing series of three-dimensional works in wood, Wang Xingwei designed a circular table that does not resemble earlier forms and the Shanghai-based carpenters who executed it used new wood.

For Morning in Shanghai, painted in oil on corrugated board in the style of Wang Xingwei, Ding Yi reverted to the representational style that he had abandoned with the emergence of his signature abstract style in 1988. As in his own works which are frequently characterized by their composite nature, Ding Yi juxtaposes four sections of board in his dramatic Shanghai cityscape in which the celebrated buildings on the Bund are dwarfed by new developments in Pudong.

Enriching the artistic dialog between these three old friends in their hybrid creations will be works by Wang Xingwei and Ding Yi on loan from the Uli Sigg collection as well as by Ai Weiwei in which the artists speak in their own voices.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/2700-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2700-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2700-170" width="170" />
  <Karma>2.53472</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.745361</Latitude>
  <Longitude>-74.006631</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/27C8" href="http://www.nyartbeat.com/event/2012/27C8">
  <Name>Chris Martin Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/CF258D43">
    <Name>Mitchell-Innes &amp; Nash (534 W 26th St.)</Name>
    <Type>Gallery</Type>
    <Address>534 W 26th St., New York, NY 10001</Address>
    <Phone>212-744-7400</Phone>
    <Fax>212-74407401</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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[Mitchell-Innes &amp; Nash presents its third solo show of Brooklyn painter Chris Martin. The exhibition will feature a group of new paintings, including several from a new series painted on newspaper grids.

Chris Martin was born in 1954 and lives and works in Brooklyn, New York. His current solo exhibition Staring into the Sun at the Kunsthalle Dusseldorf, on view through January 15, is accompanied by a fully-illustrated catalogue. Martin’s first solo museum show took place in 2010 at the Corcoran Gallery of Art in Washington, DC. He has been featured in notable survey shows including “Abstract America” at the Saatchi Gallery in London, “Painting as Fact – Fact as Fiction” at de Pury and Luxembourg, Zurich, and “The Painted World” at P.S.1 Contemporary Art Center, Long Island City, New York. His work is in public collections including the Corcoran Gallery; the Museum of Contemporary Art, Chicago; and the Denver Art Museum. He is represented by Mitchell-Innes &amp; Nash.

Martin is a firm believer in the beauty and surprise of chance operations, in knowing and not being sure of what he is doing at any given moment. His painting materials have included foam insulation, roof cement, glitter, pom-poms, felt, bread, photographs, and newspaper clippings, record albums, and “smoke on canvas,” while he has painted on vinyl, bath towels, aluminum foil, and burlap… His approach is at the same time serious, playful, and playfully serious. … Martin’s vehicle is unquestionably painting, its history and those he identifies with as its key spiritual practitioners, and in quoting from them he is enfolding their visual language with his own, simultaneously conversing with these artists and being inside of his own head. In this sense, painting is equally a means for him to lose and find himself, over and over again.

[Image: Chris Martin &quot;1,2,3…&quot; Mixed media on canvas 77 x 68 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/27C8-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/27C8-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/27C8-170" width="170" />
  <Karma>3.11566</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749997</Latitude>
  <Longitude>-74.003789</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/27F7" href="http://www.nyartbeat.com/event/2012/27F7">
  <Name>Musa Hixson &quot;Time Harvest&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/60B7653D">
    <Name>FiveMyles</Name>
    <Type>Gallery</Type>
    <Address>558 St. Johns Pl., Brooklyn, NY 11238</Address>
    <Phone>718-783-4438</Phone>
    <Fax></Fax>
    <Access>Between Classon and Franklin Aves.  Subway: 2/3/4/5 to Franklin Avenue</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</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>
  <Description><![CDATA[The sphere, an important theme in the artist’s work, is here presented by eight large weather balloons that fill up half of the gallery space. The balloons are an undecided presence; their density is as much of a menace as their soft roundness gives comfort. 

As the viewer maneuvers around the balloons, a vista opens up and reveals a spider-web like installation made of barbed wire. For the artist it represents a birth process. The outline of a figure hangs on its ambil. Cord in mid-air. The cord opens up and spreads out its barbed wire tentacles into the open space around it. 

Musa Hixson describes himself as an installation artist. He has repeatedly used the weather balloons to add volume to a space or to condense it. In the gray space at FiveMyles the white whether balloons become a separate environment that serves to heighten the unexpected discovery of the barbed wire installation. 

Musa Hixson received an MFA degree from Pratt University in 1998. He recently returned from a residency at the 3-D foundation in Verbier Switzerland, and in 2010 spent some time in at a residency in Obama, Japan. Locally his work has been seen at the Sundaram Tagore Gallery in Chelsea, the Mocada Museum, the Skylight Gallery and Long Island University in Brooklyn, and he exhibited both in Japan and in Switzerland.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/27F7-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/27F7-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/27F7-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-11</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.672714</Latitude>
  <Longitude>-73.959474</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/285C" href="http://www.nyartbeat.com/event/2012/285C">
  <Name>Doug Ischar &quot;Sleepless&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/67886F6B">
    <Name>Golden Gallery</Name>
    <Type>Gallery</Type>
    <Address>120 Elizabeth, New York, NY 10013</Address>
    <Phone>773-209-8889</Phone>
    <Fax></Fax>
    <Access>Between Grand and Broome Sts. Subway:  J/M/Z to Bowery</Access>
    <Area areaId="lower_east_side">Lower East Side</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>2D: Photography</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[This is Ischar’s third exhibition at Golden Gallery. The first, Marginal Waters, featured a body of photographs from 1985 never before seen in its entirety. Taken on Chicago’s now defunct Belmont Rocks – then one of the most visible urban gay beaches in North America – and during the height of the AIDS crisis – the photographs were presented alongside a new single-channel video work, forget him, serving as counterpoint to the twenty-five year old documents.

Ischar’s second exhibition with the gallery, Honor Among, featured multiple photographs taken during 1987 at a San Francisco leather bar, The Eagle, alongside a 2007 single-channel video, back the way he came, together addressing key themes from Ischar's practice during the past twenty years: pleasure in looking, the position of the spectator, public sexuality, and representations of masculinity.  Both photographic series, Marginal Waters and Honor Among, were presented for the first time in their 2009 and 2011 exhibitions.

Sleepless is an exhibition drawn from Ischar’s institutional exhibition history from 1993 - 1995. Two large bodies of work, Orderly and Wake - presented at The List Visual Arts Center, Cambridge; Museo de Arte Moderna, São Paulo; Mercer Union, Toronto; and SITE Santa Fe, among others – emerged at a moment when the exploration of media, and cross-disciplinary practices, were critical actions further complicating the then-peculiar state of semiotics.

The current exhibition presents the opportunity for the artist, and the public, to re-approach selected components from those early 90s installations, nearly two decades from their original conception and exhibition. 

Ischar’s editing of moving image and static objects continues to address the practical and visual boundaries for definitions of masculinity, sexuality, violence and secrecy. Sentry, consisting of two surveillance monitors on a wall-mounted shelf, depicts appropriated Hollywood periscope footage alongside a panning fluoroscope scanning a lock box concealing sexual paraphernalia that, per his dying friend’s request, Ischar retrieved.  

The hypnagogic image is that which stays with us, often repeating, both dwelling in and constituting the state between wakefulness and sleep. Sleepless is both a state and a mood: here, the exhibition emphasizes the elegance of retrospection and the reminiscence of darkness.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/285C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/285C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/285C-170" width="170" />
  <Karma>1.06349</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-05" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.719351</Latitude>
  <Longitude>-73.995283</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/290C" href="http://www.nyartbeat.com/event/2012/290C">
  <Name>Steve Gianakos &quot;New Paintings&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/C38E1A5E">
    <Name>Fredericks &amp; Freiser Gallery</Name>
    <Type>Gallery</Type>
    <Address>536 W 24th St., New York, NY 10011</Address>
    <Phone>212-633-6555</Phone>
    <Fax>212-633-7372</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_24">Chelsea 24th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Fredericks &amp; Freiser is pleased to announce an exhibition of new paintings by Steve Gianakos. Since the early 1970s Gianakos has been taunting and reddening the cheeks of his viewers with perversions that can throw any Freud lover into analytic shock. Dismantling its veracity with a smirk or a shaking of the head, Gianakos’ work grants us a collective purging that is curiously humorous. Coupled with crisp lines that evoke minimalism’s simplicity, Gianakos conflates formalist rigor with mind-bending vulgarity. 

Appropriating the iconic style of 1950’s children’s books, Gianakos’ characters assume a basic innocence that belies their hyperbolic actions. Violence and sexual impulse are at once portrayed as inherent as they are grossly twisted. Working with only stark black lines, Gianakos delivers his punch straight up. His geometric inter-framing both leads the eye into the scene while also disorienting it. Harnessing the grotesque both formally and contextually, Gianakos finds a way to astonishingly marry the two. 

Steve Gianakos was born in New York City in 1938.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/290C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/290C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/290C-170" width="170" />
  <Karma>1.65266</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-19" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748847</Latitude>
  <Longitude>-74.004903</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/29E8" href="http://www.nyartbeat.com/event/2012/29E8">
  <Name>&quot;Skewville's 80th Birthday: A Retro Retrospective&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/27C35EA9">
    <Name>Factory Fresh</Name>
    <Type>Gallery</Type>
    <Address>1053 Flushing Ave., Brooklyn, NY 11237</Address>
    <Phone>917-682-6753</Phone>
    <Fax></Fax>
    <Access>Between Morgan and Knickerbocker. Subway: L to Morgan Avenue.</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>13:00:00</OpeningHour>
    <ClosingHour>20:00:00</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>
  <Media>3D: Other</Media>
  <Description><![CDATA[The Skewville twins have been making things since birth, from building club houses in the 70's, graffiti in the 80's, then on to commercial ventures in the 90's. In the past 13 years, they have been making innovations on the street and in art galleries with their stylized work and installations. Best known for their wooden sneaker mission &quot;When Dogs Fly&quot; which continues to evolve and has grown to many new cities and editions.

This past year they returned from their final european show in the UK at High Roller Society and did a coast to coast tour showing at Pawn Works in Chicago, Black Book in Colorado &amp; White Walls in San Francisco. They have also done a large scale mural for Brooklyn's North Side Festival as well as creating The Bushwick Art Park and making an outdoor prototype at the New Museum. The Bushwick neighborhood summer favorite for 2011 was when Skewville painted an entire building to look like boombox.
As the largest collectors of their own work, Skewville will showcase past favorites such as the original giant &quot;Hype&quot; signs from Wooster Collective's 11 Spring Street show in 2006, as well as the Skewville &quot;Lawnmower Stamper&quot; that prints out &quot; Keep on Grass&quot; and The Secret Laboratory Book Shelf Door from Basement AIr Show in 2005. Also featuring their wooden sneaker archives from 1999 to present as well as recent artworks from the past few years will also be available and on display.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/29E8-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/29E8-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/29E8-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-03-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-03" start="19:00:00" end="22:00:00">Opening Reception</Party>
 <DaysBeforeEnd>31</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.704233</Latitude>
  <Longitude>-73.930175</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/29F3" href="http://www.nyartbeat.com/event/2012/29F3">
  <Name>Ian Tweedy Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/7D8F0C2D">
    <Name>UNTITLED</Name>
    <Type>Gallery</Type>
    <Address>30 Orchard St., New York, NY 10002</Address>
    <Phone>212-608-6002</Phone>
    <Fax></Fax>
    <Access>Between Hester and Canal Sts.  Subway: F to East Broadway or B/D to Grand Street.</Access>
    <Area areaId="lower_east_side">Lower East Side</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>Misc.: Media Arts</Media>
  <Description><![CDATA[We are not concerned,” he said, “with long-winded creations, with long-term beings. Our creatures will not be heroes of romances in many volumes. Their roles will be short, concise; their characters – without a background. Sometimes, for one gesture, for one word alone, we shall make the effort to bring them to life. We openly admit: we shall not insist on durability or solidity of workmanship; our creations will be temporary, to serve for a single occasion. If they be human beings, we shall give them, for example, only one profile, one hand, one leg, the one limb needed for their role. It would be pedantic to bother about the other, unnecessary, leg. Their backs can be made of canvas or simply whitewashed. We shall have this proud slogan as our aim: a different actor for every gesture. For each action, each word, we shall call to life a different human being. Such is our whim, and the world will be run according to our pleasure. The Demiurge was in love with consummate, superb, and complicated materials; we shall give priority to trash. We are simply entranced and enchanted by the cheapness, shabbiness, and inferiority of material.”
Bruno Schulz

UNTITLED is running to present Ian Tweedy's first solo exhibition in the United States.

Ian Tweedy was born in 1982 at Flugplatz, Hahn Air Base in Germany. He spent his childhood and adolescence in military bases around Europe before settling in Italy where he attended art school at NABA in Milan.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/29F3-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/29F3-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/29F3-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-15</DateStart>
  <DateEnd>2012-02-26</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-15" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>17</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.715549</Latitude>
  <Longitude>-73.991362</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/2A1B" href="http://www.nyartbeat.com/event/2012/2A1B">
  <Name>Frank Yamrus &quot;I Feel Lucky&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/98525F4A">
    <Name>ClampArt</Name>
    <Type>Gallery</Type>
    <Address>521-531 W 25th St., Ground Fl., New York, NY 10001</Address>
    <Phone>646-230-0020</Phone>
    <Fax>646-230-8008</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>2D: Prints</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/2A1B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2A1B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2A1B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-16</DateStart>
  <DateEnd>2012-03-24</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>44</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749364</Latitude>
  <Longitude>-74.004103</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/2A4E" href="http://www.nyartbeat.com/event/2012/2A4E">
  <Name>Kakyoung Lee &quot;Dance, Dance, Dance,&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/56604917">
    <Name>Mary Ryan Gallery</Name>
    <Type>Gallery</Type>
    <Address>527 W 26th St., New York, NY 10001</Address>
    <Phone>212-397-0669</Phone>
    <Fax>212-397-0766</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Mary Ryan Gallery presents &quot;Dance, Dance, Dance,&quot; an exhibition of video installations based on drawings and prints by Kakyoung Lee.  This will be Lee's first solo show in New York City, and at Mary Ryan Gallery. Dance, Dance, Dance, is her most ambitious project to date.  Lee's methods are intentionally time-consuming.  She employs repetitive, meticulous techniques, often making more than 100 prints or drawings per project, to translate her repetitious daily routine, what she calls &quot;the monotonous daily ritual.&quot;  Through the exploration of these most basic aspects of her life Lee articulates her own identity.

Like much of Lee's recent work, Dance, Dance, Dance, began as a performance of a mundane or everyday action. Lee documents this initial performance by filming herself with a video camera, and then using drypoint, she deconstructs her performance into single moments.  These individual elements are then put back together using animation and the initial action is reconstructed.  Through this process of deconstruction and reconstruction, new imagery emerges and Lee is able to subtly add to the history of her actions. Dance, Dance, Dance, depicts the artist dancing alone, as one might in their bedroom when they think no one is looking.  The soundtrack was composed for this particular piece by Natacha Diels and the title was inspired by Haruki Murakami's 1994 novel, also called Dance Dance Dance. The video will be shown along with 323 of 342 the prints used to create it.

Brown Circle, a two-channel video of a drawing made using leftover coffee, will also be on view. Lee used the discarded coffee, which darkens over time, to create a circular drawing directly on a wall, which she then photographed to translate into a moving image. The two-channel production allows the viewer to see a detail of each individual figure on a separate smaller screen as it moves through the larger projection on the wall.  Each figure in Brown Circle is slightly different, and the work deals with the cyclical nature of life.  

[Image: Kakyoung Lee video still from &quot;Dance, Dance, Dance,&quot; (2011)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/2A4E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2A4E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2A4E-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="16:00:00" end="18:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749928</Latitude>
  <Longitude>-74.003539</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/2AE0" href="http://www.nyartbeat.com/event/2012/2AE0">
  <Name>Rey Akdogan &quot;Silent Partner&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/C90F5CC3">
    <Name>Andrew Roth</Name>
    <Type>Gallery</Type>
    <Address>160A E 70th St., New York, NY 10021</Address>
    <Phone>212-717-9067</Phone>
    <Fax>212-717-9575</Fax>
    <Access>Between Lexington and 3rd Ave. Subway: 6 to 68th St./ Hunter College</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Andrew Roth presents Silent Partner, a one-person exhibition by Rey Akdogan. The exhibition presents a new projection work, and includes a series of subtle alterations to the gallery’s light sources. 

Central to the exhibition is a carousel of 80 glass slides projected through a standard Kodak projector. Akdogan constructs each slide from parts that are cut out from cinematic gels, as well as common wrappers and transparent packaging, finessing them into unique minimal assemblages. The only support structure for the layers are the glass slide mounts that hold them together. The carousel is comprised of a series of short sequences structured around variations in the materials. Their viewing parallels the experience of turning the pages of a book. Several other works in the exhibition incorporate “offcuts” from the materials used in the creation of the slides: they make tangible the ephemeral. 

Akdogan states: “Hundreds of different lighting gels exist for theatrical, architectural, and cinematographic lighting. Every single gel is coded so that it can be used to create particular atmospheres or light conditions. Over the years many different techniques have been developed. Currently, several methods are employed to integrate dyes with polymer bases to create color filters, using technical chemistry to design various atmospheres in light. Much of the everyday packaging around us also includes similar techniques to subtly filter the things it contains. The area between the coding and serialization of an immaterial, psychological concept such as atmosphere and the physical qualities of gels and packaging fascinates me. Gels are treated not as theatrical lighting but materials whose interrelation carry their own logics, and can be arranged and rearranged almost like objects.”

To coincide with the exhibition PPP Editions has published Akdogan’s #46. The book’s title points to the code in the classification system of Rosco lighting gels for magenta, a color first engineered synthetically from coal-tar dyes in the late 1850s. Limited to 200 copies, the book unfolds as a hand-held slide projection, and was conceived as an extended footnote to the carousel and the exhibition’s lighting alterations.

Rey Akdogan was born in Germany and lives and works in New York. She studied at Central Saint Martins College of Art and Design in London.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/2AE0-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2AE0-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2AE0-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-09</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>29</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.769111</Latitude>
  <Longitude>-73.962661</Longitude>
 </Event>

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

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

 <Event xml:lang="en" id="2012/2D2A" href="http://www.nyartbeat.com/event/2012/2D2A">
  <Name>Andy Warhol &quot;Who's Who in Holiday Hats?&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/6BE0A45F">
    <Name>L&amp;M Arts</Name>
    <Type>Gallery</Type>
    <Address>45 E 78 St., New York, NY 10075</Address>
    <Phone>212-861-0020</Phone>
    <Fax>212-861-7858</Fax>
    <Access>Between Madison and Park Ave.  Subway: 6 to 77th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Summer Hours:  Monday - Friday, 10:00am - 5:30pm</ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[L&amp;M Arts presents a series of twenty-seven unique ink and watercolor drawings by Andy Warhol, c. 1958, of marvelous make-believe millinery that appeared in the 1964 holiday issue of McCall’s magazine. Designed with his particular brand of humor, each hat is identified with a popular fictional or historical character ranging from Scarlett O’Hara to My Fair Lady. 

Accompanying this installation are Warhol’s drawings of shoes from the portfolio A la Recherche du Shoe Perdu, 1955. Collaged, hand-painted, and gilded, each of these drawings reference popular culture with dedications to film stars, fashion icons, and artists, and in doing so, anticipate the superstars and the society portraits that became synonymous with Warhol in the following decades.

[Image: Andy Warhol Scarlett O'Hara (&quot;Who's Who in Holiday Hats&quot;), (c. 1958)]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/2D2A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2D2A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2D2A-170" width="170" />
  <Karma>0.801364</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-12-15</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.775639</Latitude>
  <Longitude>-73.962408</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/2DAB" href="http://www.nyartbeat.com/event/2012/2DAB">
  <Name>&quot;A Survey&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/2F992D72">
    <Name>Edward Thorp Gallery</Name>
    <Type>Gallery</Type>
    <Address>210 11th Ave., 6 Fl., New York, NY 10001</Address>
    <Phone>212-691-6565</Phone>
    <Fax></Fax>
    <Access>Between 24th and 25th St. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Illustration</Media>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[This survey will encompass a wide variety of mediums from ink on illustration board to mixed media multi-panel works, large-scale oil on canvas paintings to mechanical sculpture in steel and tin.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/2DAB-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2DAB-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2DAB-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-10</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749922</Latitude>
  <Longitude>-74.005956</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/2E40" href="http://www.nyartbeat.com/event/2012/2E40">
  <Name>&quot;Desperately Seeking Susan&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/A6731464">
    <Name>Kathleen Cullen Fine Arts</Name>
    <Type>Gallery</Type>
    <Address>526 W 26th St., #605, New York, NY 10001</Address>
    <Phone>212-463-8500</Phone>
    <Fax>212-463-8501</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Summer Hours: Monday through Friday</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[&quot;Desperately Seeking Susan&quot; revisits the 1980’s from the perspectives of a diverse group of artists active throughout the decade. It is in the details of the work gathered here that common threads begin to emerge and display a world in transition. Quotidian objects of modernity become the focus of landscapes and still lifes. Abstractions hover between the organic and the synthetic. The authority of the media is questioned, while an empty wheelchair provides a haunting reminder of the failure of modern medicine during the height of the AIDS crisis. Here we see records of varied reactions to a corporeal society enhanced, strangled or disappointed by the artificial. As our natural world continues to be increasingly mediated by technology, a look back to these artists concerns in the 1980’s becomes strikingly relevant.  ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/2E40-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2E40-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2E40-170" width="170" />
  <Karma>1.52778</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-02-28</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>19</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.74986</Latitude>
  <Longitude>-74.003766</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/2E43" href="http://www.nyartbeat.com/event/2012/2E43">
  <Name>&quot;Voices of Home&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/A1B420BA">
    <Name>Jenkins Johnson Gallery</Name>
    <Type>Gallery</Type>
    <Address>521 W 26th St., 5 Fl., New York, NY 10001</Address>
    <Phone>212-629-0707</Phone>
    <Fax>212-629-4255</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Jenkins Johnson Gallery, New York, presents &quot;Voices of Home&quot;, featuring works by various artists. Each of these artists visually articulates works inspired by their diverse and rich cultural and ethnic backgrounds. Featured events include the opening reception and a panel discussion in February coinciding with Black History Month.

Elaine Bradford, Zak Ové, Lisa Schmaltz, and Devin Troy Strother use mixed media, and draw on their childhood experiences to reference the paradoxes of their current environments. Representative of the approach is Trinidadian artist Zak Ové, who uses sculpture, film, found objects and photography to reinterpret lost culture and explore his Caribbean identity. His work emanates from an anthropological interest in African mythology, diaspora, tribalism and history, including the origins of the Trinidadian Carnivale.

[Image: Kajahl Benes &quot;Freedom in a Smooth Space&quot; (2011) oil and mixed media on canvas 90 x 80 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/2E43-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2E43-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2E43-170" width="170" />
  <Karma>1.24183</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-28</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>19</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750028</Latitude>
  <Longitude>-74.003458</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/2EE4" href="http://www.nyartbeat.com/event/2012/2EE4">
  <Name>Katayoun Vaziri &quot;Yeki Bud, Yeki Nabud&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/5AC235AC">
    <Name>Meulensteen</Name>
    <Type>Gallery</Type>
    <Address>511 W 22nd St., New York, NY 10011</Address>
    <Phone>212-633-6999</Phone>
    <Fax>212-691-4342</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</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="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>July &amp; August,  Monday – Friday, 10:00 – 18:00</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Prints</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Meulensteen presents Yeki Bud, Yeki Nabud, an exhibition of new work by Katayoun Vaziri. Featuring drawings, paintings, prints and video work, this exhibition marks the artist’s second show with the gallery. Born and raised in Iran and based in New York, Vaziri draws on a wide range of cultural references to question the linearity of political and social narratives. In her most recent body of work, Vaziri critiques the arbitrariness she perceives in contemporary politics. She begins by making drawings that combine elements from various sources, including news media, advertisement, Iranian nationalist posters, photographs by others taken of her, and references to modern painting (particularly the work of Frank Stella and David Salle). After scanning the drawings, the artist manipulates them digitally, sometimes inviting friends to collaborate at this stage. Vaziri subjects her original source material to a series of actions and changes in medium in order to blur the distinctions between the private and public realms and to question the originality of ideas and the political currency of images. For the video piece “Yeki Bud Yeki Nabud,” Vaziri filmed one of her drawings in a single static shot. The words of the title (Farsi for “One was, one was not,” the traditional opening of Persian fairytales) repeat while a blank square moves across the screen, pulsating on and off. The drawing illustrates an imagined encounter between the artist and Barack Obama, in which she is poised to apply lipstick to the President’s mouth. The juxtaposition of her gleeful expression with his pensive one heightens the sense of absurdity, stressing the nebulous nature of socio-political discourse. Vaziri received an MFA from Yale University in 2009 and a BFA from Tehran University in 2005. Her work has been featured in exhibitions in San Francisco, London, and Dubai. She has held residencies at the Skowhegan School of Painting and Sculpture in Maine in 2010 and the Constance Saltonstall Foundation for the Arts in Ithaca, New York in 2011. She has co-curated a number of exhibitions and screenings, including “Handheld History” at the Queens Museum of Art in 2010. In addition to her artistic practice, Vaziri reports on the arts in New York for BBC Farsi.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/2EE4-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2EE4-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2EE4-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-08</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-13" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747172</Latitude>
  <Longitude>-74.00495</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/2F4C" href="http://www.nyartbeat.com/event/2012/2F4C">
  <Name>Lori Ellison Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/C988769A">
    <Name>McKenzie Fine Art</Name>
    <Type>Gallery</Type>
    <Address>511 W 25th St., New York, NY 10001</Address>
    <Phone>212-989-5467</Phone>
    <Fax>212-989-5642</Fax>
    <Access>Between 10th and 11th Avenue. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</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>Open 11:00-18:00 on Saturday</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[In her first solo exhibition at the gallery, Lori Ellison will exhibit ink on notebook paper drawings and gouache on panel paintings. Also in the show will be paintings executed on shaped panels in various materials ranging from enamel and glitter to egg tempera. These paintings have never been exhibited previously. Although the exhibition is mostly recent work, it will include pieces spanning the past two decades. What unifies the paintings and drawings is the artist’s interest in obsessive patterning and intimate scale. Whether executed in monochromatic grid patterns or playful, organically meandering compositions, Ellison repeats single motifs throughout her compositions: wedges, circles, rectangles, and forms within forms, as well as tendril-like shapes, ropes and linked chains, among many others. Her abstract motifs, referencing nature, textile patterns, and architectural decoration, fill the pictorial space in all-over densities. The works reveal an intensity of focus and an embrace of the manifold pleasures of the slow read. As the artist has noted, her interest is in &quot;Proportion based on the lyric, not the epic - that is where the juice lives….Art that is the size and resonance of a haiku, quiet and solid as the ground beneath one's feet…A discreet art, valiantly purified of the whole hodgepodge of artist's tricks and tics.&quot; ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/2F4C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2F4C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2F4C-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749125</Latitude>
  <Longitude>-74.003533</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/2F54" href="http://www.nyartbeat.com/event/2012/2F54">
  <Name>Karen Gibbons &quot;A Cup of Air&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/279BADB4">
    <Name>440 Gallery</Name>
    <Type>Gallery</Type>
    <Address>440 6th Ave., Brooklyn, NY 11215</Address>
    <Phone>718-499-3844</Phone>
    <Fax></Fax>
    <Access>Between 9th and 10th St. Subway: F to 7th Avenue</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>thursdays openinghour 16:00, fridays openinghour 16:00, </ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Other</Media>
  <Description><![CDATA[The 440 Gallery presents A Cup of Air, whimsical new sculpture by Karen Gibbons created from found objects and photography.

&quot;I'm going out for a cup of air,&quot; Brooklyn artist Karen Gibbons's mother would say to her five children as she stepped outside for a reprieve from the stresses of parenting. The free-standing sculpture and sculptural wall pieces in this exhibit, A Cup of Air, express that whimsical metaphor. They are playful, curious and evocative. This new body of work draws inspiration from three sources: the pastoral landscape, the Gowanus Canal neighborhood of Brooklyn, and the artist's recently rediscovered family photo archives. Gibbons ingeniously integrates photographs and found objects with an eclectic approach that combines sculpture, painting, drawing and photography in surprising ways. Delightful, unexpected contradictions arise out of the mixture of these elements. The pieces have an air of both reminiscence and anticipation, they combine the ephemeral with the enduring, and they mingle the cherished and the forbidden.

This is Gibbons's third solo show at the 440 Gallery. Over the past several years Gibbons has been developing a unique approach of combining different artistic processes. This method unites her formal training as a painter, her years of practice as a sculptor, and a more recent foray into photography. Gibbons's penchant for incorporating found elements into her work continues in this show, with found objects now taking center stage. The notion of &quot;found&quot; applies to photographic images, which are layered onto &quot;found&quot; objects. In each piece, shape, form and color are distilled until a singular image emerges from the tension between the found and the deliberate. Gibbons consolidates layers of color and texture in each piece until its shape becomes iconic, nearly symbolic. Its disparities take on a new life, and its ambiguities allow associations and references to surface for each viewer.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/2F54-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2F54-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2F54-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-23</DateStart>
  <DateEnd>2012-04-08</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-23" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>59</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.667664</Latitude>
  <Longitude>-73.984194</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/2F90" href="http://www.nyartbeat.com/event/2012/2F90">
  <Name>Guenther Foerg Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/F57C976F">
    <Name>Greene Naftali Gallery</Name>
    <Type>Gallery</Type>
    <Address>526 W 26th St., 8 Fl, New York, NY 10001</Address>
    <Phone>212-463-7770</Phone>
    <Fax>212-463-0890</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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[Greene Naftali presents a solo exhibition of new paintings by Guenther Foerg, marking the first gallery presentation of the artists work in New York in over a decade. This exhibition, comprised of twelve large-scale paintings completed from 2007 to 2009, is Foerg's first at the gallery. His work has been shown at Galerie Max Hetzler, Galerie Gisela Capitain, and Galerie Barbel Grasslin as well as major museums including the Stedelijk Museum, MusdArt Moderne de la Ville de Paris, and Kunsthaus Bregenz. Foerg's work was last exhibited in New York at Luhring Augustine in 2000.

A well-known figure in the 1980s, Foerg is a key member of an influential generation of German artists including Martin Kippenberger, Albert Oehlen, and Georg Herold. His distinct investigations into the Bauhaus and Modernism take painterly issues into the realms of architecture, sculpture, and photography to reflect on both individual experience and historical memory. Foerg took the Cologne school sensibility, associated with an embrace of ironic distancing, to his own ends by pursuing an intellectual painting practice that offers the possibility of subjectivity and autonomy, stating that abstract art today is what one sees and nothing more.

The recent paintings in this exhibition mark a stylistic departure from Foerg's signature lead paintings of the 80s, which have been widely exhibited in the US. His commitment to pure painterly abstraction coupled with a longstanding dialogue with Minimalism is evident in the canvases on view. By reducing the act of painting to its most elemental gesture, monumentalized on a human scale, Foerg activates his floating, rhythmic brushstrokes with a physical presence. His vibrantly colored marks are repetitive yet singular, doing away with shape and focusing instead on the total abstraction of the brushstroke.  

The nuanced dynamism of the three gray paintings included in this exhibition speaks to Foerg's skillful use of color. The limited palette of these works, which the artist has likened to erased chalkboards, suggests a tension between presence and absence that challenges our threshold of perception. Foerg's visually rich compositions explore intricacies of color and mark, addressing classical issues in painting while testing the limits of pictorial composition. 

Guenther Foerg was born in Fussen, Germany in 1952 and studied at the Akademie der bildenden Kunst, Munich.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/2F90-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2F90-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2F90-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-19" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749853</Latitude>
  <Longitude>-74.003767</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/2FCE" href="http://www.nyartbeat.com/event/2012/2FCE">
  <Name>Yvonne Estrada Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/FC46FCEF">
    <Name>Von Lintel Gallery</Name>
    <Type>Gallery</Type>
    <Address>520 W 23rd St., New York, NY 10011</Address>
    <Phone>212-242-0599</Phone>
    <Fax>212-242-0803</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_23">Chelsea 23rd</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>Also by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[Yvonne Estrada's latest body of work is predominantly rendered in varying intensities of ultramarine and cobalt blue gouache and watercolor. Mainly inspired by architectural blueprints, these works are marked by vivid color and expressionistic gesture. Organic shapes, patterns and structures appear in her work as ubiquitously as they appear in nature. These elements interconnect endlessly by means of abstraction and synthesis. Graphite pencil is used to create silvery accents and ballpoint pen turns ovals and spheres into deep, concentrated blues.
 
The artist works from memory associations, improvising moment to moment. From afar, large gestures, drips, stains and loose lines weave in and out of graphic forms and geometric patterns. Upon closer inspection, the intricacy of the artist's labor-intensive method reveals itself. Layer upon layer of countless, ordered lines are rendered in minute detail - each fine line, sometimes no larger than a single mark of punctuation, is made all the more extraordinary by the artist's technical skill.
 
To view one of Estrada's works is like looking through a microscope at a surreal world of the artist's own making, where the dichotomy of symmetry and chaos inherent in the natural world is conveyed by a complex dynamic between pure gesture, geometry and minute graphic detail.

[Image: Yvonne Estrada &quot;LD15-10 Blue&quot; (2010) gouache, watercolor and graphite on paper 50 x 38 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/2FCE-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2FCE-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2FCE-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747775</Latitude>
  <Longitude>-74.004806</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/3072" href="http://www.nyartbeat.com/event/2012/3072">
  <Name>&quot;Interiors&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/0CDF04B2">
    <Name>Andrew Kreps Gallery</Name>
    <Type>Gallery</Type>
    <Address>525 W 22nd St., New York, NY 10011</Address>
    <Phone>212-741-8849</Phone>
    <Fax>212-741-8163</Fax>
    <Access>Between 10th Ave and West Side Highway. Subway: A/C/E to 14th Street or C/E to 23rd Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3072-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3072-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3072-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-14</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-14" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747289</Latitude>
  <Longitude>-74.005319</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/3098" href="http://www.nyartbeat.com/event/2012/3098">
  <Name>Winn Rea “TOPO 3: Displacement/Flow”</Name>
  <Venue href="http://www.nyartbeat.com/venue/8402CDDA">
    <Name>Phoenix Gallery</Name>
    <Type>Gallery</Type>
    <Address>210 11th Ave., Suite 902, New York, NY 10001</Address>
    <Phone>212-226-8711</Phone>
    <Fax>212-343-7303</Fax>
    <Access>Between W 24th and W 25th St. Subway: C/E to 23rd Street.　</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>11:30:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[1 hr. 15 min. projected video loop compressing observation of stream over 24 hours, overhead projection of topo map, prism, sound of stream. 
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3098-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3098-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3098-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-01</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749922</Latitude>
  <Longitude>-74.005956</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/320E" href="http://www.nyartbeat.com/event/2012/320E">
  <Name>&quot;BRIGHT LIGHTS, BIG LOVE&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/4B957CD4">
    <Name>Underline Gallery</Name>
    <Type>Gallery</Type>
    <Address>238 W 14th St., New York, NY 10011</Address>
    <Phone>212-242-2427</Phone>
    <Fax></Fax>
    <Access>Between 7th and 8th Aves. Subway: A/C/E and L to 8th Avenue / 14th Street or 1/2/3 to 7th Avenue/14th Street.</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[BRIGHT LIGHTS, BIG LOVE, a group show exploring the subject of relationships through the formal properties of light and color, spotlights a variety of mediums – from light installations and sculpture to painting and photography. Through these ephemeral, subjective media, the works demonstrate, question, and complicate the fragility and uncertainty of intimacy against the backdrop of some of the coldest months of the year.

The underpinning narrative of the collection speaks to the creation and destruction of relationships. The curators at Underline have managed to cull alluring, new works that address a particularly relevant theme in the coldest months: The seasonal nature of love.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/320E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/320E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/320E-170" width="170" />
  <Karma>1.21241</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-31</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:30:00" end="20:30:00">Opening Reception</Party>
 <DaysBeforeEnd>51</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.738928</Latitude>
  <Longitude>-74.000942</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/32A0" href="http://www.nyartbeat.com/event/2012/32A0">
  <Name>Guðmundur Thoroddsen &quot;Father's Fathers&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/C7B8D22C">
    <Name>Asya Geisberg Gallery</Name>
    <Type>Gallery</Type>
    <Address>537B W 23rd St., New York, NY 10011</Address>
    <Phone>212-675-7525</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave.  Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_23">Chelsea 23rd</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Asya Geisberg Gallery presents &quot;Father's Fathers&quot;, the first New York solo exhibition of wood sculpture and works on paper by Icelandic artist Guðmundur Thoroddsen. With a chainsaw and crude hand axe, Thoroddsen crafts bearded heads, sometimes with absurdly geometric hirsuteness. Abstracted amalgamations of Sumerian or Viking gods, the heads are hapless, passive, even useless anachronistic deities, forming a pantheon of false idols.  

Including a bust of his father, an impish self-portrait, and ruminative ink drawings, Thoroddsen's work hosts a variety of questions about our reliance on masculine ideals and our often unquestioned expectations of leaders.  Have we outgrown our need for patriarchs, omnipotent gods, or feared autocratic strongmen? With Qaddafi and Mubarak dismissed and Putin's support cracking, young generations search for a new vision of leadership. With Kim Jong-Il referred to as &quot;our Father&quot;, can gender finally achieve equality and equanimity, while our cultural prototypes remain embedded in our collective psyche? Even within Scandinavia's contemporary progressivism, Thoroddsen sees strict dichotomies carved into each sector of life: within familial, economic or social roles.

Trained as a painter, Thoroddsen began working with wood as a personal exploration of masculinity. The roughly chopped and cracked surface suggests that taking up woodcarving was an attempt at being a &quot;manly man&quot;, a wistful evocation of a brawny woodsman. After the death of his authoritarian father, the artist came to question his own relationship to manliness, and saw everywhere the same focus on patriarchal ideals. By creating a smaller-than-life bust, he literally cut his father down to size.  Seeking broader universal symbols, Thoroddsen began to chart aesthetic representations in Greek, Near-eastern and Norse mythology, culminating in carved heads that smirked at their historic antecedents.

In drawings and sculptures of god-figures urinating, squatting, or made out of horse excrement, Thoroddsen is like a little boy doodling and defacing sacred symbols. He exposes the gods at their most vulnerable and undignified, kicking them off their pedestals. They instantly seem comical, and sacrilegiously profane. Outlined explicitly but watery within and at times cartoonish, the ink drawings have an ease that belies their maker's seriousness. As Thoroddsen says in an imaginary conversation with his patriarchs: &quot;Look, you've had your time. Some of it was good, some bad, it was all pretty unjust and now it's time for something else. We will give you a nice goodbye party.&quot;

Born in Iceland, Guðmundur Thoroddsen studied at the Kunsthochschule Berlin, the Iceland Academy of Arts, and received his MFA from SVA in New York. Currently based in Reykjavik, Thoroddsen has been included in numerous exhibitions in New York, Reykjavik, Stockholm, Berlin, and Helsinki, including &quot;This is Then&quot; at DODGE Gallery (2011), &quot;Fragmentation&quot; curated by Dan Cameron (2011), and &quot;Colorsynthesis&quot; at the Reykjavik Art Museum (2010). His work appears in &quot;Icelandic Art History from late 19th Century to Early 21st Century&quot; (2011), as well as the New Museum's &quot;Younger Than Jesus: Artist Directory&quot; (2009). He is the recipient of a 2011 Icelandic Arts Center grant.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/32A0-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/32A0-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/32A0-170" width="170" />
  <Karma>2.29965</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote>Artist talk: Saturday January 14th, 1 PM</ScheduleNote>
  <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748086</Latitude>
  <Longitude>-74.004739</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/332E" href="http://www.nyartbeat.com/event/2012/332E">
  <Name>Eric Fischl Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/2DE3C62E">
    <Name>Mary Boone Gallery (Chelsea)</Name>
    <Type>Gallery</Type>
    <Address>541 W 24th St., New York, NY 10001</Address>
    <Phone>212-752-2929</Phone>
    <Fax>212-752-3939</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_24">Chelsea 24th</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[Dating from 1992 to 2011, the works in the exhibition range from sketched portraits cropped to the face, to commanding single figures, to complex arrangements of couples, families, or groups. As in the fraught suburban scenes for which he first rose to prominence, with each approach to portraiture Fischl demonstrates his mastery of conjuring form and light from paint to communicate the psychological bearing of his subjects.

A highlight of the exhibition is three large group portraits painted at intervals of several years that depict the Artist and his circle of friends at the beach. The earliest, The Gang (2006), is a congregation of sun-enveloped bodies with paraphernalia suggesting an extended day of revelry. Saint Barts Ralph’s 70th (2009) presents a smaller group, parched in bright light, bags packed and seemingly on the move -- a record of transition that is echoed in the painting’s title. The third, the most recent work in the exhibition, is Self-Portrait: An Unfinished Work (2011), an unsettling painting within-a-painting in which the Artist sits facing the viewer with his back to an unfinished canvas. Here, the friends Fischl portrays are pressed toward the front of the picture plane by dark rocks and waves. At the center of this group a conspicuously incomplete figure, presumably a surrogate for the Artist himself (who, until now, has been absent from the gatherings) hovers above the foreground self-portrait. Fischl allows us to see the Artist, so adept at capturing others, wrestling with seeing himself.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/332E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/332E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/332E-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-11</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="3" date="2012-02-11" start="17:00:00" end="19:00:00">Reception For The Artist</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748928</Latitude>
  <Longitude>-74.005139</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="2012/3384" href="http://www.nyartbeat.com/event/2012/3384">
  <Name>Luis Maldonado &amp; Fumiko Toda Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/4C2D6320">
    <Name>Susan Eley Fine Art</Name>
    <Type>Gallery</Type>
    <Address>46 W 90th Street, Fl.2, New York, NY 10024</Address>
    <Phone>917-952-7641</Phone>
    <Fax></Fax>
    <Access>Between Central Park West and Columbus Ave.  Subway: B/C to 86th Street </Access>
    <Area areaId="harlem_bronx">Harlem, Bronx</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="1" sat="1" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Symbols of personal memory and myth inhabit Luis Maldonado's vibrant and whimsical paintings. Fumiko Toda's prints and paintings are adorned with her beloved and often overgrown insects, trees and other natural elements.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3384-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3384-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3384-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-24</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>15</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.788292</Latitude>
  <Longitude>-73.968878</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/3467" href="http://www.nyartbeat.com/event/2012/3467">
  <Name>&quot;The Influential Female, Drawings Inspired by Women in History&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/A26ADE60">
    <Name>Kentler International Drawing Space</Name>
    <Type>Cultural Center</Type>
    <Address>353 Van Brunt St., Brooklyn, NY 11231</Address>
    <Phone>718-875-2098</Phone>
    <Fax></Fax>
    <Access>Between Wolcott and Dikeman St. Subway: F/G Smith and 9th Streets. Bus: 61/77 to Ostego Street.</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[The human figure has been a subject for visual artists throughout history. With such an expansive subject matter, this exhibition has chosen to focus on contemporary artists drawing inspiration from the female form. Refined even more, these artists draw their inspiration from historic or specific female subjects to create fresh and challenging gender related artwork.  This new work is intriguing because it directly reflects on history while making history.  ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3467-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3467-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3467-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-03-25</DateEnd>
  <ScheduleNote>Curator’s Talk:  Sunday, February 19, 4pm </ScheduleNote>
 <Party type="1" date="2012-02-03" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>45</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.677092</Latitude>
  <Longitude>-74.013139</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/348F" href="http://www.nyartbeat.com/event/2012/348F">
  <Name>Hyemi Cho &quot;High Line and Personal Stories&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/0F8FCB97">
    <Name>Nancy Margolis Gallery</Name>
    <Type>Gallery</Type>
    <Address>523 W 25th St., New York, NY 10001</Address>
    <Phone>212-242-3013</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</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[Hyemi Cho paints dramatic stories, personal and real, and this exhibition will show two separate narratives and bodies of work, one experienced during childhood, painted from 2009-2012, the other an on going saga impacting her daily life by the opening of the High Line.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/348F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/348F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/348F-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="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749267</Latitude>
  <Longitude>-74.003875</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/34E8" href="http://www.nyartbeat.com/event/2012/34E8">
  <Name>Charles Garabedian &quot;Mythologies&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/18EB3383">
    <Name>Betty Cuningham Gallery</Name>
    <Type>Gallery</Type>
    <Address>541 W 25th St., New York. NY 10001</Address>
    <Phone>212-242-2772</Phone>
    <Fax>212-242-5959</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</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[Drawn from his appreciation for the Classics, Garabedian’s most recent work focuses on characters and settings from Greek mythology. The largest work in the show, The Wine Dark Sea, which depicts a roughly constructed ship struggling to overcome the vast darkness perilously laid out before it, intentionally calls to mind the numerous sea voyages endured by the heroes in Homer’s epics, the Iliad and the Odyssey. Many works included in the exhibition feature other Greek mythological characters such as a blonde haired Venus and  Prometheus, writhing in pain, dreading the daily arrival of the bird that will devour his liver. Even though many of these new works call to mind specific narratives, these legends never overshadow the painting. When viewing the 12 paintings, all of which are on paper, one remains conscious of the vivid colors and fine lines- simultaneously melodious and deliberate- that Garabedian employs to compose his dreamlike figures and settings.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/34E8-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/34E8-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/34E8-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-16</DateStart>
  <DateEnd>2012-03-24</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-16" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>44</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749667</Latitude>
  <Longitude>-74.0043</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/3515" href="http://www.nyartbeat.com/event/2012/3515">
  <Name>Ragnar Naess &quot;Green Men, Botanicals +&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/319426A8">
    <Name>Atlantic Gallery</Name>
    <Type>Gallery</Type>
    <Address>135 W 29th St., Suite 601,  New York, NY 10001</Address>
    <Phone>212-219-3183</Phone>
    <Fax></Fax>
    <Access>Between 6th and 7th Ave. Subway: N/R to 28th Street, 1/2/3 to 34th Street or F to 34th Street</Access>
    <Area areaId="chelsea_east">East Chelsea</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3515-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3515-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3515-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-31</DateStart>
  <DateEnd>2012-02-24</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-31" start="17:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>15</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747333</Latitude>
  <Longitude>-73.991066</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/3637" href="http://www.nyartbeat.com/event/2012/3637">
  <Name>&quot;St. Sebastian: 1530 to 2011&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/142980FE">
    <Name>Edelman Arts</Name>
    <Type>Gallery</Type>
    <Address>136 E 74th St., New York, NY 10021</Address>
    <Phone>212-472-7770</Phone>
    <Fax>212-472-7709</Fax>
    <Access>Between Lexington and Park Ave. Subway: 6 to 77th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Cutting edge artists juxtapose renown sixteenth century Titian masterpiece in Edelman Arts' provocative exhibition St. Sebastian 1530 – 2011.

This inspiring exhibition explores a fresh perspective of St. Sebastian from the Renaissance to the present. St. Sebastian, the universal icon and figure, came into prominence as a visual canon in the early Renaissance as the bound, sensuously semi-nude figure impaled with Roman arrows. This exhibition is anchored by Titian’s portrait from c. 1530, a striking illustration of the artist’s virtuosic abilities to work with light and color to infuse St. Sebastian with life and emotion. In direct view of Titian’s masterpiece are contemporary depictions of St. Sebastian by Doug Argue, Red Grooms, Carlos Betancourt, Eric Rhein, Marcia Grostein, Cynthia Karalla, Cathy McClure, Michael Murphy and Christopher Winter.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3637-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3637-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3637-170" 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="2012-01-17" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.771728</Latitude>
  <Longitude>-73.961594</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/36D7" href="http://www.nyartbeat.com/event/2012/36D7">
  <Name>Lois Dodd &quot;New Panel Paintings&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/B43332DA">
    <Name>Alexandre Gallery</Name>
    <Type>Gallery</Type>
    <Address>41 E 57th St., 13 Fl., New York, NY 10022</Address>
    <Phone>212-755-2828</Phone>
    <Fax>212-755-2882</Fax>
    <Access>Corner of Madison Ave. Subway: N/R/W to 5th Avenue or 4/5/6 to 59th Street or E/V to 5th Avenue/53rd Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[The gallery will present 24 recent small-scaled oil on panel paintings in the ninth one-person exhibition of Lois Dodd’s work at the gallery.
 
Dodd continues to explore her familiar everyday subjects of gardens, landscapes and interiors with freshness and directness grounded in observation.  With titles such as House and Laundry on Foggy Day (2010), Path to the Barn (2011), and Barn Window – Blue Sky (2011) Dodd paints her subjects with an unsentimental, no-nonsense directness that merges realism and abstraction with a minimalist touch.

[Image: Lois Dodd &quot;House + Laundry on Foggy Day&quot; (2010) oil on masonite 16 x 20 in. © Lois Dodd, courtesy Alexandre Gallery, New York]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/36D7-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/36D7-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/36D7-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="3" date="2012-01-12" start="17:30:00" end="19:30:00">Reception For The Artist</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.762264</Latitude>
  <Longitude>-73.972281</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/38C6" href="http://www.nyartbeat.com/event/2012/38C6">
  <Name>Amy Wilson &quot;We Dream of Star Fish and Geodesic Domes&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/6EC80A67">
    <Name>BravinLee Programs</Name>
    <Type>Gallery</Type>
    <Address>526 W 26th St., #211, New York, NY 10001</Address>
    <Phone>212-462-4404</Phone>
    <Fax>212-462-4406</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[BravinLee programs presents Amy Wilson’s sprawling exhibition, We Dream of Star Fish and Geodesic Domes.  Incorporating a wide variety of media, including watercolor on paper, acrylic on panel, collage, fabric, sewing, clay, and an interactive Flash animation, the artist reveals an ambitious set of works that center around the themes of utopia and building a new world.

Wilson is best known for her small watercolors that depict a cast of young girls who communicate the artist’s diaristic thoughts via text bubbles. In We Dream of… the girls are back, but they take on a new dimension as they roam around a landscape inspired by Hieronymous Bosch and contemplate the works of R. Buckminster Fuller, Paolo Solari, Murray Bookchin, and others. The girls wonder aloud: If we could build the perfect society from the ground up, what would it look like? What kind of values and ethics would we reward, and which ones would we shun? What kind of culture would we create, if we got to do it all over – and this time, do it right?

Highlights of this exhibition include: 
* a 9’ drawing with over 6,000 words, titled A Utopian Vision (After Bosch); 
* a series of fabric geodesic domes which represent the architecture of the artist’s proposed new society, complete with tiny handmade bedroom sets and even tinier shoes; 
* an interactive web-based game, It’s Like This Every Day, in which players pick up limited edition albums (available for free at the gallery) and play online from home, competing to win works of art.

[Image: Amy Wilson &quot;How We Came To Know We Were Ready (we felt excluded by high culture)&quot; (2011) watercolor, pencil, walnut ink on paper 7 x 5 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/38C6-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/38C6-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/38C6-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-10</DateStart>
  <DateEnd>2012-03-24</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-10" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>44</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749828</Latitude>
  <Longitude>-74.003467</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/38FD" href="http://www.nyartbeat.com/event/2012/38FD">
  <Name>&quot;Facetime&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/B06885C2">
    <Name>On Stellar Rays</Name>
    <Type>Gallery</Type>
    <Address>133 Orchard St., New York, NY 10002</Address>
    <Phone>212-598-3012</Phone>
    <Fax>718-534 -4667</Fax>
    <Access>Between Rivington and Delancey Sts.  Subway: J/M/Z/F to Essex Street</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 12:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[“I only need 2 hours of people a day,” writes Abe in Douglas Coupland’s novel Microserfs. In Coupland’s 1990s account of the digital age, where the screen is the horizon, intimate human contact is considered rare and precious. The characters colloquially use the composite term &quot;face time&quot; to signify time spent face-to-face, looking directly at one another in physical proximity.

Since the ‘90s, digitization has advanced into the territory of the face-to-face encounter. Now, the term face time is appropriated for its digital equivalent: Apple’s FaceTime app allows computers and handheld electronic devices to bring facial expression into online interaction. The transition to Web 2.0 paradoxically posits that time habitually spent off-screen in the presence of others can be mediated through a screen.

Predigital 20th century philosopher Emmanuel Levinas believed the foundation of ethics and thus the moral principles governing social life was rooted in the face-to-face encounter. It is in the face of the Other, he posited, that we first become aware of others, whom we are compelled to respect and through whom we also constitute our selves. Though the face-to-face encounter may be fundamental, the form of the encounter and the face itself may change.

FaceTime deals with the state of the face today – a face, which we avidly manipulate, perform, display, distort, detect, scan, enhance, blur, veil and avoid. A face that behaves both as object and subject. Most works incorporate the face as a visual paradigm, a platform for broader explorations and new subjectivities. Questions of identity in such a malleable state of the face, and in the presence of online structures, are at the core of many works.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/38FD-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/38FD-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/38FD-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-08</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-08" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.719906</Latitude>
  <Longitude>-73.989508</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/3900" href="http://www.nyartbeat.com/event/2012/3900">
  <Name>Taylor Mead Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/25FECD23">
    <Name>Churner and Churner</Name>
    <Type>Gallery</Type>
    <Address>205 10th Ave., New York, NY 10011</Address>
    <Phone>212-675-2750</Phone>
    <Fax></Fax>
    <Access>Between 22nd and 23rd Sts., Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_23">Chelsea 23rd</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>Screen: Video installation</Media>
  <Description><![CDATA[&quot;I don't do anything. I just spontaneously happen into strange situations... I'm a renaissance person.&quot; 

- Taylor Mead

Churner and Churner presents an exhibition of works by Taylor Mead, magister ludi of the American underground in film, poetry, and painting. The exhibition focuses on works from the 1980s--many never before seen--and a new set of drawings based on Mead's &quot;Fairy Tale Poem.&quot; The exhibition opens on January 12 with a poetry reading by the artist.

On Saturday, January 14, the gallery will show Andy Warhol's Lonseome Cowboys and the rarely screened Taylor Mead's Ass, along with a collection of home-movies by Mead. A question-and-answer with the artist will follow. 

Mead's exhibition showcases his &quot;Fairy Tale Poem,&quot; a wry, illustrated tale of a castle in the woods (starring none other than Andy Warhol himself), which features prominently in the artist's regular performances at the Bowery Poetry Club and was shown in the 2006 Whitney Biennial. For his show at Churner and Churner, Mead has created a new series of drawings for the ever-evolving poem. Also on display are a group of paintings, some retrieved from Mead's apartment in the Lower East Side where he has resided for thirty-two years, and others from the collections of his friends in the neighborhood. Testimonies to the bohemian lifestyle of New York in the 1980s, the paintings have survived cockroach infestation, subsequent fumigation, and a collapsed ceiling. Mead's work supplanted everyday considerations long ago; in the artist's own words, &quot;I've painted myself out of my apartment.&quot;

These paintings take their gestures and color palettes fom Neo-Expressionism but retain a purposeful naiveté. Many are portraits, including images of Garbo and Warhol; others depict wild animals and exotic scenes. Like all of Mead's artistic practice, these paintings are invigorated by a combination of irony, innocence, and a roguish sense of humor.
 

ABOUT THE ARTIST:
Taylor Mead was born in 1924 in Grosse Point, Michigan. He was an influential member of the Beat scene in San Francsico's North Beach and New York's Lower East Side, crafting witty, ironic and occasionally dirty poetry. His first venture into film stardom was in Ron Rice's The Flower Thief in 1960. Soon after Mead relocated to New York, where he was introduced to Andy Warhol, with whom he made numerous films, including a starring turn in Warhol's Tarzan and Jane Regained... Sort of. J. Hoberman once called Mead &quot;the first underground movie star.&quot; He recently appeared in Jim Jarmusch's Coffee and Cigarettes, and continues to perform at the Bowery Poetry Club every Monday night.

  ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3900-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3900-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3900-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote>See description</ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747239</Latitude>
  <Longitude>-74.004697</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/39C8" href="http://www.nyartbeat.com/event/2012/39C8">
  <Name>Dwight Ripley &quot;Travel Posters and Language Panels&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/0AE62E36">
    <Name>Tibor de Nagy Gallery</Name>
    <Type>Gallery</Type>
    <Address>724 5th Ave., New York, NY 10019</Address>
    <Phone>212-262-5050</Phone>
    <Fax>212-262-1841</Fax>
    <Access>Between 56th and 57th St. Subway: F at 57th Street or E/V at 53rd Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Summer Hours: Monday through Friday 10am – 5:30pm</ScheduleNote>
  </Venue>
  <Media>2D: Illustration</Media>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[Dwight Ripley was a British born artist, whose work was the subject of five solo exhibitions at Tibor de Nagy starting in 1951. A polymath, Ripley was a serious botanist, the author of a volume of poetry, and spoke fifteen languages.  However, it was for his artwork that he was most recognized. Six of his drawings were included in an exhibition at Peggy Guggenheim’s legendary gallery Art of This Century.

Ripley's &quot;Travel Posters&quot; and &quot;Language Panels&quot;-- two series of drawings made in 1962 and 1968, the last decade of his life-- combine inventive graphic clarity with allusive puns based on popular art forms. In his &quot;Travel Posters,&quot; the enticing scenery has been configured from the scientific names of indigenous plants, but spun in a cursive web that suggests the wandering line of Surrealist or abstract art. In the &quot;Language Panels,&quot; his etymologically-driven idea of the comic strip, the drawings have been divided into mysterious quadrants that imply narratives of both discovery and danger. Colorful, unusual, and pioneering in their steadfast insistence on colored pencil, the drawings are prescient of the epistemological savvy and environmental awareness that came to characterize the era we still recognize as our own.

[Image: Dwight Ripley, &quot;Setúbal&quot; (1962) ink and colored pencil on paper 14 x 20 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/39C8-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/39C8-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/39C8-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-28</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-28" start="15:00:00" end="17:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.762358</Latitude>
  <Longitude>-73.974283</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/3A16" href="http://www.nyartbeat.com/event/2012/3A16">
  <Name>Jan ten Broeke &quot;Ten&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/7B29094D">
    <Name>Noho Gallery</Name>
    <Type>Gallery</Type>
    <Address>530 W 25th St., New York, NY 10001</Address>
    <Phone>212-367-7063</Phone>
    <Fax></Fax>
    <Access>Between 10th Ave. and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Sunday by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[The artist's intent is &quot;to transcend the superficial, socially established eroticism of sexuality”....” All flowers are sex organs and that their function to be fertilized, to produce seed and to propagate, gives a deeper meaning to the beauty we so admire and enjoy.”]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3A16-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3A16-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3A16-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-07</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749275</Latitude>
  <Longitude>-74.004308</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/3B6B" href="http://www.nyartbeat.com/event/2012/3B6B">
  <Name>&quot;Notations: Cage Effect Today&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/C3ACA17C">
    <Name>Hunter College Times Square Gallery</Name>
    <Type>University or School</Type>
    <Address>450 W 41st St., New York, NY 10036</Address>
    <Phone>212-772-4991</Phone>
    <Fax></Fax>
    <Access>Between 9th and 10th Ave. Subway: A/C/E at 42nd Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>13:00:00</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>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[Notations: The Cage Effect aims to serve as a timely platform upon the centennial of John Cage's birth. The exhibition will examine his diverse and widespread influence throughout America, Asia, Europe and Latin America not only through the artists directly following Cage but also those in successive generations to the present. By taking a chronological and geographic survey it may be possible to elucidate why Cage has been hailed as an “authorizing factor” and how his influence is manifest to such a widespread and significant degree.  The exhibition will include some 30 artists including William Anastasi, Ushio Shinohara, Rivane Neuenschwander, Kaz Oshiro and Fred Sandback among many others, and will be supplemented by a full schedule of inter-disciplinary public programming. The exhibition will also be accompanied by a comprehensive exhibition catalogue with essays by Dr. Pissarro, Julio Grinblatt and Bibi Caldero, and contributions by participating graduate students at Hunter College. ]]></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>2012-02-17</DateStart>
  <DateEnd>2012-04-21</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-16" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>72</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.758522</Latitude>
  <Longitude>-73.994881</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/3C10" href="http://www.nyartbeat.com/event/2012/3C10">
  <Name>Juergen Teller Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/5569D53D">
    <Name>Lehmann Maupin (540 W 26th Street)</Name>
    <Type>Gallery</Type>
    <Address>540 W 26th St., New York, NY 10001</Address>
    <Phone>212-255-2923</Phone>
    <Fax>212-255-2924</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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>Open mondays by appointment only.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Presented in three parts, this exhibition highlights three recent series, demonstrating Teller’s dynamic and diverse oeuvre. Featuring the controversial photographs of Kristen McMenamy and seductive portraits of Vivienne Westwood, juxtaposed with intimate portraits of his family and close friends, this exhibition displays an amalgam of subjects and personalities. The exhibition starts with Teller’s controversial series of photographs featuring Kristen McMenamy, shot in the home of Carlos Mollino. Drawing inspiration from the eccentric architect, Teller recalls Mollino’s fascination with the erotic, capturing McMenamy in provocative poses. Although the series garnered controversy for its alleged “pornographic” nature, it demonstrates Teller’s skilled storytelling and fearless approach to his medium.

The exhibition continues with a selection of images from “Keys to the House.” Composed of recent photographs taken in and around his home in Suffolk, the series includes deserted landscape shots alongside intimate portraits of Teller’s family and closest friends. 

The third section of the exhibition features photographs from “Men and Women,” including portraits of Vivienne Westwood and photographer William Eggleston, as well as Teller’s son, Ed. As a whole, the series has been read as a representation of masculinity at two stages –coming of age and loss of virility – contrasted with a strong feminine power.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3C10-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3C10-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3C10-170" 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>40.750039</Latitude>
  <Longitude>-74.003931</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/3C6C" href="http://www.nyartbeat.com/event/2012/3C6C">
  <Name>Jeanette May &quot;Bachelor Pads&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/2FD3D32C">
    <Name>A.I.R. Gallery</Name>
    <Type>Gallery</Type>
    <Address>111 Front St., #228, Brooklyn, NY 11201</Address>
    <Phone>212-255-6651</Phone>
    <Fax>212-255-6653</Fax>
    <Access>Between Washington and Adams Sts. Subway: F to York Street, A/C to High Street.</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[A.I.R. Gallery presents the exhibition  of  Jeanette Mayʼs captivating photographs  depicting  attractive  men in their contemporary Bachelor Pads.

Inspired by 1960s movies and magazine spreads  highlighting  the  phenomenon  of  the  “bachelor  pad,”  Jeanette May stages  the  contemporary  bachelor  in  his  metropolitan  dwelling.  The original bachelor pads were conspicuously heterosexual and masculine in design—filled with the latest gadgets and signifiers of hedonistic pleasure. Mayʼs  photographs examine  whether  the  current version  evolved  or  if  the reel-to-reel sound systems were merely  swapped  for  iPod  stations  and  large  screen  TVs.  The pad  may define  oneʼs  economic  or  cultural standing, provide refuge, or seduce potential lovers. Mayʼs  images raise  these issues while offering a voyeuristic peek into the private living space of single men. 

Bachelor Pads  furthers Mayʼs  investigation  into  the  representation  of desirable  men and the development of the “female gaze” in contemporary visual cultural. In this recent project, she concentrates on bachelors: unmarried men who  do  not  live  with  their  parents,  spouses,  or  lovers. Her bachelors identify as straight or gay, live alone or  with roommates, and cover a range of ages and socio-economic groups. May poses the men in a formal manner; their gaze is never toward the camera,  but  they  seem  self-consciously  aware  of  an audience.  She produces photographs located somewhere between portraiture and documentary,  that  allow  women  (and  men)  to  stare unabashedly at  attractive bachelors and  then visually rifle through their  belongings. May presents her archival pigment prints in a scale that  enables  us to read the spines of books on the shelves or covet a particularly desirable apartment. What do we learn about these specific bachelors, how do men present themselves to the camera, and does the female viewer take pleasure in the sight? 

Jeanette May is a photographer using a critical, sometimes playful, approach to investigate representation itself. May earned her MFA in Photography from CalArts and her BFA in Painting from the University of Illinois, UrbanaChampaign. She has been awarded grants and fellowships from the NEA Regional Artistsʼ Projects Fund, Illinois Arts Council, Chicago Department of Cultural Affairs, and Ms. Foundation. Her work is exhibited in galleries and museums internationally, including New York; Chicago; Los Angeles; Toronto, Canada; Sandviken, Sweden; and Athens, Greece. May lives in Brooklyn, NY.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3C6C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3C6C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3C6C-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-01</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.702653</Latitude>
  <Longitude>-73.988995</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="2012/3D18" href="http://www.nyartbeat.com/event/2012/3D18">
  <Name>&quot;Heart &amp; Soul&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/94B8833C">
    <Name>Keith de Lellis Gallery</Name>
    <Type>Gallery</Type>
    <Address>1045 Madison Avenue, #2, New York, NY 10075</Address>
    <Phone>212-327-1482</Phone>
    <Fax>212-327-1492</Fax>
    <Access>Between 79th and 80th St.  Subway: 6 to 77th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 11:30, satudays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Keith de Lellis Gallery presents &quot;Heart &amp; Soul&quot;, an exhibition of portraits of African Americans by African American photographers.

[Image: Shawn Walker, Untitled, (1968)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3D18-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3D18-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3D18-170" 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>40.776878</Latitude>
  <Longitude>-73.961694</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/3E88" href="http://www.nyartbeat.com/event/2012/3E88">
  <Name>Kate Arslanian &quot;Borderlands&quot; </Name>
  <Venue href="http://www.nyartbeat.com/venue/2315DC2F">
    <Name>Irish Arts Center</Name>
    <Type>Cultural Center</Type>
    <Address>553 W 51 St., New York, NY 10019</Address>
    <Phone>212-757-3318</Phone>
    <Fax>212-247-0930</Fax>
    <Access>Between 10th and 11th Ave.  Subway: C/E to 50th Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Kate Arslanian was born in Crossmaglen, County Armagh and this unique part of Ireland is the center of everything she paints. &quot;Borderlands&quot;  is an instinctive, moving and nostalgic series of abstract works, reflecting on the breathtaking countryside of the northern and southern borders of Armagh, Louth and Monaghan.

[Image: Kate Arslanian &quot;Federna&quot; (2011) on canvas with oil paints]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3E88-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3E88-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3E88-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-04-18</DateEnd>
  <ScheduleNote>Exhibition accessible by appointment only. Hours: 10am–6pm. Closed Saturday, Sunday. Call 212-757-3318.</ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:30:00" end="20:30:00">Opening Reception</Party>
 <DaysBeforeEnd>69</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.766076</Latitude>
  <Longitude>-73.992791</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/3EFC" href="http://www.nyartbeat.com/event/2012/3EFC">
  <Name>Theresa Himmer &quot;All State&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/53EAC23D">
    <Name>Art in General</Name>
    <Type>Cultural Center</Type>
    <Address>79 Walker St., New York, NY 10013</Address>
    <Phone>212-219-0473</Phone>
    <Fax>212-219-0511</Fax>
    <Access>Between Broadway and Lafayette St.. Subway: 6/N/Q/R/W/J/M/Z to Canal Street</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Art in General presents the opening of Theresa Himmer’s site-specific audio installation All State, realized in collaboration with Kristján Eggertsson. Responding to the physical and psychological parameters of the elevator, Himmer’s original score toys with our perception of movement, expectation and entrapment. Using the repetitive motion and existing sounds of the Art in General elevator as her starting points, All State amplifies an environment already attuned to heightened sensitivity, positioning viewers somewhere between real and imagined space.

In the compact interior of the elevator, Himmer’s uncanny score of recorded sounds disrupts our notion of cause and effect. Through repetition, duplication and overlap, All State mimics reality and belies function. At once, signifiers of both visible and invisible operations (the passing of floors, the machine room switchboard, the opening of doors) become hollow, irrational and destabilizing.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3EFC-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3EFC-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3EFC-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-28</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-28" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.718186</Latitude>
  <Longitude>-74.001742</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/3F2F" href="http://www.nyartbeat.com/event/2012/3F2F">
  <Name>&quot;Sutured&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/2F6DF077">
    <Name>Like the Spice</Name>
    <Type>Gallery</Type>
    <Address>224 Roebling St., Brooklyn, NY 11211</Address>
    <Phone>718-388-5388</Phone>
    <Fax></Fax>
    <Access>Between S 2nd and S 3rd St. Subway: L to Bedford Avenue</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Monday: By Appointment</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Fabric cannot be disassociated from both its practicalities and its histories. It can be soft or course, rigid or supple, and its linkages to gender and status are unshakable. While the smallest fiber can evoke notions of femininity, touch itself is the first sense we gain in our mothers’ wombs. In “Suture,” Like the Spice presents seven artists whose work bears, and yet also exploits, the cultural norms associated with textiles and other craft materials.

Since the 1970’s the media of everyday objects have become more and more pervasive in fine art, but craft is still distinguished from sculpture and painting as art with a utilitarian purpose. For the artists in this show, both quotidian and concept can become query as they incorporate discourses of high versus low art? in acts of subversion and aesthetic playfulness.

Perhaps the artist in “Sutured” to use the methodology of fiber arts most frankly, Richard Saja’s embroidered human-animal hybrids, clowns, and fantastical beasts defy the strict delineations in the strata of art historical context. His brilliantly rendered characters upend the decorum of the centuries’ old prints of toile fabric, a textile common in drapery and upholstery. The monochromatic swooning farmers and ornate foliage in the toile are the templates for his sardonically humorous re-narrations.

Joseph Heidecker also offers interruptions of sentimentality by effacing, embossing, and sewing into vintage statuettes acquired at estate auctions and various flee markets .  His additions are less synthesis than synaesthetic as he threads beads and glues googly eyes and other items from your kindergarten’s craft drawer to his found objects.

Jude Broughan’s raw patchworks of original and re-photographed images sewn to fragments of leather and plastic are at the same time personal and disconcerting. The stitched juxtapositions represent past and present, but they are less narrative than the symbiosis of memory and experience that creates one’s sense of self and home.

Abstraction confronts formalism and a celebration of the decorative ensues in Robert Raphael’s sculptures of wood, ceramic, and satin ribbon. His stark wooden posts hint at minimalism and embracing architecture, while he adorns them with collapsed stacks of glazed ceramic geometric figures and the occasional dollop of thick paint.

With Vadis Turner, abstraction and tradition collide in wall-hung works comprised of satin affixed to square canvases. She assembles her delicate media in bit-by-bit renderings of smoke and mold that seem to test the idea of modern painting. Her materials are heavily laden with symbolism, but she is aware of its associations. Deep in these variegated folds of color is the history of the feminine, yet the works don’t betray their formal qualities as paintings.

Adam Parker Smith’s monumental collage comprised of thousands of  hand-woven friendship bracelets fashioned to spell out “will u marry me” is a tapestry of the tragic. What could be a sublime gesture reveals itself as an assumed moment, implied by Smith to elicit our involvement. What we are left with as viewers is the dare to leave our sentimentality at the door to view the meaning of the work change as it hangs on the gallery walls for three weeks.

Zoe Sheehan Saldana creates uncanny duplications of store-bought objects, photographs them, and then returns them to the same rack or shelf of the original item. In the gallery she offers a glimpse of her travails in a full-scale photograph hung next to the original item. The clash of machine and man-made means of production foregrounds craft as a high-art concept and unsettles contemporary notions of value and utility.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3F2F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3F2F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3F2F-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-10</DateStart>
  <DateEnd>2012-02-26</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-10" start="18:30:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>17</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.711875</Latitude>
  <Longitude>-73.959261</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/3FEE" href="http://www.nyartbeat.com/event/2012/3FEE">
  <Name>Svetlana Mircheva &quot;Possible Exhibitions&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/364B519D">
    <Name>NURTUREart</Name>
    <Type>Gallery</Type>
    <Address>56 Bogart St., Brooklyn, NY 11206</Address>
    <Phone>718-782-7755</Phone>
    <Fax></Fax>
    <Access>Between Grattan St. and Harrison Pl. Subway: L to Morgan Street.</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[For this series, Mircheva strays from technology and automation to present a series of diminutive, some quite simple, other slightly inscrutable dioramas from an ongoing collection of imaginary gallery-size installations. With their quiet and unassuming presence, the models lead both artist and viewer to imagine an infinity of possible scenarios, suspended between past, present and future. Possible Exhibitions showcases Mircheva’s signature sleek, highly-professionalized daydreaming at its most powerful. With this exhibition we will transform our gallery in a temporary zone open to imagination, projection and reflection.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3FEE-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3FEE-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3FEE-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-13" start="19:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>1</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.705589</Latitude>
  <Longitude>-73.933197</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/412A" href="http://www.nyartbeat.com/event/2012/412A">
  <Name>&quot;Heads&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/CA84DB52">
    <Name>Lori Bookstein Fine Art</Name>
    <Type>Gallery</Type>
    <Address>138 10th Ave., New York, NY 10011 </Address>
    <Phone>212-750-0949</Phone>
    <Fax>212-750-0947</Fax>
    <Access>Between 18th and 19th Sts.  Subway: L or A/C/E to 14th Street/ 8th Avenue </Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</Area>
    <OpeningHour>10:30:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[group show]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/412A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/412A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/412A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-31" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.744903</Latitude>
  <Longitude>-74.005998</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/41C7" href="http://www.nyartbeat.com/event/2012/41C7">
  <Name>Bryan Drury &quot;Portraits&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/CFDA45D0">
    <Name>Dean Project</Name>
    <Type>Gallery</Type>
    <Address>511 W 25th St., Fl.2, New York, NY 10001</Address>
    <Phone>212-229-2017</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Aves. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_25">Chelsea 25th</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[Stemming from a desire to challenge the conventions of traditional portraiture, Drury has recently created this body of six oil paintings. He carefully selected affluent members of society to sit for him, and rather than acquiescing to expectations of flattery, he exploits the power of oil paint to describe their corporeal flaws as precisely as possible. Finding liberation in this reversal of patronage roles, Drury focuses on the organic quality of the flesh and shows the animalistic side of humans that we so commonly attempt to conceal.

The six works feature a single subject, executed with a painstaking degree of realism. The small-scale portraits capture the condescending and supercilious attitudes of the sitters, who gaze at the viewer with an air of disdain. Set against solid backgrounds, the sitters seem separated from the outside world, and their lifeless artificiality imbues the works with a sense of isolation.

In an attempt to expose their vanity and the disconnect that exists between the corporeality of the body and the abstraction of identity, Drury meticulously renders facial details, paying special attention to imperfections and blemishes. His skillful use of light and shadow in portraits highlights the contours of the sitters' faces, while the subtle glossy backgrounds further accentuate the tactile nature of the skin and hair. Jan (2011) capitalizes on the oil paint medium to convey the fleshiness of her wrinkles with a photographic precision, and Tracey (2012) depicts strands of hair and follicles with a similar exactitude. Overtly descriptive, the portraits unmask the suppressed animal qualities of humans and challenge the noble and aggrandizing aspects associated with traditional portraiture. 

Bryan Drury was born in 1980 in Salt Lake City, Utah and relocated to New York in 2001. He received his MFA Cum Laude from the New York Academy of Art in 2007 and BFA from The Cooper Union School of Art in 2005. He has exhibited and received awards throughout the US and Europe. Select recent highlights include: The American Academy of Arts and Letters selected Drury for their highly prestigious annual Invitational Exhibition 2011; the artist was profiled and reviewed in the April 2011 issue of The Art Economist magazine as part of their &quot;Artist To Watch&quot; section. Drury's painting &quot;Ali&quot; was included in the exhibition &quot;Now WHAT?&quot; at the Norton Museum of Art, Palm Beach FL, the curators from the Norton Museum selected &quot;Ali&quot; as one of the twenty most engaging works exhibited during Art Basel Miami in December 2010.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/41C7-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/41C7-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/41C7-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749322</Latitude>
  <Longitude>-74.003678</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="2012/43FA" href="http://www.nyartbeat.com/event/2012/43FA">
  <Name>Ridley Howard &quot;Slows&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/09279041">
    <Name>Leo Koenig, Inc.</Name>
    <Type>Gallery</Type>
    <Address>545 W 23rd St., New York, NY 10011</Address>
    <Phone>212-334-9255</Phone>
    <Fax>212-334-9304</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street or A/C/E to 14th Street or L to 8th Avenue.</Access>
    <Area areaId="chelsea_23">Chelsea 23rd</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[Leo Koenig Inc. presents the second solo exhibition of new paintings by Ridley Howard.    
 
Entitled Slows, this new body of work is comprised of portraits, landscapes, and abstractions. Through a subtle play with geometry, space, and color Howard evinces simple observations of modern life where the real and abstract co-exist -- buildings flatten out into abstract forms; a tile façade becomes a minimalist grid; geometric shapes mirror textile patterns. Howard's purposeful attention to scale and blending of visual language creates an elegant and deliberate syncopation; his careful consideration of the banal offers a lingering sense of time. He infuses cool detachment with hints of painterly romanticism, asking the viewer to consider subtle nuances in paint and image that do not immediately reveal themselves. Akin to the cinematic, the work is evocative of avant-garde filmmakers of the late sixties and seventies whose 'long-take' technique fixes a lens on an empty road, a field or a street long after its subjects completely disappear from the frame, and whose works are respected for their narrative vagueness and provocative mystique.
 
The paintings move from strangely detached portraits to pause on a swatch of cloth, to focus on a building's signage, or to completely succumb to imaginary patterns, compelling a slippage into a simultaneously visual and psychological abstraction. And though they have a graphic quality, the hand is evident in soft, atmospheric edges and is crucial to the works' ability to communicate complex and often contradictory emotions to the viewer. A multitude of elements rest beneath the surface of each painting, but are coalesced, and laid bare, singularly by artist's hand.
 
Howard's practice spans over a decade and grows out of a personal amalgamation of experience, fiction, illustration, cinema, design, and the history of painting. His work evokes a tradition of American image painting that encompasses the Ashcan School, Edward Hopper, Ralston Crawford, as well as more recent pop figures such as Ed Ruscha, Tom Wesselmann, and David Hockney. He also takes cues from artists as stylistically divergent as Piero della Francesco, Hans Holbein, Sophie Taeuber-Arp, Francis Picabia, and Giorgio Morandi, as well as filmmakers like Michelangelo Antonioni.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/43FA-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/43FA-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/43FA-170" width="170" />
  <Karma>1.5331</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-19" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747978</Latitude>
  <Longitude>-74.004797</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/44C2" href="http://www.nyartbeat.com/event/2012/44C2">
  <Name>Nolan Hendrickson &quot;NEW NEW FACE&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/E3A5819A">
    <Name>Ramiken Crucible</Name>
    <Type>Gallery</Type>
    <Address>389 Grand St., New York, NY 10002</Address>
    <Phone>917-434-4245</Phone>
    <Fax></Fax>
    <Access>Between Norfolk and Suffolk Sts.  Subway: F to Delancey Street or J/M/Z to Essex Street. </Access>
    <Area areaId="lower_east_side">Lower East Side</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>2D: Painting</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/44C2-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/44C2-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/44C2-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-03-09</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>29</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.71615</Latitude>
  <Longitude>-73.987848</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="2012/4525" href="http://www.nyartbeat.com/event/2012/4525">
  <Name>Patrick Wilson &quot;Color Space&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/BB060749">
    <Name>Ameringer | McEnery | Yohe </Name>
    <Type>Gallery</Type>
    <Address>525 W 22nd St., New York, NY 10011 </Address>
    <Phone>212-445-0051</Phone>
    <Fax>212-445-0102</Fax>
    <Access>Between 10th and 11th Aves.  Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</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[The paintings lasso your attention, harness your view, burrow into your mind, and continue humming in your mental bandwidth long after you have encountered them.* — Sarah Bancroft 

Ameringer | McEnery | Yohe presents its first solo exhibition of paintings by Los Angeles based artist Patrick Wilson, Color Space.

The process of creating one of Patrick Wilson’s compositions is painstaking. At the center of the artist’s technique is an inseparable marriage of color and structure, combined with a keen attention to craft and detail. The pursuit of beauty and pleasure are his primary concerns. Wilson obsessively layers his compositions with countless colors, both muted and vibrant. Each “film” is constructed by pulling viscous paint and medium across the canvas with a drywall blade. Pressure and movement of the knife coats the canvas, creating transparent color fields of great nuance, which eventually build up to embody Wilson’s sleek, almost sculptural paintings. For as much control, exactitude, and precision that go into the construction of these works, there is an intuitive quality, a constant give and take, which is essential to their presence. The artist notes, “The key value of abstraction to me is its openness. The best abstraction isn’t didactic, it’s experiential.” The meticulous nature of Wilson’s work as a whole, combined with his very personal use of color and surprising structural relationships, garners the imagination of the viewer and rewards those who are willing to slow down and look.

Patrick Wilson (b. 1970, Redding, California) currently lives and works in Los Angeles. He received his MFA from Claremont Graduate University in Claremont, California. Recent solo exhibitions include “Good Barbeque” at Susanne Vielmetter Los Angeles Projects, Culver City, CA; “The View From My Deck” at Marx &amp; Zavattero, San Francisco, CA; and “Slow Food” at Curator’s Office in Washington, D.C. Notable group exhibitions include the 2010 California Biennial at the Orange County Museum of Art, curated by Sarah Bancroft, Newport Beach, CA; “Inaugural Group Exhibition” at Susanne Vielmetter Los Angeles Projects, Los Angeles, CA; “Tomorrow’s Legacies: Gifts Celebrating the Next 125 Years” at the Crocker Art Museum, Sacramento, CA; “Electric Mud” at the Blaffer Gallery, University of Houston, Houston, TX, curated by David Pagel; “Keeping it Straight: Right Angles and Hard Edges in Contemporary Southern California Art” at the Riverside Art Museum, Riverside, CA, curated by Peter Frank; and “Gyroscope” at the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. His work is also part of selected public collections including the Columbus Museum of Art, Columbus, OH; Crocker Museum of Art, Sacramento, CA; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C; Long Beach Museum of Art, Long Beach, CA; Los Angeles County Museum of Art, Los Angeles, CA; the Orange County Museum of Art, Newport Beach, CA; and the San Jose Museum of Art.

[Image: Patrick Wilson &quot;Storm Chaser&quot; (2010) Acrylic on canvas, 67 x 72 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/4525-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4525-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4525-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.74725</Latitude>
  <Longitude>-74.005414</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/4572" href="http://www.nyartbeat.com/event/2012/4572">
  <Name>&quot;Marble Sculpture from 350 B.C. to Last Week&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/7D8487D4">
    <Name>Sperone Westwater</Name>
    <Type>Gallery</Type>
    <Address>257 Bowery  New York, NY 10002</Address>
    <Phone>212-999-7337</Phone>
    <Fax>212-999-7338</Fax>
    <Access>Between Houston and Stanton St. Subway: F/V to 2nd Avenue.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Sperone Westwater is pleased to present an exhibition of white marble sculptures dating from 350 B.C. to the present day. This survey includes Greek and Roman antiquities, Neoclassical sculptures, and works by modern and contemporary European and American artists.
 
Marble is one of the oldest and most fundamental materials of sculpture with wide-ranging use in the fine arts, decorative arts, and architecture. Among the works from Greek and Roman antiquity in Marble Sculpture from 350 B.C. to Last Week is an Ionian Greek grave relief from the second half of the fourth century B.C. that depicts three figures presenting a narrative on a farewell to the deceased. A Vestal statue from the second century A.D. represents the virgin goddess of hearth, home, and family in Roman religion. Notable Roman sculptures from the first and second century A.D. are also presented including a vase and a bust of young man. Significant sculptures from the fifteenth to nineteenth centuries include Icarus, the mythological figure of a man with wings, by Tommaso Bonazza (Venice 1696 – Padua 1775), as well as Hercules by Giacomo Cassetti Marinali (Venice 1682 – Vicenza 1757), carved out of pietra di Vicenza, to name a couple.
 
The modern and contemporary works in Marble Sculpture provide a different context for the ancient material. Pioneer of the Dada movement, Jean Arp created Mediterranean Sculpture I (Orphic Dream), 1941, a biomorphic sculpture that has rounded and angular edges, encompassing the artist’s desire to conflate nature’s different forms. Richard Long’s Heaven (Portrait of Carl Andre), 2011, consists of six rows of large marble blocks. Infinite, 2011, by Fabio Viale, depicts two interlocked tires carved out of marble. Not Vital’s ½ Man ½ Animal, 1996, is an eleven-foot tall anthropomorphic sculpture that resembles a mythical creature. An installation of five slabs, Ai Weiwei’s Marble Door(s), 2007, depicts a barricade of white and grey doors. Bertozzi &amp; Casoni’s Gorilbattista, 2011, is a vanitas sculpture of a gorilla head on a plate. Tom Sachs’s Brute, 2009/2010, transforms an ordinary lightweight object to the extraordinary through the medium of marble. In Purity, 2008-2011, Barry X Ball reinvigorates the age-old tradition of figurative marble sculpture through the use of unconventional stones and methods.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/4572-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4572-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4572-170" width="170" />
  <Karma>3.65</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.723239</Latitude>
  <Longitude>-73.992725</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/4594" href="http://www.nyartbeat.com/event/2012/4594">
  <Name>Dan Graham and Corey McCorkle Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8801FFA3">
    <Name>Murray Guy</Name>
    <Type>Gallery</Type>
    <Address>453 W 17th St., 2 Fl., New York, NY 10011</Address>
    <Phone>212-463-7372</Phone>
    <Fax>212-463-7319</Fax>
    <Access>Between 9th and 10th Ave. Subway: A/C/E to 14th Street, L to 8th Avenue/14th Street or C/E to 23rd Street</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</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>July: Tuesday-Friday 10-6. August: by appointment only.</ScheduleNote>
  </Venue>
  <Media>3D: Architecture</Media>
  <Description><![CDATA[Murray Guy presents an exhibition with Dan Graham and Corey McCorkle, bringing together works that take up the design and architecture of gardens. Ranging from the folly-filled leisure grounds of an eighteenth century chateau to the &quot;corporate arcadias&quot; which occupy the atriums of many post-1960s office towers, both artists engage the histories of garden architecture and its attendant fantasies of nature, enlightenment, contemplation, antiquity, leisure, and utopia.

Among the works on view is Corey McCorkle’s video Hermitage (2010), which takes as its subject the dormant grounds of an eighteenth century leisure garden that was a favorite of the Surrealists as well as George Bataille. Planned by the French aristocrat François Racine de Monville as a counterpart to the rationally organized gardens of nearby Ermenonville, the Désert de Retz held up to twenty pavilions (including faux Bedouin tents, ornamental Gothic priories and numerous grottos) before it closed during the French Revolution. McCorkle animates the landscape, producing a series of narratives, roles, and emotional states in response to a design that—characterized by fantasy and role-play—anticipates the amusement parks of the 20th century. Meanwhile in Tower of Shadows McCorkle brings to life Le Corbusier's &quot;Tower of Shadows&quot; in Chandigarh, India, an unfinished structure which was designed “brisesoleil”
to block as much sunlight as possible. Filmed from dawn to dusk on the shortest day of the year (the day on which the least possible amount of light would enter), McCorkle treats this folly as an allegorical ruin of a modernist, utopian dream of integrating architecture and nature.

Dan Graham’s photographs from the project Private &quot;Public&quot; Space: The New Corporate Atrium Garden show the landscaped interiors of office buildings that take up the dream of the &quot;earth as garden.” In these privately-owned yet “public” spaces, &quot;green-and-white metal openwork chairs and green lettering on shop windows connote a suburban arcadia in the midst of a city – an urban fantasy of the picturesque brought into the central city.&quot; In contrast, Two-Way Mirror Bridge and Triangular Pavilion to Existing Mill House for Domaine de Kerguéhennec (1987) is an insertion into the grounds of a Breton chateau originally landscaped in the French formal style and later redesigned as an English picturesque garden and then as a public park (with elements of all three schemes remaining today.) Converted to an art center in the 1980s as part of the French government's plan to decentralize cultural institutions, Graham responded to the triangular roof of a 19th century faux &quot;mill house,” proposing to build two triangular structures, one standing upright like a gazebo and the other sitting on its side to form a bridge across a nearby stream (with a base resembling a urban sidewalk grate.)

None of the works in this exhibition has been exhibited previously in New York, and they are presented here in a space just adjacent to the High Line, one of the most ambitious new models of the urban garden. 

The work of Corey McCorkle (b. 1969 La Crosse, Wisconsin) has been included in numerous institutions around the world including Centre Pompidou, Paris; Haus der Kunst, Munich; Louisiana Museum, Copenhagen; Kunst-Werke, Berlin; Kunsthalle Bern, Bern; and The Whitney Museum of American Art, New York. Recently McCorkle’s work has been presented at the MuHKA, Antwerp; ArtPace San Antonio; and at FRAC Ile de France, Paris and at FRAC Lorraine, Metz. A major monograph on McCorkle’s worth is forthcoming from Ludion Publishers.

Dan Graham (b. 1942 Urbana, Illinois) has exhibited widely and extensively since the mid-1960s. Among the numerous retrospectives of his work was Dan Graham: Beyond, on view in 2009 at The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis, and The Whitney Museum of American Art, New York. Graham has an exhibition opening February 2 with Robert Mangold at Galerie Nicolai Wallner, Copenhagen, and an exhibition around the theme of rock music opening on February 10 at Hauser &amp; Wirth, Zurich. Graham’s Alteration to a Suburban House (1978) is currently on view at The Museum of Modern Art, New York, and hewill give a talk at the museum on February 23.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/4594-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4594-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4594-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-07</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.743439</Latitude>
  <Longitude>-74.005392</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/45BB" href="http://www.nyartbeat.com/event/2012/45BB">
  <Name>Bob Rothstein &quot;The Other Bushwick&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/F1212C26">
    <Name>Brooklyn Public Library (Central)</Name>
    <Type>Other</Type>
    <Address>10 Grand Army Plz., Brooklyn, NY 11238</Address>
    <Phone>718-230-2100</Phone>
    <Fax></Fax>
    <Access>At Eastern Pkwy. Subway: 2/3/Q to Grand Army Plaza or Eastern Parkway/Brooklyn Museum of Art, or Q to 7th Avenue. </Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>09:00:00</OpeningHour>
    <ClosingHour>21:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>friday closinghour 18:00, saturdays closinghour 18:00, saturdays openinghour 10:00, fridays openinghour 10:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[This artistic study combines old photos and present day collages to capture the feel of the Bushwick I knew as a young child. It actually speaks more about my own response to the old neighborhood.

One of the many influences on my artistic direction was a painting my grandfather did, which always hung in my family’s home. It is of three men sitting on a bench, very much like one from Ben Shahn. The painting is very primitive, but marvelous and always greeted with strong emotions.

My artistic journey has also been molded by the colors and figurative character of German expressionism, the California bay artists, the Ashcan School and John Marin. I owe a great deal to my former teacher at the Art Students League, Dan Dickerson.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/45BB-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/45BB-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/45BB-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-12-08</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.672903</Latitude>
  <Longitude>-73.968878</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/46D2" href="http://www.nyartbeat.com/event/2012/46D2">
  <Name>&quot;25 years anniversary show Part 1&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/10F7725D">
    <Name>Gallery Onetwentyeight</Name>
    <Type>Gallery</Type>
    <Address>128 Rivington St., New York, NY 10002</Address>
    <Phone>212-674-0244</Phone>
    <Fax></Fax>
    <Access>Between Essex and Norfolk St. Subway: F/J/M/Z to Essex Street-Delancy Street</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>13:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Graphics</Media>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[Kazuko Miyamoto presents Gallery Onetwentyeight's 25th Anniversary at 128 Rivington in New York's Lower East Side. 
During the 25 years anniversary show Part 1 we will exhibit the work of Gallery Onetwentyeight artists/friends. 
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/46D2-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/46D2-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/46D2-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-01</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>40.71965</Latitude>
  <Longitude>-73.986889</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/479E" href="http://www.nyartbeat.com/event/2012/479E">
  <Name>Guo Fengyi, Sava Sekulic, Charles Steffen Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/FB8D778C">
    <Name>Andrew Edlin Gallery</Name>
    <Type>Gallery</Type>
    <Address>134 10th Ave., New York, NY 10011 </Address>
    <Phone>212-206-9723</Phone>
    <Fax></Fax>
    <Access>Between 18th and 19th Sts.  Subway: L or A/C/E to 14th Street/ 8th Avenue</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[The self-taught artists Guo Fengyi (1942 - 2010), Sava Sekulic (1902 - 1989) and Charles Steffen (1927 - 1995) all created works that suggest metamorphosis, depicting the human form in an interim phase between a beginning and a future shape. These otherworldly, transfigured bodies reveal hidden organisms that appear to have been gestating inside their hosts.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/479E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/479E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/479E-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-27</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.744786</Latitude>
  <Longitude>-74.006083</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/4824" href="http://www.nyartbeat.com/event/2012/4824">
  <Name>Five Solo Exhibitions</Name>
  <Venue href="http://www.nyartbeat.com/venue/AE8D95AF">
    <Name>OK Harris Works of Art</Name>
    <Type>Gallery</Type>
    <Address>383 W Broadway, New York, N.Y., 10012</Address>
    <Phone>212-431-3600</Phone>
    <Fax>212-925-4797</Fax>
    <Access>Between Spring St. and Broome St. Subway: C/E to Spring Street</Access>
    <Area areaId="soho">Soho</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>Open Tuesday - Friday 12-5pm in July and closed all of August and December 25 - December 28</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[OK Harris Works of Art presents five solo exhibitions: Alex Zwarenstein, Tony King, Allen Harrison, Mark Chester, John Tallman.

 John Tallman work consists of twelve intimately scaled “paintings” poured and cast using pigmented urethane plastic, powdered metal and acrylic paint. Each work illuminates a material quality of contemporary painting without declaring an allegiance to a particular direction. Letting intuition function within the language of the historical precedence of abstraction, subject matter that is overtly suggestive is avoided. Yet sly reverences to Lucio Fontana, Yves Klein and Mark Rothko can be found.

Each “painting” is a cast plastic replica of an original acrylic and canvas prototype. This original prototype is destroyed as part of the working process. Evidence of this prototype can be seen in particular surface and shape irregularities that are repeated in each casting. Mr. Tallman’s rabbit hole is found in the physical properties of plastic and subverting conventional expectations that come when viewing “a painting”.

After an extended period of living in Asia, Mr. Tallman returned to the United States in 2005. Since that time he has participated in exhibitions in Sydney, Amsterdam, Paris, Nashville and Philadelphia. He is part of the international post formalist movement spearheaded by such DYI groups such as Minus Space, the Center for Contemporary Non-Objective Art, IS Projects and Paris Concret. Mr. Tallman received his formal training Painting at Tyler School of Art and the University of Washington. The art and ideas of the conceptual artist Luis Camnitzer have also had an influence, having worked with Mr. Camnitzer on the 2007 Drawing Center Exhibit, Non-Declarative Art. Mr. Tallman splits his time living and working between suburban Philadelphia and Lookout Mountain, Tennessee.

]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/4824-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4824-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4824-170" width="170" />
  <Karma>2.73504</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-28</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-28" start="15:00:00" end="17:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.723861</Latitude>
  <Longitude>-74.002486</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/4845" href="http://www.nyartbeat.com/event/2012/4845">
  <Name>Nick Mauss Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/AA2A3256">
    <Name>303 Gallery (547 W 21st Street)</Name>
    <Type>Gallery</Type>
    <Address>547 W 21st Street, New York, NY 10011</Address>
    <Phone>212-255-1121</Phone>
    <Fax></Fax>
    <Access>Between 10th Ave. and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_21">Chelsea 21st</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>2D: Prints</Media>
  <Description><![CDATA[For his second solo exhibition at 303 Gallery, Nick Mauss presents a landscape of images and notations, drawn across various forms. Accumulations of large aluminum sheets painted white and silkscreened with enlargements of Mauss' drawings or snapshots from his personal archive articulate the experience of looking at something that you have seen, thought about, made, and finding it strange or alien, and working with this strangeness as a material. Like oversized leaves from a dented manuscript, the sheets heave, drape, and fold over one another, looped with tongues and cut-out windows that transfigure the images they support, ranging from the highly stylized rendering, to the prosaic: a mannequin hunched over a computer infiltrated by reflections of trees in the window; a rebus-like drawing of a crack, a chin resting on a hand, half of a sickle; a photograph of an archway modeled after an enlarged seashell; a drawing of a figure in a pose of supplication covered in a spattering of ink; a graphic frame enclosing white space; photographs of shadows of photographing hands and a camera held over sketches for dress designs; a floating dormant head suspended over a graphic ribbon hemmed in by a corner. Often the images stutter in repetition across multiple sheets, individually hand-colored or worked over, as if to correct, underscore, or elaborate.

Thinking in sliding picture constellations, Mauss takes images out of the air and puts them onto various carriers, formalizing a poetic language from drawing, to object, to syntax. The ceramic tablets and folded ribbons hovering on the wall have the viscosity and vibrancy of a thought just before it is formed into words. The space of the exhibition follows the same logic as the space of the drawing, disjointed drawings are used as plans for things to do in space. The mental rendering and the quivering gesture become irrepressible material, process becomes a kind of notional architecture.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/4845-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4845-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4845-170" width="170" />
  <Karma>0.955882</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-13" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747047</Latitude>
  <Longitude>-74.006278</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/4A97" href="http://www.nyartbeat.com/event/2012/4A97">
  <Name>Gregory Halpern &quot;A&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/98525F4A">
    <Name>ClampArt</Name>
    <Type>Gallery</Type>
    <Address>521-531 W 25th St., Ground Fl., New York, NY 10001</Address>
    <Phone>646-230-0020</Phone>
    <Fax>646-230-8008</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>2D: Prints</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/4A97-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4A97-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4A97-170" width="170" />
  <Karma>5.74913</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749364</Latitude>
  <Longitude>-74.004103</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/4BB5" href="http://www.nyartbeat.com/event/2012/4BB5">
  <Name>Greg Wilken Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/B5BC9B89">
    <Name>CUE Art Foundation</Name>
    <Type>Gallery</Type>
    <Address>511 W 25th St., New York, NY 10001</Address>
    <Phone>212-206-3583</Phone>
    <Fax>212-206-0321</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</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: Photography</Media>
  <Description><![CDATA[I first came across &quot;The Road of a Thousand Wonders&quot; researching something else entirely.  While looking through newspaper clippings in a local archive, a postcard fell out.  The image was of a striking Neo-Baroque building with a tall central clock tower, pointed terracotta arches, abundant windows, and circular turrets.  It seemed to call out to you from the 19th century.  The dark rusticated blocks of red sandstone were imposing; it looked built to last.  It didn't.  The first large courthouse in Los Angeles, it was erected in 1888 and razed in 1936.  The upper right hand corner of the image read &quot;On the Road of a Thousand Wonders&quot;.      

During the early 20th century, &quot;The Road of a Thousand Wonders&quot; was the promotional name given to the Southern Pacific railroad line running from Los Angeles, California to Portland, Oregon.  This particular line, like many others still in use today, was surveyed and first laid out in the 19th century, before the advent of the automobile.  These early surveyors relied heavily on old walking trails, following the traces of previous travelers.  They found their way through the landscape by following a path of least resistance; drawing a line that utilized natural grades that were not too steep, curves mild enough for the trains of the time, and maximizing level ground.  The routes of that time were laid upon, rather than through, the landscape. 

Automobile roads would later follow the first rail lines.  Over time, new roads realigned the old routes.  The highways grew wider and straighter, bypassing small communities.  We know the old roads today as &quot;business loops&quot; and &quot;scenic byways&quot;.  &quot;The Road of a Thousand Wonders&quot; follows roughly the original Camino Real upon which Spanish missionaries built a system of religious outposts up the Southern California coast.  Portions of highway 101 would later be built to follow this course.  Farther north, Interstate 5 pursues the old line.  These roads are literal palimpsests, offering traces of man's movement through the land.

The history of these early railroad lines contributed to the public's perception of the West.  Early 20th century boosterism enticed western migration, which increased railroad ticket sales. The Southern Pacific Railroad Company invested heavily in printing postcards that depicted views along their routes.  &quot;The Road of a Thousand Wonders&quot; series is a visual record of a particular kind of looking at a particular time.  The traditional landscapes and city views traffic in, while simultaneously helping to establish, the clichés of western imagery.  What might traveling that road look like today?  Where might it take us?     
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/4BB5-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4BB5-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4BB5-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749028</Latitude>
  <Longitude>-74.003453</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/4D1A" href="http://www.nyartbeat.com/event/2012/4D1A">
  <Name>Mauro Moriconi &quot;My Plastic Japan&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/EA72187D">
    <Name>Chair and the Maiden</Name>
    <Type>Gallery</Type>
    <Address>500 W 22nd St., New York, NY 10001</Address>
    <Phone> 212-255-0562</Phone>
    <Fax>212-675-6330</Fax>
    <Access>Corner of 10th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 13:00, sundays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Fabrication in lieu of reality? Reproduction disjuncted from purpose? Dismissal and blurring of perceived &quot;natural&quot; elements...Mauro Moriconi&quot;s My Plastic Japan is just that.

In a technologically overwrought society production continues blindly and unregulated. Through the discussion of the natural and nature Moriconi exposes the deception of such technological advances through their inherent
uselessness and false importance that is social media. Through media magnates and their creation of a need the world now hinges on the accelerated addictiveness of the rush to betterment. Japan sets the perfect stage for such turcite coated discussions.

Moriconi in essence retells the story of The Emperor's New Clothes.He points out the foolishness behind the
aggressive courting of Utopia-chasing science. He shows us the illegitimacy behind the mantra of indispensability and likens it to nothing more than the promises of a snake charmer's elixir.

What we are encouraged to believe as advances are nothing more than distractions that mire our understanding of our true evolutionary goals. Ironically Moriconi uses technology itself to self inflict judgment.

Through obvious manipulation to more clandestine articles of sublimation Moriconi questions and plasticizes our own perceptions of a world unbridled.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/4D1A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4D1A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4D1A-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="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747039</Latitude>
  <Longitude>-74.005039</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/4D39" href="http://www.nyartbeat.com/event/2012/4D39">
  <Name>Kate Pane &quot;I SCREAM/YOU SCREAM&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/C56EE053">
    <Name>Mallick Williams &amp; Co</Name>
    <Type>Gallery</Type>
    <Address>150 11th Ave., New York, NY 10011</Address>
    <Phone>212-929-4137</Phone>
    <Fax></Fax>
    <Access>Between 21st and 22nd Sts.  Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_21">Chelsea 21st</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>saturdayopening hour 11:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Mallick Williams &amp; Co. Gallery presents I SCREAM/YOU SCREAM with new paintings by Kate Pane. During this past Miami Art Basel the gallery previewed an oversized outdoor installation of Pane’s work at The Shore Club. The artist is following up her Basel debut with her ﬁrst solo exhibition. 

Pane’s paintings focus on the transitional stage when childhood turns into teenage years, a time while facing forthcoming growth there is the inclination to remain innocent. The exhibition’s title I SCREAM/YOU SCREAM best represents this  period. The popular rant is learned while growing up, sung over and over in unison until satisﬁed. Though it is known between every boy and girl, there are other parts of  young adolescence that remain secretive.  This explorative age quickly leads to unknown exploitations. Curiosities turn into lustful discoveries, with screams of desires emerging from all delights - both pure and profane. More wonderment than perversion, this time of life is exciting and fully romantic notions.

Spread over the gallery’s entirety, I SCREAM/YOU SCREAM is both whimsical and dreamlike. In the front room works on canvas evoke a child’s dizzying perspective painted with imaginative visions of ponies and ﬁgures. The back space strips away the naive fantasies of the other room. Collage works of pornographic material overlaid with girlish glitter expose the reality of aging in a world of accessibility, with the gaieties of youth diminishing.  ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/4D39-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4D39-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4D39-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-02-29</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>20</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747686</Latitude>
  <Longitude>-74.007536</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/4D83" href="http://www.nyartbeat.com/event/2012/4D83">
  <Name>Jason Fox &quot;Eating Symbols&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/BBB4D093">
    <Name>Peter Blum Gallery (Chelsea)</Name>
    <Type>Gallery</Type>
    <Address>526 W 29th St., New York, NY 10001</Address>
    <Phone>212-244-6055</Phone>
    <Fax>212-244 6054</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street or A/C/E to Penn Station 34th Street</Access>
    <Area areaId="chelsea_28_above">Chelsea 28th - 33rd</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Summer Hours (July 8 - August 1): Monday - Friday, 10 am-6 pm. Closed August 2-25.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Peter Blum presents the exhibition Jason Fox: Eating Symbols. This will be Jason Fox’s second solo exhibition with the gallery.
 
For this exhibition, Jason Fox will present paintings, drawings, and a sculpture that bridge together previous bodies of work. As suggested by the exhibition title, Fox plays with a wide range of influences from Abstract Expressionism via the celebrity portraits of Warhol to Cave painting born from A.R. Penck’s timeless alphabet. The paintings create a dialogue between pop culture, religious icons, and abstraction. All the work shares an interest in transparency, and symbols caught in various states of transformation between abstraction and figuration.

          The paintings can be loosely grouped into three series. In the first layers of water saturated color and pencil form portraits including Beatles, Saints, and false idols. The red paintings layer expressionistic observed portraits of the family dog with pencil messages from the outside world. The third group of paintings deploys a Malevich tilt to create a series consisting of flags, monuments, mountains, lakes, and views from a tomb.

          The drawings provide both an editorial conscience nostalgic of old New Yorker cartoons and Olyphant and reveal experiments with psychedelia and popish expressionistic portraiture that clearly bleed into the works on canvas. The idea of layering images based on familiarity rather than discordance is first articulated in the drawings where trees meet aliens and dungeons are galleries.

One sculpture made of a carved tree, drop cloth plastic, and a metal base stands alone. …part stick figure, part cross, part scarecrow for an interzone filled with aluminum foil posing as lightning, Ringo visiting Picasso, and color dissolving ideologies.

 
Jason Fox was born in 1964 in Yonkers, New York. He currently lives and works in Poughkeepsie, New York. Fox received a B.F.A. from Cooper Union, New York and a M.F.A from Columbia University, New York. National and international solo exhibitions include shows at Feature Inc., New York; Mario Diacono at Ars Libri, Boston; Greener Pastures Contemporary Art, Toronto, Canada; and at the Museo de Arte Carillo Gil, Mexico City. Past group shows include Every Revolution is a Roll of Dice organized by Bob Nickas at Paula Cooper Gallery and at the Ballroom Marfa, Texas; That is Then…This is Now and Greater New York at P.S.1, New York; and Drunk vs. Stoned at Gavin Brown’s Enterprise.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/4D83-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4D83-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4D83-170" width="170" />
  <Karma>2.25309</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751758</Latitude>
  <Longitude>-74.002208</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/4D8E" href="http://www.nyartbeat.com/event/2012/4D8E">
  <Name>Zefrey Throwell &quot;Ocularpation: Wall Street&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/D205C3AE">
    <Name>Gasser Grunert Gallery</Name>
    <Type>Gallery</Type>
    <Address>524 W 19th St., New York, NY 10011</Address>
    <Phone>212-807-9494 </Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E/L to 14th Street or C/E to 23rd Street</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</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>
  <Description><![CDATA[Klemens Gasser &amp; Tanja Grunert presents the exhibition Ocularpation: Wall Street by Zefrey Throwell, from January 6-February 11, 2012, featuring photographs, paintings, video, and sculpture. The exhibition centers around a large-scale continuous video projection of Ocularpation: Wall Street, created on August 1, 2011, in which 50 performers directed by Zefrey Throwell, gathered outdoors on Wall Street, stripped down to nothing, and began working in a call for transparency that caught fire and spread across the globe.

The experience and documentation of Ocularpation informs the varied works in the exhibition. A series of oil paintings, using signature Wall Street blue trader jackets sewn together as the canvas, are collaged with photographs of the performances. Fifty sculptures of everyday objects, relating to the Wall Street professions (i.e. broom—janitorial, handcuffs—police, piggybank— banker, etc.), have been coated with a thin veneer of gold enamel, thereby transforming them into precious artworks. Zefrey, who used nudity so powerfully as a symbol of exposure and transparency in the Ocularpation performance and the recent strip poker game I’ll Raise you One… at Art in General, uses gold in this body of work in reference to the current American financial dream, sold as a glittering jewel, but in fact is a fantasy whose value is speculation.

Ocularpation: Wall Street continues Zefrey Throwell’s extensive body of investigative and interactive projects focused on the connecting points and underpinnings of social discourse. Projects shown at the MoMA, Whitney Museum, Performa, and Venice Biennials, as well as major media coverage of Ocularpation (including The New York Times, BBC, CNN, NBC and more) have provided the artist with a platform to ignite public discussion and an international call to action. The artist states, the inspiration for the Ocularpation performance and exhibition was personal: “When my mother lost all her savings and was forced to come out of retirement from the market crash of 2008, I knew we had to refocus attention on Wall Street, its actions, secrecy, and real repercussions on people’s lives.”

Artist Talk
A talk with Zefrey Throwell, Clark Winter (an internationally known investor and commentator on geopolitics and global financial markets) and more, will take place at the gallery. Date and additional participants TBA. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/4D8E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4D8E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4D8E-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-06</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-06" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.745372</Latitude>
  <Longitude>-74.006664</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/4F26" href="http://www.nyartbeat.com/event/2012/4F26">
  <Name>&quot;Discursive Abstraction&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8F974E93">
    <Name>Bernard Jacobson Gallery</Name>
    <Type>Gallery</Type>
    <Address>17 E 71st St., New York, NY 10021</Address>
    <Phone>212-879-1100</Phone>
    <Fax></Fax>
    <Access>Between Madison Ave. and 5th Ave.  Subway: 6 to 68th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</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>July and August Monday - Friday 10am - 6pm.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[This exhibition quietly observes a group of works on paper over a 60-year period by a disparate set of artists, chiefly British and American, whose primary common denominator is an eye towards abstraction. Ideally it will give the viewer an opportunity to observe various means of expressing abstraction on paper that are both fluent and expansive - it is not about a hard edge or geometric visual language so much as an organic and ephemeral discourse.Discursive Abstraction: Works on Paper from the 1950s to the present.

[Image: William Tyler &quot;The Age of Anxiety / The Kerry Sunset&quot; (2001) Watercolour on paper 55.9 x 76.2 cm]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/4F26-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4F26-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4F26-170" width="170" />
  <Karma>1.2585</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-11</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-11" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.771517</Latitude>
  <Longitude>-73.966567</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/4F6D" href="http://www.nyartbeat.com/event/2012/4F6D">
  <Name>ANTONIO PIO SARACINO &quot;Second Nature&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/05427C82">
    <Name>BosiDamjanovic Gallery</Name>
    <Type>Gallery</Type>
    <Address>48 Orchard St., New York, NY 10002</Address>
    <Phone>212-966-5686</Phone>
    <Fax></Fax>
    <Access>Between Grand and Hester Sts. Subway: F, J/M/Z to Delancey St. or F to East Broadway</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Furniture</Media>
  <Description><![CDATA[Second Nature derives its inspiration from as far back as Greek philosopher Aristotle and makes reference to objects that do not belong in nature but, through habitual use, these ‘foreign’ items become natural within the created human environment. The unadulterated, natural world can fill us with awe and wonder and throughout history has inspired many leading thinkers to investigate and explore the parallel between nature and human design – the root of Antonio’s recent work. In the spirit of this complex relationship, Second Nature intends to create an environment that unites the natural world with spirit and imagination and manifests itself through influential seating and furniture for a brave new world. The exhibition will showcase 10 of Saracino’s unique creations. Antonio Pio Saracino is an Italian-born architect and designer, living and working in New York and Italy.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/4F6D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4F6D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4F6D-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-03-05</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>25</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.716392</Latitude>
  <Longitude>-73.990926</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/4FAC" href="http://www.nyartbeat.com/event/2012/4FAC">
  <Name>Miha Strukelj &quot;Memories of a City&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/8AAE996A">
    <Name>LMAKprojects</Name>
    <Type>Gallery</Type>
    <Address>139 Eldridge St., New York, NY 10002</Address>
    <Phone>212-255-9707</Phone>
    <Fax></Fax>
    <Access>Between Delancey and Broome St. Subway: B/D to Grand Street</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 12:00</ScheduleDetails>
    <ScheduleNote>Also by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Graphics</Media>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[LMAKprojects presents Slovene artist Miha Strukelj's Memories of a City, a first solo exhibit with the gallery. For this exhibit Strukelj will create an installation of murals and small drawings on panels throughout the gallery to address the limitations and confines of the gallery space. In his work Strukelj's methodology is a reduction of everything back to a grid, contour and line. His eye reacting to architectural settings combined with angular patterns that are contradicting and complex. Bringing formal order into the newly created chaos and disparate elements the grid evokes both the sense of painting and drawing tradition as well as Cartesian coordinates and maps.
 
Strukelj's scenes are usually urban spaces defined by architecture, landmarks and points, which create a tension and shape our view. In between there are empty and forgotten spaces that he captures. These anonymous moments are combined to emphasize and construct a new reality of disparate contemporaneity, a visual study of digital existential dilemma of the human experiences. The panels, found within the installation, are either layers of mylar stripping away the trails of the subjects surrounding or wood panels jutting the subjects into the viewers space. They are components of the installation but embody their own sense of space.  Through these elements, Strukelj is able to play with depth and layering while also enhancing his point of focus be it a line, structure or individual.  The acts of the subjects are not heroic yet through isolation the viewer is absorbed into their act in life.  Strukelj is an observer, yet his drawn observations force the viewer the illustrated realm and become part of these isolated instances in time. He exposes the grey area that we dismiss in our everyday life.
 
Miha Strukelj was born in 1973 in Ljubljana, Slovenia where he still lives and works. He has an MFA from Academy of Fine Arts and one such awards as the Henkel drawing award, the Pollock-Krasner Grant to name a few. His work has been shown at the 53rd Venice Biennial at the Slovenian Pavilion and can be found in the public collections such as the Uni Credit Bank, Siemens Collection, Adrian Riklin Foundation in Vienna, Societe Generale in Paris, ECB - European Central Bank in Frankfurt, Museum of Modern Art Ljubljana, NLB - Nova Ljubljanska Banka, and Government of the Republic of Slovenia.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/4FAC-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4FAC-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4FAC-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-04</DateStart>
  <DateEnd>2012-03-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-04" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>31</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.719106</Latitude>
  <Longitude>-73.991667</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/4FEE" href="http://www.nyartbeat.com/event/2012/4FEE">
  <Name>&quot;See My Voice, Hear My Vision&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/EC3901AE">
    <Name>Westside Gallery</Name>
    <Type>Gallery</Type>
    <Address>133/141 W 21st St., New York, NY 10011</Address>
    <Phone>212-592-2145</Phone>
    <Fax></Fax>
    <Access>Between 6th and 7th Ave. Subway: 1 or F/V to 23rd Street</Access>
    <Area areaId="chelsea_21">Chelsea 21st</Area>
    <OpeningHour>09:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 10:00, saturdays closinghour 18:00</ScheduleDetails>
    <ScheduleNote>Closed on federal holidays.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Installation</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[An exhibition of selected work by second-year students in the MPS Art Therapy Department and the clients they work with at their internship sites. Curated by faculty member Liz DelliCarpini. ]]></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>2012-02-11</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-15" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.74205</Latitude>
  <Longitude>-73.994825</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="2012/51A3" href="http://www.nyartbeat.com/event/2012/51A3">
  <Name>Willie Doherty &quot;One Place Twice Photo/Text/85/92&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/08D8FB4D">
    <Name>Alexander and Bonin</Name>
    <Type>Gallery</Type>
    <Address>132 10th Ave, New York, NY 10011</Address>
    <Phone>212-367-7474</Phone>
    <Fax>212-367-7337</Fax>
    <Access>Between 18th and 19th St.  Subway: A/C/E to 14th Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</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>Open by appointment for the Summer.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[An exhibition of Willie Doherty’s photographs from 1985 - 1992 opens at Alexander and Bonin on January 27th. These black and white photographs with text have not previously been exhibited in North America.  The exhibition was organized in conjunction with Matt’s Gallery, London and a publication with an essay by Declan Long will be available.  In addition, a small group of works from his series OUT OF BODY, 2010 will be exhibited in the second floor space.
 
These early works developed conceptual and formal strategies that carried through Doherty’s practice over the next two decades. In particular, they foreshadow his distinctive use of voiceover in the body of the video works he has subsequently produced.
 
Doherty’s ongoing concerns with the complexities and contradictions of contested terrain were firmly established early on. These works probed the tensions and anxieties of what was visible and invisible, of what could be said and what could not. The works in the exhibition reveal something of the social and political conditions of the period which saw the entrance of the Irish Republican movement into the political process and into negotiations with the British government over the North of Ireland. They also bear traces of the artistic possibilities and debates at the time of production, which sought to politicize conceptual art practice. The specific content of these works – of boundary building and the pervasive nature of surveillance, the apparent incommensurability of polarized political factions and the scars these divisions leave on the landscape – remain relevant today.

OUT OF BODY, 2010 is a series of nine color c-prints of blue skies and lead grey water interrupted by white texts. These words and short phrases have been developed from Doherty’s recent video work, UNFINISHED, 2010. The phrase ‘out of body’ refers to a space outside of, or beyond, the physical limitations of the body of the hostage.  This is the first time since the early 1990s that Doherty has used language in his two dimensional work.
Willie Doherty was born 1959 in Derry, Northern Ireland where he continues to live and work.  His work in both photography and video has been shown internationally in institutions since the 1980s. In 2011 his work was the subject of one-person exhibitions at the Speed Art Museum in Louisville and Dublin City Gallery, The Hugh Lane. The artist is currently completing a new video projection to be included in dOCUMENTA (13), Kassel in 2012. In 2013, his video work will be the subject of a survey exhibition at the Museo de Arte of the Universidad Nacional de Colombia in Bogotá.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/51A3-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/51A3-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/51A3-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-28</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-27" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.744889</Latitude>
  <Longitude>-74.006217</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/51DE" href="http://www.nyartbeat.com/event/2012/51DE">
  <Name>E. K. Buckley &quot;Ale ́ Ale ́&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/D65A4E9B">
    <Name>Yes gallery</Name>
    <Type>Gallery</Type>
    <Address>147 India St., Brooklyn, NY 11222</Address>
    <Phone>347-599-2322</Phone>
    <Fax></Fax>
    <Access>Between Manhattan Ave. and McGuinessBlvd. Subway: G to Greenpoint Avenue.</Access>
    <Area areaId="williamsburg">Williamsburg</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[E.K. Buckley is a figurative painter working in Brookyln whose focus is bold, eerie nudes. Her works in oil, rely on stark gestures that produce poses ranging from balletic to violent. Buckley combines the heft of unrefined mark-making with elegance, creating forms with an extreme economy of illustrated description. Her subject matter is often drawn from her early training in music and literature, and her love of dance is clear in her uncanny ability to capture the body in movement. Buckley’s work in ink includes an austere series of crows; simple gestures that show her reliance on the raw mark, at times describing the bird in just a few stark and fast pen strokes. Her recent body of work includes large, distressed pieces on paper of women in mixed media. Buckley’s art could be described as Ale ́ Ale ́, a state of bursting inspiration and creativity. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/51DE-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/51DE-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/51DE-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-17</DateStart>
  <DateEnd>2012-03-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-17" start="19:00:00" end="22:00:00">Opening Reception</Party>
 <DaysBeforeEnd>38</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.732506</Latitude>
  <Longitude>-73.953994</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/51F4" href="http://www.nyartbeat.com/event/2012/51F4">
  <Name>Sunghee Jang Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/98323831">
    <Name>Gallery Henoch</Name>
    <Type>Gallery</Type>
    <Address>555 W 25th St., New York, NY 10011</Address>
    <Phone>917-305-0003</Phone>
    <Fax>917-305-0018</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>10:30:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/51F4-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/51F4-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/51F4-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-23</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749564</Latitude>
  <Longitude>-74.004761</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/52E6" href="http://www.nyartbeat.com/event/2012/52E6">
  <Name>Doug Wada &quot;Americana&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/C0A11582">
    <Name>Marlborough (Midtown)</Name>
    <Type>Gallery</Type>
    <Address>40 W 57th St., New York, NY 10019</Address>
    <Phone>212-541-4900</Phone>
    <Fax>212-541-4948</Fax>
    <Access>Between 5th and 6th Ave. Subway: B/Q to 57th Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Wada extracts elements from the everyday and presents hyper-real, full-scale painting interpretations. He selects banal objects such as coolers, barber poles, and turnstiles, and suspends them on a white background, providing the opportunity to contemplate the true meaning of these familiar and often ignored elements of our lives. While these paintings create a nearly trompe l’oeil effect at first glance, when examined closely the lustrous, velvety brushstrokes create a surprisingly sensuous surface. This sumptuousness is apparent in the painting Unleaded, in which Wada bestows upon a fuel pump a richly mottled exterior with ripples of indigoes, purples, and golden yellows.

Working from the digital images he’s both shot and edited, Wada paints many of the objects in his works life-size. The canvases are hung at the height of the object in real life, and he applies the corresponding perspective to the object. For example, the work Normandie, featured in the exhibition, depicts a row of four American-made vintage hair dryers. To provide an authentic appearance, a separate canvas is devoted to each hair dryer, which is painted to scale at 17 inches tall and 14 inches wide, and each hair dryer is hung 14 inches apart, as they would be in a hair salon.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/52E6-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/52E6-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/52E6-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-11</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-11" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.763483</Latitude>
  <Longitude>-73.975231</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="2012/5432" href="http://www.nyartbeat.com/event/2012/5432">
  <Name>Stanley Boxer Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/A50433E2">
    <Name>Spanierman Modern</Name>
    <Type>Gallery</Type>
    <Address>53 E 58th St., New York, NY 10022</Address>
    <Phone>212-832-1400</Phone>
    <Fax>212-588-9505</Fax>
    <Access>Between Park Ave. and Madison Ave.  Subway: F to 57th Street, 4/5/6/N/R/W to 59th Street/Lexington Avenue or E/V to 5th Avenue/ 53rd Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>09:30:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="0" 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[The gallery is pleased to present an exhibition of Stanley Boxer (1926–2000), an artist whose work is in numerous museum collections in America and abroad, Boxer worked with indefatigable energy during a career that spanned the second half of the twentieth century. In his paintings from the 1960s through the 1990s—featured in this exhibition—he developed an individualistic stylistic trajectory, drawing from the action painting techniques of Abstract Expressionism and the optical color sensations and allover approach of Color Field painting, as well as from painterly traditions stretching back to the old masters. His passion for surface vibrancy is demonstrated in his sensuous, richly textured canvases and the exuberant works he created in the 1990s, in which he blended oil paint with a range of unusual materials.

In naming his paintings, Stanley Boxer's usual practice was to string together words. The unbroken titles are a rhythmic complement to his paintings and parallel the continuous yet changing cadences of his surfaces as well as their many associations. In their animate qualities, many are suggestive of the natural world without being specifically referential. Others are map-like, conveying the presence of landforms, water, and sky, while collaged elements add a topographical and relief dimension to the later works.

In the 1960s, Stanley Boxer's work was discovered by the noted critic Clement Greenberg, who categorized him as Color Field painter. To Boxer, this label was too limiting. He stated in 1972: “Nothing is per se rejected in my work! Everything is possible.” It is therefore not surprising that critics from all persuasions over many decades have expressed an unusually high regard for Boxer and his art.

[Image: Stanley Boxer &quot;Hutchofquarriedgraces&quot; (1990) oil and mixed media on canvas 55 x 50 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5432-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5432-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5432-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.762849</Latitude>
  <Longitude>-73.971239</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/5486" href="http://www.nyartbeat.com/event/2012/5486">
  <Name>Michael Scott &quot;Black and White Line Paintings: 1989-2011&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/0676B4F1">
    <Name>Gering &amp; López Gallery</Name>
    <Type>Gallery</Type>
    <Address>730 5th Ave., New York, NY 10019</Address>
    <Phone>646-336-7183</Phone>
    <Fax>646-336-7185</Fax>
    <Access>Between W 57th and W 56th St. Subway: F to 57th Street or N/R/W to 5th Avenue</Access>
    <Area areaId="midtown">Midtown</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[Statement from the artist: &quot;Over the last twenty five years my work has taken several forms of expression, from concentric circle or target paintings, to black and white line paintings, to photographs, to cartoon-inspired drawings, to paintings that can be described as psychedelic ‘candyland’ themed landscapes, to small thickly encaustic abstractions. However, over this period of time, the most pre-dominant works are the “highly optical” black and white line paintings done since 1989. These are probably the works for which I am best known. In 1994 I stopped making abstract line paintings but I returned to this type of work in 2002 and 2003 and then most recently in 2010 and 2011. It is this grouping of highly optical black and white line paintings around which I have built this exhibition.&quot;

[Image: Michael Scott &quot;Untitled (1/3 Kilometer-007)&quot; (1993) enamel on aluminum 78.75 x 59 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5486-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5486-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5486-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.762639</Latitude>
  <Longitude>-73.974228</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/5530" href="http://www.nyartbeat.com/event/2012/5530">
  <Name>Dawn Clements Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/2CECDDEE">
    <Name>Pierogi</Name>
    <Type>Gallery</Type>
    <Address>177 N 9th St., Brooklyn, NY 11211</Address>
    <Phone>718-599-2144</Phone>
    <Fax></Fax>
    <Access>Between Bedford Ave. and Driggs Ave.  Subway: L to Bedford Avenue</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[Clements’ powerful use of Sumi ink and ballpoint pen on small to large-scale paper panels remains her primary medium and scale. She often cuts and pastes the paper together to edit and compose a completed drawing, adding paper as necessary to create the desired scale. Through her active process, which is almost performative, the paper becomes distressed with folds, wrinkles, and seams.

Through sight, sound and touch my work is always a response to environments, objects and people, but until fairly recently the responses have been largely limited to working within the confines of my living spaces in fairly solitary ways. (Clements, 2012)

In 2011 Clements spent seven winter weeks in Rome, and two summer months in an abbey in Maele, Belgium. In April she was invited by curator Melinda Ring to respond to the work of dancer Susan Rethorst for a retrospective of her work at Danspace. Over the course of that year she also worked on a large modular drawing as part of an ongoing collaboration with the sculptor Marc Leuthold. This drawing, ”Balcony and Table of Work,” and related works will be included this exhibition. “Balcony and Table of Work” is an amalgam of three years of work and began as two separate drawings that were eventually merged into one. Each day, working in Sumi ink, Clements made individual drawings on 10 x 8 inch pieces of paper. Each drawing describes a new section of the table still life. The final drawing is composed of 366 individual drawings, now merged into one. The original table will be presented together with this work.

My collaboration with sculptor Marc Leuthold has been in progress for the past three years. As friends and colleagues, Marc and I decided to collaborate on a project together. In order to work ‘together’ I made a series of drawings from which Marc made sculptures. He in turn made and gave me his sculpted responses, and I in turn made more drawings. And so on. Leuthold’s work is often non-representational but, in response to my drawings, he modeled clay sculptures in the forms of the images he viewed in my drawings. The result is a series of multi-generational works, a kind of visual dialogue. (Clements, 2012)

In Italy, Belgium, and in Ms. Rethorst’s apartment Clements responded, as she usually does, to her immediate environment. The difference is that these places weren’t hers. She was granted entry and permission to respond, but in these unfamiliar surroundings her drawing process was affected by a strangeness of place, an awareness of her identity as a “guest” and an understanding that her time in these places was limited.

I am always interested in representing time in my work, but in these projects time was a more actively pressing concern, bringing a new urgency to the process. Time, space, place, shifting points of view, travel, mapping…these are always present in my work but this year they have also been active in my life, making me more clearly understand that my studio is mobile.

But most of these thoughts come in reflections of the work after having made it. Clements rarely enters her work with big theoretical designs. Through labor, one process leads to the next and a small drawing may become many drawings, or one big drawing. “A walk across a table, over objects, and through space offers new perspectives. And, as importantly, the process of working with another person brings further perspectives through discussion, agreement, resistance and empathy.”
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5530-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5530-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5530-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-06</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-06" start="19:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.718567</Latitude>
  <Longitude>-73.955908</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/5614" href="http://www.nyartbeat.com/event/2012/5614">
  <Name>Arne Quinze &quot;My Home, My House, My Stilthouse&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/33075AE7">
    <Name>Vicky David Gallery</Name>
    <Type>Gallery</Type>
    <Address>522 W 23rd St., New York, NY 10011</Address>
    <Phone>212-510-7593</Phone>
    <Fax>212-510-7594</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_23">Chelsea 23rd</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[The gallery will present pieces from the series &quot;My Home, My House, My Stilthouse&quot; which plays on the dichotomy between chaos and equilibrium. From the apparent fragility of his material emerges overflowing energy and pure beauty. Arne Quinze dreams of an ideal society in which all individuals communicate and interact with each other. Eclectically he uses paintings, drawings, sculptures and monumental installations to develop his work in the urban movement, by focusing on the themes: Order, Disorder, Structure and Habitation.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5614-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5614-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5614-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-31</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>51</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748</Latitude>
  <Longitude>-74.005306</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/56AF" href="http://www.nyartbeat.com/event/2012/56AF">
  <Name>&quot;New Photographers&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/4BB02AB7">
    <Name>Danziger Gallery</Name>
    <Type>Gallery</Type>
    <Address>527 W 23rd St., New York, NY 10011</Address>
    <Phone>212-629-6778</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street, or L to 8th Avenue.</Access>
    <Area areaId="chelsea_23">Chelsea 23rd</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[&quot;New Photographers&quot; presents five artists exhibiting in New York for the first time. The artists are not linked thematically or stylistically, but what they have in common is their distinctive approach to photography and the originality of their images. In this show, each body of work creates its own context. 

[Image: Chris Levine &quot;Lightness of Being&quot; pigment print (2004) 30 x 24 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/56AF-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/56AF-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/56AF-170" width="170" />
  <Karma>7.60417</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748039</Latitude>
  <Longitude>-74.004625</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/5762" href="http://www.nyartbeat.com/event/2012/5762">
  <Name>Alison Owen &quot;Shelf Life&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/861ABFD2">
    <Name>Cuchifritos</Name>
    <Type>Gallery</Type>
    <Address>120 Essex St., New York, NY 10002.</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between Delancey and Rivington St.  Subway: J/M/Z/F to Delancy/ Essex Street</Access>
    <Area areaId="lower_east_side">Lower East Side</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="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Alison Owen’s installation Shelf Life came out of close observation of the Lower East Side neighborhood and its continual transformation, as well as respective functions, appearances and usual daily operations of both the Essex Street Market and Cuchifritos gallery. The work is inspired by the distinctions, similarities, overlaps and interactions of these two environments. Similar to Owen’s other works, this site-specific installation responds to the particular architectural properties—formal qualities as well as spatial patterns—of the Market and the gallery space, and is constructed out of modest and/or ephemeral materials, which seemingly grow from and within the architecture. It combines previously used art display furniture with the objects given to the artist by the Market vendors, along with the various materials found in situ. The installation seems like a half-finished store, simultaneously emerging from the context of the market and melting back into it.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5762-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5762-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5762-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-21</DateStart>
  <DateEnd>2012-03-04</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-21" start="16:00:00" end="18:30:00">Opening Reception</Party>
 <DaysBeforeEnd>24</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.719503</Latitude>
  <Longitude>-73.987686</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/5982" href="http://www.nyartbeat.com/event/2012/5982">
  <Name>Doug Wheeler Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/4E0C8908">
    <Name>David Zwirner</Name>
    <Type>Gallery</Type>
    <Address>525 W 19th St., New York, NY 10011</Address>
    <Phone>212-727-2070</Phone>
    <Fax>212-727-2072</Fax>
    <Access>Between 10th Ave. and West Side Expressway. C/E to 23rd Street or A/C/E to 14th Street or L to 8th Avenue.</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[David Zwirner presents an ambitious new work by American artist Doug Wheeler (b. 1939), whose large-scale installations have rarely been seen in the United States. Built within the gallery’s 519 West 19th Street space, Wheeler’s SA MI 75 DZ NY 12 (2012) explores the materiality of light while emphasizing the viewer’s physical experience of infinite space. The exhibition marks the first presentation of an “infinity environment” by the artist in New York.

As a pioneer of the so-called “Light and Space” movement that flourished in Southern California in the 1960s and 1970s, Wheeler’s prolific and ground-breaking body of work encompasses drawing, painting, and installations that are characterized by a singular experimentation with the perception and experience of space, volume, and light. Raised in the high desert of Arizona, Wheeler began his career as a painter in the early 1960s while studying at the Chouinard Art Institute (now the California Institute of the Arts) in Los Angeles.

Wheeler’s early white canvases incorporated abstract imagery that created a spatial dynamic and activated the central void of the painting’s field. His practice quickly developed into the environmental aesthetic for which he is presently best known. In 1965, the artist made a transitional work in which he over-sprayed a canvas with subtle variations of white and installed neon tubes inside the back of the frame. Installed with a white floor, the painting appeared to float on the wall. Wheeler subsequently abandoned canvas altogether with a body of innovative, radiant works known as “fabricated light paintings” in which he applied lacquer to Plexiglas boxes that were illuminated from within by neon tubing. These “paintings” were followed by his “light encasements,” which consist of large squares of painted vacuum-formed plastic with neon light embedded along the inside edges. Intended to be installed in a pristine white room with coved angles, these works dematerialize and create an immersive and spatially ambiguous environment that absorbs the viewer in the subtle construction of pure space. According to critic and curator John Coplans, who organized Wheeler’s first solo exhibition at the Pasadena Art Museum in 1968, Wheeler’s “primary aim as [an artist] is to reshape or change the spectator’s perception of the seen world. In short, [his] medium is not light or new materials or technology, but perception.”1

In 1969, at the Stedelijk Museum in both Amsterdam and Eindhoven, Wheeler realized his first environmental installation outside of his studio—a “light wall”—using a single row of daylight neon light embedded inside a viewing aperture that encompassed the entire dimension of the gallery wall within an enclosed space. He stretched a nylon scrim to create a luminous “ceiling” that captured and reflected light and appeared to float above the room. Of this type of work, Wheeler has said, “I wanted to effect a dematerialization so that I could deal with the dynamics of the particular space. It was a real space—not illusory—it was a cloud of light in constant flux. That molecular mist is the most important thing I do. It comes out of my way of seeing from living in Arizona—and the constant awareness of the landscape and the clouds.”2

In subsequent exhibitions, Wheeler continued to explore similar effects by manipulating architecture with neon and fluorescent lighting, creating entire luminous rooms in which the viewer experienced the sensation of entering an infinite void. In 1975, for a solo exhibition at the Salvatore Ala Gallery, Milan, Wheeler executed the first of his “infinity environments” by creating an expansive all-white room that simulated dawn, day, and dusk in a continual succession. Wheeler created similar environments at only two other venues: the Museum of Contemporary Art, Los Angeles (1983), and the Guggenheim Museum Bilbao (2000). As the fourth of the artist’s “infinity environments,” the installation at David Zwirner will similarly replicate the transition from day to night.

Wheeler’s first solo exhibitions were held at the Pasadena Art Museum (1968), Ace gallery, Venice, California (1969), and Galerie Schmela, Düsseldorf (1970). His work was included in a number of important exhibitions in the 1970s and 1980s, including Larry Bell, Robert Irwin, Doug Wheeler (Tate Gallery, London, 1970); Rooms (PS1, New York, 1976); Ambiente Arte (Venice Biennale, 1976); and Individuals: A Selected History of Contemporary Art, 1945-1986 (Museum of Contemporary Art, Los Angeles, 1986), among others. More recently, Wheeler’s work was presented in Selections from the Collection of Helga and Walther Lauffs (Zwirner &amp; Wirth/David Zwirner, 2008); Time &amp; Place: Los Angeles 1957-1968 (Moderna Museet, Stockholm, 2008-2009); and Primary Atmospheres: Works from California 1960-1970 (David Zwirner, 2010). In 2008, Wheeler created an ice environment as part of his overall design for “Upside Down:” les Arctiques, an exhibition of Eskimo and Inuit art at Musée du Quai Branly, Paris. He is currently featured in the exhibition Phenomenal: California Light, Space, Surface at the Museum of Contemporary Art, San Diego, as part of the Getty Research Institute’s Pacific Standard Time initiative. Work by the artist is held in major museum collections, including the Stedelijk Museum, Amsterdam; Museum of Contemporary Art, Los Angeles; Solomon R. Guggenheim Museum, New York; Los Angeles County Museum of Art; Hirshhorn Museum and Sculpture Garden, Washington D.C.; and the Museum of Contemporary Art, San Diego. Wheeler lives and works in Santa Fe, New Mexico, and Los Angeles.

On the occasion of the exhibition, David Zwirner will publish the first extensive monograph devoted to the artist’s work in collaboration with Steidl, Göttingen. The publication will contain rare archival documentation as well as new scholarship on the artist by Germano Celant.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5982-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5982-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5982-170" width="170" />
  <Karma>6.75272</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-14</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.745461</Latitude>
  <Longitude>-74.006464</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/5A50" href="http://www.nyartbeat.com/event/2012/5A50">
  <Name>Rachel Pollak &quot;...the I and the We&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/F45A47AC">
    <Name>Gowanus Print Lab</Name>
    <Type>Cultural Center</Type>
    <Address>54 2nd Ave., Brooklyn, NY 11215</Address>
    <Phone>718-788-3930</Phone>
    <Fax></Fax>
    <Access>Between 7th and 8th Sts., Subway: F/G/R/M to 9th St and 4th Avenue.</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>22:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>fridays closinghour 19:00, saturdays closinghour 19:00, sundays openinghour 12:00, sundays closinghour 19:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Chosen from entries to our GET SERIOUS GO SOLO solo exhibition contest, Rachel Pollak's sensitive paintings of ritual captured us with their quiet significance and simultaneously sparse and ornate spaces.

Rachel on her work:&quot;In my work I am seeking out moments when an “I” becomes a “We”—and moments when these affiliations break down. My gouache paintings are inspired by rituals I observe in everyday life: crew members raking the infield dirt at the seventh-inning stretch, children playing parachute games, the inauguration of a new president. By re-imagining the context of these rituals, and their accompanying furniture, uniforms, and equipment, my works consider the tension between the persistent identities of the individuals in these scenes and the groups they are a part of.&quot;

As our GET SERIOUS GO SOLO winner, Pollack also receives a free 1 month studio pass to explore what print can bring to her work.

&quot;The content of this work-- focused on the relationships between individuals and groups--would lend itself in an ideal way to the the print medium and its traditions of multiples, repeat patterns, and narrative series,&quot;  Rachel says of exploring print.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5A50-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5A50-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5A50-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-08</DateStart>
  <DateEnd>2012-03-05</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-10" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>25</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.673697</Latitude>
  <Longitude>-73.992678</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/5A66" href="http://www.nyartbeat.com/event/2012/5A66">
  <Name>George Grosz &quot;The Way of All Flesh&quot; &amp; &quot;Large Drawings&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/C759D2E1">
    <Name>David Nolan Gallery</Name>
    <Type>Gallery</Type>
    <Address>527 W 29th St., New York, NY 10012</Address>
    <Phone>212-925-6190</Phone>
    <Fax>212-334-9139</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street, A/C/E to 34th Street</Access>
    <Area areaId="chelsea_28_above">Chelsea 28th - 33rd</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 11:00</ScheduleDetails>
    <ScheduleNote>Monday by appointment only.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[David Nolan Gallery presents two exhibitions: George Grosz, The Way of All Flesh, which includes seven works on paper, and a group exhibition entitled Large Drawings, featuring seven works by contemporary artists.

George Grosz, one of Germany’s most celebrated artists of the early 20th Century, produced a body of work centered on the theme of butcheries during his final years in Berlin, prior to his departure for the United States where he would make his home for 25 years. Perhaps one of the reasons why the subject interested Grosz was the precarious food situation in Germany that began after the first World War and became particularly acute from the mid-1920’s onwards. Germans, famous for their love of meat, was forced to severely ration food supplies; rampant inflation made meat a luxury. 

For Grosz and other artists like Otto Dix, the butchery became a metaphor for a brutalized society; instead of providing nourishment, the butcher is portrayed as a harbinger of death. In 1931, Grosz created a series of drawings entitled “Pig Slaughter in the Countryside” that was illustrated in Frankfurter Illustrierte magazine. For those who were able to see these illustrations, the scenes of pig must have been a fever dream. On view will be works from this series as well as others. A catalog published by Galerie Nolan Judin, Berlin, accompanies the exhibition. 

Large Drawings will feature artists who work in other media, like painting, sculpture, and photography, but for whom the act of drawing itself still remains an important part of the creative process.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5A66-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5A66-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5A66-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-28</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751972</Latitude>
  <Longitude>-74.002417</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/5A98" href="http://www.nyartbeat.com/event/2012/5A98">
  <Name>Jordan Wolfson Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8DCA0B3E">
    <Name>Alex Zachary</Name>
    <Type>Gallery</Type>
    <Address>16 E 77th St., New York, NY 10075 </Address>
    <Phone>212-628-0189 </Phone>
    <Fax></Fax>
    <Access>Between Madison and 5th Ave.  Subway: 6 to 77th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5A98-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5A98-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5A98-170" width="170" />
  <Karma>0.975232</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-15</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-15" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.775325</Latitude>
  <Longitude>-73.964216</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/5AB2" href="http://www.nyartbeat.com/event/2012/5AB2">
  <Name>&quot;Dana Bell / Alasdair Duncan / Don Voisine&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/DF0AECDE">
    <Name>Theodore:Art</Name>
    <Type>Gallery</Type>
    <Address>56 Bogart Street, Brooklyn, NY 11237</Address>
    <Phone>212-966-4324</Phone>
    <Fax></Fax>
    <Access>Corner of Harrison Pl. Subway: L to Morgan Avenue.</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>12:00:00</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[These three artists, while creating very different work, all touch on the possibilities of communicating ideas in a space outside of language. The familiarity of signifiers -- form and gesture – is offered without the reliable connection of a signified or finite meaning. A viewer is confronted with evasive focus: unspoken directions, mute expressions, opaque progressions. The potential “unity of the thing” is proffered as a semblance of infinite suggestion.
 
Armed with a formalist’s vocabulary, an eye for the nuances of gesture, and a tendency towards dark, absurdist humor, Dana Bell has delved into cinema’s rich history and emerged with a complex study of physicalized language. While turning the aesthetic identity of her filmic source on its head, Bell’s reductive process transforms filmic narrative, creating a semiotic study that reveals the subtle manipulations and learned artifice within human expression, while breaking the connection between narrative arc and the nuances of gesture.
 
Alasdair Duncan makes “signs for the future”, stand-ins; not futurological predictions, rather they are emblems of the not yet imagined.  Duncan is interested in making art that reflects an expansive, confident and optimistic outlook, that the world as it is now can be made different and better. At a time when the future is represented substantially in terms of fears rather than opportunities, Duncan’s work manifests the hope of real affirmative social and material change through conditions of possibility which exist now, but which are beyond our view from the current state of affairs.
 
Don Voisine’s paintings impress with a complexity and meditative quality that belie their scale.  Space is defined by restrictions, controlled by borders, limited in access, via a very few well-chosen elements.  Voisine creates uncanny spatial depth and structure through color, texture, contrast, and light.  The layering and overlapping of black planes, both translucent and opaque, evoke both redaction and seduction without answer.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5AB2-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5AB2-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5AB2-170" width="170" />
  <Karma>1.22642</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-14</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-14" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.705589</Latitude>
  <Longitude>-73.933197</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/5B55" href="http://www.nyartbeat.com/event/2012/5B55">
  <Name>Thomas Ovlisen &quot;Tomato&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/A8D1DABA">
    <Name>Klaus von Nichtssagend Gallery</Name>
    <Type>Gallery</Type>
    <Address>54 Ludlow St., New York, NY 10002</Address>
    <Phone>212-777-7756</Phone>
    <Fax></Fax>
    <Access>Between Grand and Hester Sts. Subway: F, J/M/Z to Delancey St. or F to East Broadway</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</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>Also by appointment.</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Klaus von Nichtssagend Gallery presents Tomato, an exhibition of new work by Thomas Ovlisen.  The show will feature paintings and sculptures by Ovlisen, who lives and works in Copenhagen, Denmark.
 
The title Tomato invokes a personal memory for Ovlisen.  His mother would reminisce to him as a child of her initial disdain for tomatoes which was tempered by her attraction to the brightly colored skin of the fruit.  Her love of the pretty outside fueled her determination to like tomatoes, and she persisted in trying to enjoy the taste until one day she finally did.  In this show, Ovlisen continues his investigation into surface and form, using polystyrene foam treated with a veneer of auto-lacquer. which is layered and sanded by Ovlisen to achieve a smooth, glaze-like finish. 

Two large freestanding and monolithic sculptures ask the viewer to reckon with scale and presence.  Other works are actually interactive, allowing the viewer to be an active participant in the show.  These works leaning against the wall bring to mind surfboards, in a nod to sculptors like John McCracken and American pop culture, through their shape, the lightness of the foam and the glossy finish of the paint.  Each work is lined on the top and bottom with coconut fiber floor mat, and the viewer is encouraged to handle the work , which can be flipped upside down or turned around to reveal an entirely different painting.  The result of this interactivity will be a shifting installation of the show, each iteration recast by the last active participant. 
 
The interactivity, playfulness, and approachability of the show is unique for abstract work, it breaks the separation implicit in the hanging of formal works on a white wall, and includes the viewer as a catalyst for actualization.  The leaning and spinning pieces are indeed perpetual works in progress, as arrangements and rearrangements allow for a determined fluctuation of physical and visual possibility.
 
Thomas Ovlisen was born in Denmark (1975) and has a received a BFA in 2001 from Rhode Island School of Design. He lives and works in Copenhagen, where he is represented by V1 Gallery.  In May, he will be participating in a show at the
Gammel Holtegård Museum in Denmark.  TOMATO is his third solo show with Klaus von Nichtssagend Gallery.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5B55-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5B55-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5B55-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-27</DateStart>
  <DateEnd>2012-03-04</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-27" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>24</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.716583</Latitude>
  <Longitude>-73.989958</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/5BB8" href="http://www.nyartbeat.com/event/2012/5BB8">
  <Name>Daniel Phillips &quot;River Street&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/E01C2AA1">
    <Name>DODGEgallery</Name>
    <Type>Gallery</Type>
    <Address>15 Rivington St., New York, NY 10002</Address>
    <Phone>212-228-5122</Phone>
    <Fax>212-228-5211</Fax>
    <Access>Between Bowery and Chrystie St. Subway:  J/M to Bowery, 6 to Spring Street, B/D to Grand Street,  F/V to 2nd Avenue. </Access>
    <Area areaId="lower_east_side">Lower East Side</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="0" hol="0" />
    <ScheduleDetails>sundays openinghour 12:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Dodge gallery presents &quot;River Street&quot;, an exhibition of new video work by Daniel Phillips. This is the artist’s first solo exhibition at the gallery and his New York debut.

For nearly two years Phillips made an historic, abandoned elevator tower in a former paper mill his outdoor studio space. His practice, characterized by consistent documentation of site via still images captured from varying vantage points, produces video installations of these edited images projected onto the site's terrain. Phillips projects onto irregular surfaces, the flowing Neponset river behind the tower, hanging fabric in the windowless voids of buildings, and dripping sheets of winter ice, documenting his attempts to recreate a sense of life in the abandoned space. While the tower was his studio, it was also a dangerous structure he attempted to rehabilitate and bring back to life amidst the construction of a new shopping center. Phillips writes,

There is so much labor and industry soiling everything here. Anything I do seems laughably insignificant, but maybe to reflect on what has happened here is most important now. I see myself in opposition to the development going on, the Price Rite and its corn-syrup filled aisles, the parking lots, the mind numbingly generic retail chains that march toward my tower. Yet the industry of the paper mill erased some other thing, a house, a tree, a pond, a store, a family history, made the river poisonous, and many of its infinite bricks laid by slave hands, all this driven by the same mad force that erases our memory and curiosity with the parking lot malls of our time. I think as much as I try, the most interesting thing I can do here is observe and observe and observe. All my attempts at building fail, it is not to be done here. The tower is perfect how it is.

Phillips' exhibition, River Street, is a reflection on his time at the tower through a series of video projections onto objects and detritus excavated from the site. Once unearthed, Phillips stacks and arranges the debris onto topographical “screens” which host moving projections of the tower and its surroundings. Contrasting the staid materials of rock, concrete, steel, and brick with dynamic and active images, Phillips creates tension between the object and video as a painting. Vertical and horizontal piles lean against the wall, featuring colorful, painterly imagery that highlights specific spaces, buildings, and views of the landscape. Throughout, Phillips tries to encapsulate the awe and marvel of encountering an historic space once a major center of human activity and now in ruins.

Phillips' repurposing of the abandoned tower and use of the found landscape as canvas recalls the work of earlier artists Gordon Matta-Clark and Robert Smithson. Yet while Matta-Clark and Smithson physically reshaped architecture and lanscape, Phillips' practice emphasizes observation and reflection, using the tower as an intermediary between past and present. The glowing apertures of the abandoned building display images which portray River Street's multiple identities, awakening a distant spatial memory of previous histories. A struggle to physically connect his practice with the rituals of daily labor and human activity that for centuries defined River Street pervades Phillips' work. While the projections offer a sense of activity and renewal, they pass ghost-like over fossilized, unmoving ground.

Daniel Phillips received his BA from Williams College and studied at the School of the Museum of Fine Arts, Boston. His MFA thesis exhibition was held at Tufts University in 2009. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5BB8-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5BB8-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5BB8-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</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="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>10</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.721247</Latitude>
  <Longitude>-73.9926</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/5BFE" href="http://www.nyartbeat.com/event/2012/5BFE">
  <Name>Nikolay Bakharev, Gerard Petrus Fieret, and Miroslav Tichý &quot;Three Postwar European Photographers&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/FB74E473">
    <Name>Julie Saul Gallery</Name>
    <Type>Gallery</Type>
    <Address>535 W 22nd St, 6 Fl., New York, NY 10011</Address>
    <Phone>212 627-2410</Phone>
    <Fax>212 627-2411</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street or A/C/E to 14th Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Julie Saul Gallery presents this exhibition that combines the work of three powerful and enigmatic photographers who came of age in postwar Europe. Each of them has created very personal and idiosyncratic bodies of work shaped by a particular political environment. 

Nikolay Bakharev (b.1946 Altai Region of Russia) is the youngest, only living, and least well known to American audiences, of the group. His work was featured in the “Ostalgia” exhibition last summer at the New Museum which gathered art from Eastern European countries with a curious nostalgia for a painful past. As a critic in the Economist said: “All of this art is political, by the simple act of its creation.” In the case of Bakharev, he was an orphan (his parents died when he was four) who worked as a mechanic until he developed his profession as a self-trained photographer. He grew up in East Russia near Mongolia, and still lives in Siberia.

Bakharev’s models are the people among whom he lives and his depictions can be divided into two distinct bodies of work: private and public. The private images are generally women or couples photographed in their homes, and the public are couples and larger groups in swimsuits photographed in the woods. During the 60s and 70s it was illegal to photograph nudes so the swimmers provided a surrogate. Taking on the role of “beach photographer” enabled Bakharev to both earn a living and depict his subjects in a much more revealing way then was officially allowed.

Bakharev carefully arranges his subjects into compelling poses in which the physical contact is erotically charged, and at the same time display vulnerability and elegance. In this show we have selected works from the “public” realm, although the settings for these images are so constricted within their leafy environments that they almost feel like studio environments.

Gerard Petrus Fieret (Amsterdam 1924-2009) lived in the Netherlands and like Tichý, he was trained as a painter at the Academy and self taught as a photographer. However unlike Tich? and Bakharev he was active in a milieu with no societal restrictions. Fieret maintained a studio practice where he directly engaged with his sitters in a raucous confrontational and experimental mode. There is an open dialogue that is ambiguous and has a performance aspect. Unlike Bakharev’s conventionally printed black and white prints, Fieret worked in a completely inconsistent and fearless way with creased, strangely exposed prints made in a great range of sizes, with dashing signatures in felt tip pen and studio stamps contributing to their strong graphic presence and dada spirit. It is said that Fieret was paranoid and very difficult to work with, but that is not what comes through in his sensual and exuberant work. 

Miroslav Tichý (Czech Republic 1926-2011), unlike Bakharev and Fieret, depicted women surreptitiously with eccentric hand made cameras. Only in recent years has his work been discovered and he has been regaled as a visionary with exhibitions at the Kunsthaus Zurich, the Pompidou and the ICP in New York. Following the communist takeover of the Czech republic, Tichý returned from Prague where he attended the Academy of Fine Arts to his small home town of Kyjov, and abandoned his training as a modern painter due to the restrictions placed by the regime who regarded him as a dissident. He began to fabricate cameras from cardboard and photographed women at the local public swimming pool, in parks and made thousands of photographs, up to eighty a day, and each unique. They accumulated in the shack where he lived and worked in squalor, with no running water. There he worked exclusively in photography from around 1972 until 1985 when he returned to painting. A decade later his neighbor and friend brought Tichý to the public eye. The voyeuristic aspect of the work can be unsettling, yet the necessary cropping and distorted perspectives give the prints a strong graphic quality and a great deal of sophistication. 

Bakharev in Siberia, Tichý in Kyjov and Fieret in Amsterdam, each engaged obsessively with the subject of women, and each shaped by a strikingly different environment. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5BFE-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5BFE-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5BFE-170" width="170" />
  <Karma>2.34044</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747453</Latitude>
  <Longitude>-74.005631</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/5CE4" href="http://www.nyartbeat.com/event/2012/5CE4">
  <Name>&quot;The Figure in the Landscape: 100 Years of Photography&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/6C72366E">
    <Name>511 Gallery</Name>
    <Type>Gallery</Type>
    <Address>252 7th Ave., # 12J, New York NY 10001</Address>
    <Phone>212-255-2885</Phone>
    <Fax>212-255-6518</Fax>
    <Access>Between 24th and 25th Sts.  Subway: 1 to 23rd Street</Access>
    <Area areaId="chelsea_east">East Chelsea</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: Photography</Media>
  <Description><![CDATA[511 Gallery presents The Figure in the Landscape: 100 Years of Photography, an exhibition of photographs by Eugene Atget, Gregory Crewdson, Benjamin Faga, Anna Ferrer, Mario Giacomelli, Catriona Grant, Laura Heyman, Vaughan Judge, Lucy Levene, Romaine Orthwein, Carole Reiff and Rebecca Soderholm.

Intimate and yet vast, neither portrait nor landscape, the photographs in this show constitute a genre of their own: The Figure in the Landscape. Whether natural or domestic, the environments in which the figures exist, speak as loudly as the figures themselves. Thus, even the term figure becomes flexible, as the subject of the photograph stretches to include animals, plants or structures. Though most photographs in this exhibition depict the human figure, most of them in action, it is the context of the figure’s physical environment that breathes life and meaning into the work. In each composition, the figure and the setting almost equally hold their own.

These varied photographs were taken by twelve different artists between 1912 and 2012; yet they all successfully marry the figure and the landscape in ways that make the viewer contemplate the practical and spiritual relationship humans have to their environments,
whether natural or domestic. United in this exhibition, these photographs also engage in a vivid and playful conversation amongst themselves, opening up the work further, providing the viewer with a rich and dynamic experience.

[Image: Gregory Crewdon &quot;Untitled (from Natural wonder series)&quot; (1994)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5CE4-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5CE4-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5CE4-170" width="170" />
  <Karma>2.5</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.745161</Latitude>
  <Longitude>-73.995072</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/5CEA" href="http://www.nyartbeat.com/event/2012/5CEA">
  <Name>Hassan Sharif Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/446933D8">
    <Name>Alexander Gray Associates</Name>
    <Type>Gallery</Type>
    <Address>508 W 26 St., #215, New York NY 10001</Address>
    <Phone>212-399-2636</Phone>
    <Fax>212-399-2684</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[Alexander Gray Associates presents Emirati artist Hassan Sharif's first solo exhibition in the United States. To introduce his work to a New York audience, the Gallery has organized a micro-retrospective of works spanning 30 years, including rare photo-documentation of early performance- and process-based projects, experimental works on paper, and two sculptural installations. Of note are photo-documents of the artist’s 1983 durational work, performed in the Hatta Mountain desert in Dubai.

Recognized as a pioneer of conceptual art and experimental practice in the Middle East, Sharif's artworks move beyond the limits of discipline or singular approach, encompassing performance, installation, drawing, painting and assemblage. Since the late 1970s, he has maintained a practice as a cultural producer and facilitator, moving between roles as artist, educator, critic, activist and mentor to contemporary artists in the United Arab Emirates and the broader MENASA (Middle East-North Africa-South Asia) region. 

In her analysis of the cultural context for Sharif’s artistic practice, curator Catherine David notes, “...the overdue recognition of Hassan Sharif’s body of work is not lacking in ironies and misconstructions, especially given the different ways–the local and the international–in which the processes and the stakes involved in his oeuvre were met...if some think of Sharif today as ‘the father’ of modern art in the U.A.E., it is certainly from a viewpoint that takes into account the pioneering artistic experience and process that the artist developed amid (or, more accurately, on the margin of) a society where the conditions for the production and exposure of ‘modern art’ were not there.”

[Image: Hassan Sharif &quot;Paper, Cardboards and Glue 2&quot; mixed media (1996)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5CEA-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5CEA-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5CEA-170" width="170" />
  <Karma>3.86342</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749679</Latitude>
  <Longitude>-74.003355</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/5D2F" href="http://www.nyartbeat.com/event/2012/5D2F">
  <Name>Yuki Ioroi Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/5824D07A">
    <Name>Ouchi Gallery</Name>
    <Type>Gallery</Type>
    <Address>170 Tillary St., Suits 507, Brooklyn, NY 11201</Address>
    <Phone>347-559-1368</Phone>
    <Fax></Fax>
    <Access>Between Gold St. and Flatbush Ave. Subway : M/N/R to Lawrence Street or C/F to Jay Street.</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Appointment needed.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[Yuki Ioroi was born in 1980, Shizuoka Japan. She started her career as an artist when she moved to Los Angeles in 2001, and participated in local artist showcase events throughout the two years. Her style of pieces was mostly abstract in these years. After returning to Japan, Yuki moved to Tokyo and graduated from Asagaya Art College, School of Image Creation in 2007. She started creating painting pieces that incorporated words of her messages, shifting from the previous abstract style. Yuki creates pieces that speak to the mind of people who have lost themselves in today’s overwhelming world. Being force fed with information from every possible direction, it is easy for any of us to lose our own values, or feel threatened to live up to the unrealistic standards portrayed by the media and social peers alike. Her words directly reach out to those who have convinced themselves of their created identities as their true selves. The recurrent concept of her artwork is to offer an opportunity for the audience to look within themselves and reflect. Through her thoughtful and playful words, Yuki wants her audience to dig deep to their conscious and find that something they might have forgotten while busy living. In 2011, she moved to London and continuing her career and actively participating local exhibitions. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5D2F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5D2F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5D2F-170" width="170" />
  <Karma>2.90598</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-07</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-07" start="19:00:00" end="22:00:00">Opening Reception</Party>
 <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.696</Latitude>
  <Longitude>-73.983322</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/5E45" href="http://www.nyartbeat.com/event/2012/5E45">
  <Name>Will Kurtz &quot;Extra F***ing Ordinary&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/8701820A">
    <Name>Mike Weiss Gallery</Name>
    <Type>Gallery</Type>
    <Address>520 W 24th St., New York, NY 10011</Address>
    <Phone>212-691-6899</Phone>
    <Fax>212-691-6877</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_24">Chelsea 24th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Mike Weiss Gallery presents Extra F***ing Ordinary, Will Kurtz's debut exhibition at the gallery. The show consists of life size figural sculptures constructed of collaged torn sheets of newspaper, wood, wire, screws, tape and everyday objects which depict the characters captured by Kurtz's iPhone camera lens.

Utilizing the observing eye of a curious urban voyeur, Kurtz spends large portions of his days combing the streets of New York for his subjects which are later transformed into sincere and amusing life-size sculptures. It is not the subjects' aesthetic appeal that draws Kurtz as much as their essence and strong representation of the multitude of prototypes that typify New York City: from an old married couple and endearingly eccentric dog owners to curmudgeonly middle-aged smokers.
 
Kurtz’s sculptures openly reference real people engaged in real scenarios, be it posing for group shots at a tourist attraction, walking their dog, awkwardly changing their clothes or reluctantly sweeping the floors. Kurtz holds an admiring magnifying glass to the genre of subjects and scenes that are commonly overlooked. The subjects collectively present a candid and unapologetic mosaic of New Yorkers in their blunt, colorful, borderline-manic ways made of the same papers they read in coffee shops and subways during their morning commute.
 
As important as the subjects are to understanding Kurtz’s works is the medium—discarded and recycled bits of print publication, DIY building and packaging supplies, along with everyday objects that bring a sense of familiarity to the works. Kurtz leaves the subjects’ skin and clothes unpainted, inviting a closer inspection of the kaleidoscopic bits of text and images that form each figure. By emphasizing the technique and the material life of his figures, Kurtz diverges from such realist sculptors as Duane Hanson and Ron Mueck, famous for their meticulous replication of the human skin. Kurtz’s figures, therefore, are more emblematic than realistic, reminding viewers they are constructs of Pop-culture references—from daily savings coupons and scandalous political headlines to the cultural and fashion icons of the style section and page six. Kurtz’s work is more closely affiliated with the everyday reverence seen in Bill Cunningham’s snapshots of fashionable New Yorkers than any unifying sense of timeless existence. It is Kurtz’s own insouciant and humorous reminder of life’s temporality.
 
Will Kurtz received his MFA from the New York Academy of Art where he was the recipient of the Postgraduate Fellowship, 2009 – 2010. 

[Image: Will Kurtz &quot;Studio View&quot; (2011)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5E45-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5E45-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5E45-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.74875</Latitude>
  <Longitude>-74.004378</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/5E53" href="http://www.nyartbeat.com/event/2012/5E53">
  <Name>&quot;Drawing a Line in the Sand&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/7A3CE2C9">
    <Name>Peter Blum Gallery (Soho)</Name>
    <Type>Gallery</Type>
    <Address>99 Wooster St., New York, NY 10012</Address>
    <Phone>212-343-0441</Phone>
    <Fax>212-343-0523</Fax>
    <Access>Between Spring St. and Prince St. Subway: R/W to Prince Street or C/E to Spring Street</Access>
    <Area areaId="soho">Soho</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>saturdays openinghour 11:00</ScheduleDetails>
    <ScheduleNote>Summer Hours (July 8 - August 1): Monday - Friday, 10 am-6 pm. Closed August 2-25.</ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Peter Blum presents the exhibition Drawing a Line in the Sand, a group exhibition of works on paper.

Drawing a Line in the Sand is a continuation of the gallery’s ongoing interest in drawing. It follows the tradition begun with earlier exhibitions such as Drawing a Line and Crossing it (1997) and Line and Surface (2006).
 
Over the past century the definition of drawing has broadened its boundaries significantly. As drawings were once perceived as preparations for other artworks or illustrative images, they have in recent times transformed into an art form that stands on its own. Like with painting and sculpture, artists have pushed the limits of drawing, expanding the meaning of line and surface.
 
Drawing a Line in the Sand presents an array of drawings by twelve artists spanning a period from the 1960’s to the present. Focusing on the importance of the line, the artists in the exhibition employ a variety of methods and materials such as pencil, graphite, charcoal, watercolor, enamel and even the folding of paper, expanding the definition of the drawing and the possibilities of the medium.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5E53-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5E53-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5E53-170" width="170" />
  <Karma>1.16958</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-31</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>51</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.7244</Latitude>
  <Longitude>-74.000958</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/5FAA" href="http://www.nyartbeat.com/event/2012/5FAA">
  <Name>Eddie Rehm “The Belligerent Plasticity of Duality in He, Himself.”</Name>
  <Venue href="http://www.nyartbeat.com/venue/EBC16FB7">
    <Name>Dino Eli Gallery</Name>
    <Type>Gallery</Type>
    <Address>81 Hester St., New York, NY  10002</Address>
    <Phone>917-600-0807</Phone>
    <Fax></Fax>
    <Access>Between Orchard and Allen Sts., Subway: F/M/J/Z to Delancey Street.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[The Dino Eli Gallery presents its first exhibition of cutting-edge, “Instant Gratification Abstract”, contemporary art, hosting works by celebrated New York artist, Eddie Rehm. &quot;The Belligerent Plasticity of Duality in He , Himself, refers to the concept that also defines the idea that you can start out well, get to something, and for some reason, maybe it’s me just saying #%#* it, unconsciously sabotaging it and watching it all go to %*%&amp;. We can be our own worst enemy without even realizing why. But you come to the point where you say, “I’ve got to stop doing this.” You can take that negative side, and turn it around on its head and make it something that can be productive, using its strength towards a positive outcome. Effectively in hindsight it becomes a Blessing in Disguise.” Rehm says. A theme or script in our lives that seems entirely relevant in our current societies state &amp; a strong powerful recurring  theme in the Lastest Works Revealed by Eddie Rehm.

“The art work is belligerently striking, with art-medium experimentation, a style all in It’s own and since I‘m  committed to bringing my clients &amp; patrons high quality, investment grade art, I just had to work with my represented artist Eddie Rehm to exhibit an eclectic array of art that sets a forward standard with the addition of my newest gallery” says Dino Eli  owner of both Orchard Windows Gallery &amp; the Dino Eli Gallery.

“If art history has taught us anything, it’s that pre- and post-war economic ups and downs, and society in its progression as a whole,
have given art a nuance. The artistic styles, movements and artists in these time periods signify just that. We are on the precipice of a
major change much needed right now in our society. I feel that 21st century art will reflect that change and bring back art for art’s sake. I think of the simplistic quote, “Out with the old and in with the new”— artists need to create,  and the ones that do will be the
ones known to me and you,” Rehm says.

Eddie Rehm is one of the hottest new artists to emerge in a long time. His work has been described by art critics and analysts as “a fusion of raw emotion, deliberately instinctual design, and art-medium experimentation.”  He has participated in numerous solo exhibitions, displaying in New York, Los Angeles, Chicago, Milwaukee, Boston, Miami, East Hampton and Pennsylvania, as well as many local Art Leagues and Associations.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5FAA-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5FAA-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5FAA-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-11</DateStart>
  <DateEnd>2012-02-24</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-11" start="16:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>15</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.715995</Latitude>
  <Longitude>-73.991193</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/5FF0" href="http://www.nyartbeat.com/event/2012/5FF0">
  <Name>&quot;Publications by Maurizio Cattelan from Three Star Books&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/B38A4EDB">
    <Name>Printed Matter, Inc.</Name>
    <Type>Shop</Type>
    <Address>195 10th Ave., New York, NY 10011</Address>
    <Phone>212-925-0325</Phone>
    <Fax>212-925-0464</Fax>
    <Access>Between W 21st and W 22nd St. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</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>thursdays closinghour 19:00, fridays closinghour 19:00, saturdays closinghour 19:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Prints</Media>
  <Description><![CDATA[Printed Matter presents an exhibition featuring a new set of publications by Maurizio Cattelan from Three Star Books.

Conceived as artworks in the spirit of Duchamp’s Boîte-en-valise, the large format and loose-page boxed set surveys Cattelan's career with an autobiographical account that verges on the mythological.

Designed and edited by the artist, these three books: &quot;Die / Die more / Die better / Die again&quot; (2007), &quot;The Three Qattelan&quot; (2010) and &quot;The Taste of Others&quot; (2011) are beautifully produced objects, printed offset in 5 colors (note that &quot;Die / Die more / Die better / Die again&quot; (2007) is printed in 6 colors using Staccato screens with UV inks).

For the duration of the exhibition, Printed Matter will have regular editions available for purchase individually as well as boxed sets. 

The completion of this set marks the artist's continued interest in publishing and elaborates on a career making wry and penetrating sculptures, most famously a life-size Pope John Paul II brought down by a meteor. These works from Three Star Books are as ambitious in scope and partake in the subtle delivery of his past works.

Pages of text and photos have been translated into hand-painted plates following an original typeset model and subsequently printed offset on recto only; the images of Cattelan's own sculptures, photos and publishing efforts are likewise painted as miniatures by artists Fu Site and Xinhui Li.

For the most recent edition (published in October 2011) long-term Cattelan collaborator and New Museum curator Massimiliano Gioni recounts the many editions and ephemeral projects spawned by the artist. Beyond merely listing works in catalogue raisonne form, Gioni’s text is done in a magisterial style, often written about himself in the third person to demonstrate the intricate crossovers between friendship and work. The other editions include writing by writer and curator Francesco Bonami and Bice Curiger, chief editor of Parkett and curator at Kunsthaus Zurich.

Each of the Three Star Books measures 12.7 x 16.9 inches and is produced in an edition of 1,000. Special signed and numbered deluxe copies are available for both &quot;Die / Die more / Die better / Die again&quot; (2007) and &quot;The Three Qattelan &quot;(2010) editioned at 100 copies and the deluxe copy of The Taste of Others (2011) is available in an edition of 50. All three titles in deluxe form include an original hand-painted illustration.

Each book comes in a hand-crafted cardboard box with embossed and foil stamped text including a printed image in a plate sink. The complete sets retail for $1,550 USD and can be purchased at Printed Matter or online here. &quot;Die/Die More/Die Better/ Die Again&quot; retails for $900.00 USD and can be purchased here. &quot;The Taste of Others&quot;, the newest publication in the series, retails for $325 USD and can be purchased here.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5FF0-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5FF0-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5FF0-170" width="170" />
  <Karma>1.45161</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746794</Latitude>
  <Longitude>-74.00485</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6018" href="http://www.nyartbeat.com/event/2012/6018">
  <Name>Johannes Girardoni &quot;Lost-and-Found&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/B9AE77CF">
    <Name>Tomlinson Kong Contemporary</Name>
    <Type>Gallery</Type>
    <Address>270 Bowery, New York, NY 10012</Address>
    <Phone>212-966-3566</Phone>
    <Fax>212-463-7491</Fax>
    <Access>Between Houston and Prince Sts., Subway: F to 2nd Avenue.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 12:00, saturdays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Tomlinson Kong Contemporary announces Lost-and-Found, an exhibition by the Austrian-born, American sculptor and installation artist Johannes Girardoni. Fresh off the critical success of his light and sound installation at the 54th Venice Biennale in the exhibition, Personal Structures, Girardoni is presenting new work composed of over-painted photographs, sculptures and site-specific installations.

The core vocabulary of Girardoni’s work is the convergence of light and material re-articulated into different physical forms. The situations he creates with his work are ones in which the viewer has to discern what is virtual and what is real. This minimalist concept of requiring the interaction of the viewer makes sense as Girardoni’s work is part of the ongoing dialogue that investigates the way art affects our physical reality and the space it occupies.

His over-painted photographs, referred to as “Exposed Icons,” are the result of a trip to Mali in 2008 that inspired him to see Western culture through a new lens. He began to see our physical environment as a result of the convergence of virtual and physical information, and billboards as iconic artifacts of the fundamental role advertising plays in forming the way we see ourselves. In Mali he saw a raw, pure and non-aestheticized culture that contrasted sharply with Western reality where our infrastructure is built on the convergence of digital and material systems. Girardoni began photographing the backsides or empty faces of billboards and digitally superimposing exposures to create new, visual structures. The digital images are then mounted onto aluminum where he further interacts with them by painting over portions of the image. The virtual algorithm of light required to create digital images converges in “Exposed Icons” with the physical paint and aluminum support to create a third form that contributes a new physical artifact to our surroundings.

Girardoni’s light and sound sculptures, referred to as “Refrequencers” or “Peak Light Extractions,” are a further expression of these same interests. Made of cast-resin pieces back-lit with LED panels, these works shift in appearance and color depending on the current light situation and the position and movement of the viewer. &quot;Refrequencers&quot; capture and digitally slow the waveforms emanating from the resin using sensors that reprocess the light information. In “Peak Light Extractions,&quot; Girardoni measures and isolates the highest intensity light frequencies coming through the resin, which provide the analogous color information of the loosely articulated paint of the constructed plywood panels. Perception and truth converge in these works by exploring the way information systems alter our behavior thereby creating constantly shifting realities.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6018-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6018-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6018-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-03-12</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-18" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>32</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.723546</Latitude>
  <Longitude>-73.992982</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6133" href="http://www.nyartbeat.com/event/2012/6133">
  <Name>Simone Leigh &quot;You Don’t Know Where Her Mouth Has Been&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/1D3ACD3B">
    <Name>The Kitchen</Name>
    <Type>Other</Type>
    <Address>512 W 19th St., 2 Fl., New York, NY 10011</Address>
    <Phone>212-255-5793</Phone>
    <Fax></Fax>
    <Access>Between 10th Ave and West Side Hwy. Subway: A/C/E to 14th Street or C/E to 23rd Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</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>saturdays openinghour 11:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[The Kitchen presents the New York premiere of You Don’t Know Where Her Mouth Has Been, a solo exhibition by sculptor and video-maker Simone Leigh. The exhibition, curated by Rashida Bumbray, features Leigh’s most recent explorations of materiality, women’s work, and Afro-futurism in sculpture, video, and site-specific installation.

Known for her archaic anthropomorphic sculptural forms in porcelain, terracotta, tobacco, glass, and steel, in addition to video and media-based works, Leigh’s practice often interrogates the notion of art—especially craftwork and sculpture—as merely decorative. She investigates the processes and cultural histories of constructing objects, bringing handmade ceramic vessels together with re-purposed found objects in order to put forth a dialogue between the aesthetically beautiful and brutally utilitarian. 
Leigh’s practice employs early African ceramic techniques to evoke contemporary parallels and underlying social and economic conditions. For You Don’t Know Where Her Mouth Has Been, the artist draws from the symbolic and political traditions of a diversity of influences—from early African-American face jugs and the manifesto of Africobra to Star Trek and Gilbert and Sullivan—in order to explore the slippages among multifarious cultural, political, and colonial histories that have laid claim to marginalized bodies. You Don’t Know Where Her Mouth Has Been will include three new bodies of work: sculptural chandelier installations, bust sculptures, and a video collaboration with artist Chitra Ganesh, featuring a musical score created and performed by Kaoru Watanabe. Leigh’s work was previously exhibited at The Kitchen as part of The Future As Disruption, a group exhibition that took place in Summer 2008. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6133-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6133-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6133-170" width="170" />
  <Karma>1.25095</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-18</DateStart>
  <DateEnd>2012-03-11</DateEnd>
  <ScheduleNote>A free performance event on Monday, February 13, 7:00 P.M.</ScheduleNote>
 <Party type="1" date="2012-01-18" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>31</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.745308</Latitude>
  <Longitude>-74.006186</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/613A" href="http://www.nyartbeat.com/event/2012/613A">
  <Name>Lothar Osterburg Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/03242706">
    <Name>Lesley Heller Workspace </Name>
    <Type>Gallery</Type>
    <Address>54 Orchard St., New York, NY 10002</Address>
    <Phone>212-410-6120</Phone>
    <Fax>212-410-5340</Fax>
    <Access>Between Grand and Hester. Subway: B/D to Grand Street or F/J/M/Z to Essex Street.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 12:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Lothar Osterburg makes photogravures of small, sculpted models of windmills, lighthouses, sailboats among others, staged in evocative settings. Built from memory of readily available materials, the models have a dreamlike quality which is enhanced by the placement of the camera within their world; the perspective is that of a person within the set, obscuring the actual size of the objects. The viewer, drawn into the scene, fills the gap created by the absence of people. The smallest models are photographed through a magnifying glass or with a macro lens. With this extremely short focal range, the scenes become ambiguous, mysterious, or even ominous while somehow retaining the playful quality typical of Osterburg 's hand.
Whether in his studio, or against the rocky coast of Maine 's Mount Desert Island, or in a microcosm of frozen tire tracks at the MacDowell Colony, the staged settings enhance the textures of the artist 's eccentrically diverse materials, creating a tension between the representational and the realistic.
A downed mulberry tree from his Brooklyn backyard spawned an entire rough-hewn coastal village. Tall ships made of firewood, twigs and toilet paper, a translucent glycerin lighthouse on a potato island, recycled plumbing supplies, glass doorknobs, soap and a stormy sea made of peanut butter all appear in this delightful, buoyant world.
Photogravure produces rich, velvety blacks as well as soft, infinite gray values, and has attracted artists and photographers for more than a hundred years. Osterburg works strongly in the tradition of the master photographers from the turn of the last century who admired the soft values of photogravure and considered their photogravures original prints. Osterburg, like Emerson, Coburn or Stieglitz is not only the photographer but has also mastered the difficult technique of photogravure plate making and printing, thus controlling all the steps in his artistic process.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/613A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/613A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/613A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-01</DateStart>
  <DateEnd>2012-03-04</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>24</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.716594</Latitude>
  <Longitude>-73.990822</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6153" href="http://www.nyartbeat.com/event/2012/6153">
  <Name>“Immaculate: Reflections of Mary” Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/FE24F6F7">
    <Name>MF Gallery</Name>
    <Type>Gallery</Type>
    <Address>213 Bond St., Brooklyn, NY 11217</Address>
    <Phone>917-446-8681</Phone>
    <Fax>212-431-2579</Fax>
    <Access>Between Butler and Baltic Sts. Subway: F or G to Bergen Street</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>14:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="1" fri="1" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Prints</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[MF Gallery presents “Immaculate: Reflections of Mary”.
 
The Virgin Mary has played the longstanding role of a mother, daughter, wife, and saint. This iconographic female figure’s influence on artists has been expressed through songs, poetry, paintings and statues throughout history. Today she is represented in film, television, t-shirts, stickers, tattoos, and even visualized on toast, allotting her a most unusual occupancy in popular culture.
 
Immaculate: Reflections of Mary seeks to reveal artwork influenced by the Virgin Mary.  This unique collection will show us how her image has transcended from a figure in religious institutions into modern culture.
 ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6153-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6153-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6153-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-11</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-11" start="19:00:00" end="22:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.682833</Latitude>
  <Longitude>-73.987422</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6194" href="http://www.nyartbeat.com/event/2012/6194">
  <Name>Food &amp; Wine Related Vintage Posters Auction Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/EC657B99">
    <Name>International Poster Center</Name>
    <Type>Gallery</Type>
    <Address>601 W 26th St., 13 Fl., New York, NY 10001</Address>
    <Phone>212-787-4000</Phone>
    <Fax>212-604-9175</Fax>
    <Access>Corner of 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>09:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>During exhibitions also open on Saturdays and Sundays 11am- 6pm.</ScheduleNote>
  </Venue>
  <Media>2D: Graphics</Media>
  <Media>2D: Prints</Media>
  <Description><![CDATA[This visual feast covers every facet of gastronomica, including original advertisements from the past 150 years for wine, beer, champagne, bitters, liqueur, bottled water, juice, coffee, tea, port, bread, sugar, canned goods, fruit, olive oil, ketchup, cereal, biscuits, crackers, fish, butter, yoghurt, cheese, chocolate, and a myriad of other delectable treats.
 
Posters advertising food &amp; wine are some of the most iconic designs of the 19th and 20th centuries, visually expressing the universal joy of eating. Whether you are a college student surviving on Ramen noodles or a seasoned foodie, we all love the experience of enjoying good food. The original art in this auction embraces that shared delight, reveling in all that is tasty.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6194-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6194-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6194-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-27</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote> On Sunday, February 12, Poster Auctions International will host a specialty sale of over 400 food &amp; wine related vintage posters.</ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747339</Latitude>
  <Longitude>-73.986303</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/61D5" href="http://www.nyartbeat.com/event/2012/61D5">
  <Name>&quot;Resolve&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/2456A56F">
    <Name>Joshua Liner Gallery</Name>
    <Type>Gallery</Type>
    <Address>548 West 28th St., 3rd Fl., New York, NY 10001 </Address>
    <Phone>212-244-7415 </Phone>
    <Fax>212-244-7416</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street</Access>
    <Area areaId="chelsea_28_above">Chelsea 28th - 33rd</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Joshua Liner Gallery presents Resolve, an exhibition of twenty-five emerging and established artists whose work is rooted in classical art traditions and training. In rendering the figure, still life, or landscape subject, this illustrious group (including twenty-two painters, two sculptors, and one photographer) expresses a collective interest in classical art forms with a variety of distinct and decidedly contemporary voices. As the first in a series of annual artist-curated exhibitions at Joshua Liner Gallery, Resolve is organized by gallery artist Tony Curanaj and includes works by the following artists:

Anthony Waichulis, Brad Kunkle, Christopher Gallego, Dan Thompson, David Kassan, Edward Minoff, Graydon Parrish, Jacob Collins, Jacob A. Pfeiffer, Jefferson Hayman, Jeremy Mann, Kate Lehman, Kim Cogan Kris Kuksi, Kris Lewis, Lee Misenheimer, Michael Grimaldi, Rob Leecock, Scott Waddell, Shawn Smith, Shawn Barber, Steven Assael, Tony Curanaj, Travis Schlaht, Will Wilson

Though considered divergent from the postwar developments of Pop, Conceptual, and Minimalist art (among others), the curriculum of classical art training—with its emphasis on skill and the realistic depiction of the figure, still life, and landscape—has nevertheless continued to evolve through the interests and talents of contemporary artists. Creating on the fringes of graduate-school art programs and modern art theory, these intrepid practitioners of traditional art forms and techniques have kept them alive and vibrant, while reinterpreting them through the social and visual culture of their time.

Such influences as Van Eyck, Caravaggio, and Rembrandt, as well as Klimt, Degas, and the pre- Raphaelites, to name but a few, can be discerned in many of the figure and portrait paintings and drawings collected here. The gestures, settings, and mood, however, are entirely of the moment, emphasizing the evergreen nature of classical training and its capacity to adapt to whatever arises, from tattoo culture to contemporary graphic design. Vestiges of Turner, Eakins, and other masters are also apparent in the landscape and figurative works included, but elsewhere one can see the boundary-pushing daring of more recent and contemporary figures such as Andrew Wyeth, Antonio López García, and Odd Nerdrum.

Among the painters featured, all work in traditional media, most employing oils or egg tempera on canvas, linen, or panel. The sculptors choose from more unorthodox materials, such as toy figurines and dyed blocks of wood, while continuing a dialogue with their time through the tools and history of realism. The founders, teachers, or graduates of such influential institutions as the Water Street Atelier, Grand Central Academy of Art, New York Academy of Art, Ani Art Academy, and Janus Collaborative School of Art are included in the exhibition. In their masterful hands, the tendency toward realism serves a fresh, new generation of artists in capturing their disparate worlds, lives, and vision.

According to curator-artist Tony Curanaj: “This exhibition of colleagues and influences reflects a relatively narrow but varied slice of the art world, and presents it to an audience that may not be exposed to this segment of contemporary art practice. The title Resolve speaks of their determination and progression, qualities that imbue each of these works with beauty and technical virtuosity. From concept to execution, these contemporary masters of their craft are completely engaged in the artist’s process and an artistic direction that is unwavering, regardless of fashion or trend.”

[Image: Tony Curanaj &quot;Nouveau Red&quot; (2011) Oil on canvas, 18 x 36 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/61D5-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/61D5-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/61D5-170" 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>40.751297</Latitude>
  <Longitude>-74.003361</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/63C0" href="http://www.nyartbeat.com/event/2012/63C0">
  <Name>&quot;In-Habitat&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/E3C2716E">
    <Name>The Front Room Gallery</Name>
    <Type>Gallery</Type>
    <Address>147 Roebling St., Brooklyn, NY 11211</Address>
    <Phone>718-782-2556</Phone>
    <Fax></Fax>
    <Access>Corner of Metropolitan Ave. Subway: L to Bedford Avenue</Access>
    <Area areaId="williamsburg">Williamsburg</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>Also by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[In the exhibition “In-Habitat” each artist takes a unique perspective of the concept of habitat, and what it is to inhabit this world. 

Gregory Curry’s paintings relate his postulations of a post human environment inspired by and extrapolated from the various dynamic conditions now impacting on the human animal. The environments and entities that populate his paintings seem imbued with pure energy on a primordial level, set against a background of contrasting complimentary colors. Curry utilizes familiar modes of representation such as rendering, perspective and classic spatial relationships in a way that draws the viewers into these uncanny realms, relating our temporality within an environment of elemental particles and genetic materials. 

Lisa DiLillo creates nocturnal landscapes and still lives that engage luminosity as a visual correlation to nature's life force. The photographs depict a liminal state where subjects are transforming or are in the process of coming into being, reflecting on our evolving environment and on unusual climatic occurances. The intensity and incertitude of these photographs underscore the idea that the more we investigate nature the more mystifying and complex it becomes. 

Rooted simultaneously in science while evoking the fantastic, Julia Whitney Barnes creates works that reinterpret life and the natural environment. Her paintings explore the complex relationship and power struggles of humans with nature, and the contradictions in which our society gives life to and reveres nature while abusing and overlooking it. Her large scale oil painting depicting a tree house abstracted with layers transparencies and lush patches of color, transposes elements of the forest and individual trees with the interior panels of a the structure, relating her desire for a more balanced relationship with nature. 

Kim Holleman relates environmental issues of contamination of our natural resources, brought on by radioactive fallout, chemicals seeping into ground water, oil spills and the ephemera in our petro-chemical environment. She infers the impact of these elements and the increasing toll on our natural environment, presenting an installation of displays and scenes, colliding natural and artificial reality, both fantastical and frightening, into a curio collection gone awry. This faux-scientific archive shows us beautiful, sometimes-toxic parks, public spaces, visions of nostalgic environments and constructions straining towards natural growth, but spinning out of control, coated to saturation which threatens their very existence. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/63C0-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/63C0-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/63C0-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-02-26</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="19:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>17</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.714247</Latitude>
  <Longitude>-73.957692</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/64AB" href="http://www.nyartbeat.com/event/2012/64AB">
  <Name>&quot;Building as Everydayness&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/051DE6C6">
    <Name>Scaramouche</Name>
    <Type>Gallery</Type>
    <Address>52 Orchard St., New York, NY 10002</Address>
    <Phone>212-228-2229</Phone>
    <Fax></Fax>
    <Access>Between Grand and Hester Sts.  Subway: F to Delancey Street</Access>
    <Area areaId="lower_east_side">Lower East Side</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>sundays openinghour 13:00, sundays closinghour 17:30</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[Scaramouche presents the exhibition, &quot;Building as Everydayness&quot;, uniting a group of artists living and working in Paris. Each of these artists utilizes architecture and the built environment as a starting point for exploring the forgotten histories, individual memories, and political events embedded in the inanimate and quotidian world. Working with a variety of media including sculpture, collage, video, and installation, the artists have adopted Henri Lefebrve's aim in the Critique of Everyday Life (1947) - that the &quot;object of our study is everyday life, with the idea, or rather the project (the programme) of transforming it.&quot; However utopian this Modernist goal was in the 1940s, its triumphs and failures can be seen in the distinctive motifs running through the artists' work, in their examination of the physical ruins of Modernist architecture in the present-day, as well as the adoption of Modernist abstraction in the fields of commercial design and popular culture.
 
Raphaël Grisey's video Minhocão [The Big Worm] is a multi-layered portrait of a Rio de Janeiro housing complex built in the 1940s. A car with loudspeakers attached to its hood drives around the complex, broadcasting a text by Eduardo Affonso Reidy, the site's architect.  Weaving scenes of the complex's current state of ill-repute, interviews, and extracts from a 1970s film shot there, the film raises issues about patrimony and memory in social housing. Like Grisey, Antonia Carrara's work focuses on present-day ruins of Modernist architecture. In Carrara's video Secret Portrait with W.B., a young man by the name of Walter Benjamin (the same as the Frankfurt School critical theorist) gives a guided tour of an island on Lake Como, Italy, winding you through the remains of artists' residences built on Mussolini's orders in the 1930s; Having never been inhabited, the buildings are now overrun by nature. Chloé Dugit-Gros' work is often an articulation of language, operating on the level of the image and the visual signal. Referring to urban cultural codes, and inspired by architectural motifs and their utopian potential, her installations bring together formal elements to compose a narrative sketch. Thomas Klimowski's Patterns series consists of collages that bring to light similarities between disparate landscapes, built environments and time-periods. He reveals iconographic semblances in observations of hard-edged geometric motifs and images of the natural and denaturalized world. Julia Rometti &amp; Victor Costales' series of printed images is inspired by the previous work Without Rain, and is comprised of postcards depicting North and South American environments. Punctuated by 20th century interventions into the landscape, including skyscrapers and twisting highways, these settings lack the idyllic qualities usually associated with nostalgic souvenirs.  ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/64AB-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/64AB-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/64AB-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-15</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-15" start="16:00:00" end="18:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.716528</Latitude>
  <Longitude>-73.991056</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/64EE" href="http://www.nyartbeat.com/event/2012/64EE">
  <Name>&quot;Volumes&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/34A7D849">
    <Name>Causey Contemporary</Name>
    <Type>Gallery</Type>
    <Address>92 Wythe Ave., Brooklyn, NY 11211</Address>
    <Phone>718-218-8939</Phone>
    <Fax>718-218-9347</Fax>
    <Access>Between N10th and N11th Sts.  Subway: L to Bedford Avenue</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>mondays openinghour 09:00, mondays closinghour 17:00, sundays openinghour 12:00, sundays closinghour 18:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Often eclipsed by an artist’s large-scale or interactive creations, editions and works on paper indulge a more intimate sensibility. The archaic and protracted processes involved in printmaking and photography can inflict boundaries and challenges within the image-making process; however, these constraints ultimately produce the unique look, quality and mood of a print.
 
In addition to this exciting exhibition, the gallery will begin hosting a monthly Salon, which will showcase limited editions and works on paper by gallery artists. More information on this event will be provided after the opening of VOLUMES in February.
 
Artists Michel Demanche, Gerald Mocarsky, Chuck Kelton and Shelton Walsmith will all be exhibiting their photography. Sculptors Norman Mooney, Arthur Mednick and Kathy Goodell are better known for their three dimensional and interactive installations, though each of these artists will be exhibiting their photography, in some cases using their own sculptural works as the subject matter. VOLUMES will also feature linocuts, etchings, lithographs and screen prints by Carri Skoczek, Melissa Murray, Alexis Portilla, Nina Carelli and Lauren Dreier.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/64EE-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/64EE-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/64EE-170" width="170" />
  <Karma>2.31372</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-27</DateStart>
  <DateEnd>2012-02-26</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-03" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>17</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.721647</Latitude>
  <Longitude>-73.958361</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6622" href="http://www.nyartbeat.com/event/2012/6622">
  <Name>Ayad Alkadhi &quot;Umbilical&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/B4C6F1BF">
    <Name>Leila Heller Gallery (Chelsea)</Name>
    <Type>Gallery</Type>
    <Address>568 W 25th St., New York, NY 10001</Address>
    <Phone>212-249-7695</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_25">Chelsea 25th</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[The new series of recent paintings and works on paper explores Alkadhi’s experiences under the rule of Saddam Hussein, the casualties of war, the Arab Spring, and ultimately confronts immigration and assimilation.  
 
Within these broad parameters, the artist weaves personal reflections using sarcasm, humor, anger, sex, and “an honest dose of reality,” Alkadhi notes.

Alkadhi’s paintings, and the process to create them, embody human struggle: each mark on the canvas is an indication of the artist’s presence, his body and his hand, wrestling with his histories, his ghosts, and his materials.
 
The layering of such personal and historical content is reflected in the artist’s approach and mark-making, where strata upon strata of content gets buried beneath successive layers. The works typically start with Alkadhi’s signature base of yellowed newspapers pasted onto a canvas upon which he sketches in black and sanguine: bodies, embryos, and faces, thoughts and scribbled notes. A second layer obscures this phase with a heavy-handed brushwork.  A third phase overlays controlled and contained bright colored outlines. Sometimes the layers repeat, intersect, and intertwine.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6622-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6622-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6622-170" width="170" />
  <Karma>1.48148</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749748</Latitude>
  <Longitude>-74.005095</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/66E2" href="http://www.nyartbeat.com/event/2012/66E2">
  <Name>&quot;Campaign&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/6C6B5CBA">
    <Name>C24 Gallery</Name>
    <Type>Gallery</Type>
    <Address>514 W 24th St., New York, NY 10011</Address>
    <Phone>646-416-6300</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_24">Chelsea 24th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[C24 Gallery presents CAMPAIGN, a group exhibition curated by Amy Smith-Stewart. The exhibition places the popular depiction of the female body in a torrent of unrestrained expression from 27 international artists. Smith-Stewart states: “We are a culture obsessed with image making. The rapidly growing and absolutely powerful rise of new media embrace the celebrity lifestyle of “making it.” Who we are and what we are have become reflections of popular thinking.”

Incorporating an array of media, CAMPAIGN goes under the surface of digitally manipulated imagery of the homogenized female in order to understand how this has become a repository for confused and misplaced notions of status, power, dominance and beauty. By showing how women’s bodies are marketed, CAMPAIGN poses questions such as: What perpetuates this hegemonic depiction of women and how do we reveal what is really underneath the super-perfect veneer?

While appropriating imagery from mainstream culture and repurposing fashionable tropes, CAMPAIGN creates alternative meanings that reveal hidden truths—exploring the stereotypes of femininity to uncover contemporary self-reflective practices. The artists show how technological advances enable the manipulation of a visual vernacular. This fuels a fixation with transformation that complicates ongoing struggles with personal identity.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/66E2-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/66E2-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/66E2-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748514</Latitude>
  <Longitude>-74.004428</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/68D1" href="http://www.nyartbeat.com/event/2012/68D1">
  <Name>Eric Wesley &quot;2 new works&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/A6550E82">
    <Name>Bortolami</Name>
    <Type>Gallery</Type>
    <Address>520 W 20th St. New York, NY 10011 </Address>
    <Phone>212-727-2050</Phone>
    <Fax>212-727-2060</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_20">Chelsea 20th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Bortolami gallery presents Eric Wesley's third solo show at the gallery.
 
The first work, &quot;The Improbability of Intentionally Creating Shock&quot;, is comprised of four individually presented elements constituting an elaborate machine. The artist confronts issues of success and failure, and initiates a conversation about the nature of &quot;shock&quot; by literally attempting to &quot;shock&quot; the audience. The primal intent of the work involves one person, the artist, touching another, the viewer: an electrical and biological exchange of energy. The first element is an exaggerated rubber band acting as power supply and storage of energy. Then there is the anchoring system that fixes the machine to a stable point within the space. The center piece of the apparatus is a 200-pound solid-steel chrome-plated square wheel. The final element is the point at which static electricity interacts with the observer, creating a tickling mild zap, or simply the sense of anticipation. The shock is merely implied and not made explicit, derived from physical form and phenomenon, or lack thereof.
 
Presented in the smaller gallery, the second work is a temporary room which demonstrates a paradox of time and space. A three-by-five foot representation of the continent of Europe floats in the room. The likeness of the EU is rendered in great detail according to multiple sources of information. The artist trusted established topological maps, images from space (NASA, ESA), as well as instinct and memory. The viewer walks into this room in New York City from 10am to 6pm to encounter the waning of daylight into darkness of Europe, designed to accurately portray the present reality on the other side of the Atlantic.
 
Eric Wesley was born in Los Angeles, California in 1973, where he continues to live and work. Wesley has held solo exhibitions in galleries internationally as well as at the Museum of Contemporary Art, Los Angeles and Foundation Morra Greco, Naples, Italy. Wesley has participated in group shows at the Hammer Museum in Los Angeles; Musée d'Art Contemporain, Bordeaux, France; Fundación/Colección, Jumex, Mexico; Museo d'Arte, Benevento, Italy; The Prague Biennial in 2007; Institute of Contemporary Art, London; P.S.1, New York; and the Studio Museum in Harlem. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/68D1-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/68D1-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/68D1-170" width="170" />
  <Karma>1.09848</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.745964</Latitude>
  <Longitude>-74.006244</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/69B1" href="http://www.nyartbeat.com/event/2012/69B1">
  <Name> Thomas Scheibitz &quot;A Panoramic View of Basic Events&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/545C297B">
    <Name>Tanya Bonakdar Gallery</Name>
    <Type>Gallery</Type>
    <Address>521 W 21st St, New York, NY 10011</Address>
    <Phone>212-414-4144</Phone>
    <Fax>212-414-1535</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_21">Chelsea 21st</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[For his seventh solo exhibition at the gallery, titled &quot;A Panoramic View of Basic Events,&quot; Thomas Scheibitz will present an extraordinary group of new paintings, sculptures, drawings, and collages.  These pieces function as a meditation on composition across several different media, as the artist continues his  exploration of perspective, the fine line between abstraction and figuration, and the fusion of the painterly and the graphic. Combining imagery that references classical architecture, the contemporary urban landscape, and popular culture, Scheibitz filters these sources of inspiration through his own lens of abstraction to create visually dynamic and compelling works that are layered with meaning and references, yet remain enigmatic.  ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/69B1-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/69B1-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/69B1-170" width="170" />
  <Karma>1.19241</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746647</Latitude>
  <Longitude>-74.005653</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6A70" href="http://www.nyartbeat.com/event/2012/6A70">
  <Name>&quot;FUNNY HA HA&quot; Exhibition </Name>
  <Venue href="http://www.nyartbeat.com/venue/8F73BEDB">
    <Name>BAC Gallery</Name>
    <Type>Gallery</Type>
    <Address>111 Front St., Brooklyn, NY 11201</Address>
    <Phone>718-625-0080</Phone>
    <Fax></Fax>
    <Access>Between Washington and Adams St. Subway: F to York Street, A/C to High Street</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Call ahead for group visits.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[There are many theories of humor which attempt to explain what humor is, what social function it serves, and what would be considered humorous. Artists sometimes use humor to question relationships between art and everyday life, but, using humor to deflate the pretentiousness of the art world is not a new concept. One can say that ever since Marcel Duchamp placed a urinal on a pedestal, artists have been mocking the conventions of art and the artworld. 

But can art be critical and humorous? Undoubtedly, humor is subjective, and not all of these artists are even trying to be funny. Artworks that go for the obvious joke can be easily dismissed as insincere or worse mere entertainment, but humor can also be used as a tactic, a way to help the audience digest serious ideas. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6A70-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6A70-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6A70-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-03-01</DateStart>
  <DateEnd>2012-07-27</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-03-01" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>169</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.702694</Latitude>
  <Longitude>-73.988936</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6AB3" href="http://www.nyartbeat.com/event/2012/6AB3">
  <Name>Sophie Calle, Christian Marclay, Paul Pfeiffer, Walid Raad, Michael Sailstorfer and Carey Young Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/4E34641A">
    <Name>Paula Cooper Gallery  &quot;521 W 21 St.&quot;</Name>
    <Type>Gallery</Type>
    <Address>521 W 21st St., Fl.2, New York NY, 10011</Address>
    <Phone>212-255-1105</Phone>
    <Fax>212-255-5156</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street, A/C/E to 14th Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_21">Chelsea 21st</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: Photography</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6AB3-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6AB3-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6AB3-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-07</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746815</Latitude>
  <Longitude>-74.00573</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6ABF" href="http://www.nyartbeat.com/event/2012/6ABF">
  <Name>Hans-Peter Feldmann Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/AA2A3256">
    <Name>303 Gallery (547 W 21st Street)</Name>
    <Type>Gallery</Type>
    <Address>547 W 21st Street, New York, NY 10011</Address>
    <Phone>212-255-1121</Phone>
    <Fax></Fax>
    <Access>Between 10th Ave. and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_21">Chelsea 21st</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Hans-Peter Feldmann was the recipient of the 2010 Hugo Boss Award, and displayed this prize in its entirety as his exhibition at the Guggenheim Museum, New York. His work has recently been featured in exhibitions at Malmö Konsthall in Sweden Reina Sofia, Madrid, Kempner Art Museum St. Louis, and MOCAD, Detroit. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6ABF-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6ABF-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6ABF-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-24</DateStart>
  <DateEnd>2012-03-31</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>51</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747047</Latitude>
  <Longitude>-74.006278</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="2012/6B03" href="http://www.nyartbeat.com/event/2012/6B03">
  <Name>Isabel Hill &quot;Building Stories&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/F1212C26">
    <Name>Brooklyn Public Library (Central)</Name>
    <Type>Other</Type>
    <Address>10 Grand Army Plz., Brooklyn, NY 11238</Address>
    <Phone>718-230-2100</Phone>
    <Fax></Fax>
    <Access>At Eastern Pkwy. Subway: 2/3/Q to Grand Army Plaza or Eastern Parkway/Brooklyn Museum of Art, or Q to 7th Avenue. </Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>09:00:00</OpeningHour>
    <ClosingHour>21:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>friday closinghour 18:00, saturdays closinghour 18:00, saturdays openinghour 10:00, fridays openinghour 10:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>2D: Prints</Media>
  <Description><![CDATA[This exhibition is an offshoot of my recently published book, Building Stories. Reproductions of color plates from the book are an architectural exploration of some of the symbols and icons on a variety of buildings in New York City. Making the analogy that buildings are like books with stories to tell, Building Stories transforms and animates the history of some of New York’s more unusual and fantastic architectural treasures. Historic photographs from a variety of sources—including Brooklyn Public Library, the New York Public Library, the Brooklyn Historical Society, and other city and national archives—give a rich and colorful look at our past.

The study of architecture and the nature of cities have been compelling interests for me since college. My work, both in writing children’s books and producing documentary films, continues to be greatly influenced by my colleagues—urban planners, architects and historians—and by cities themselves!

Most recently I have been incredibly impressed with children in the neighborhood schools I visit; their views and observations of the city help me to understand and see things in different ways. I conduct architecture tours with them because I believe in the importance of an early appreciation for our built environment. These tours are a wonderful first step toward neighborhood preservation, as kids develop enthusiasm and concern about their neighborhoods just by looking at buildings. They start to feel good about their communities and care about making them cleaner, safer and more beautiful.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6B03-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6B03-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6B03-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-12-08</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.672903</Latitude>
  <Longitude>-73.968878</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6B15" href="http://www.nyartbeat.com/event/2012/6B15">
  <Name>&quot;Glass Ceiling&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/4E3F1B1A">
    <Name>Kate Werble Gallery</Name>
    <Type>Gallery</Type>
    <Address>83 Vandam St., New York, New York 10013</Address>
    <Phone>212-352-9700</Phone>
    <Fax></Fax>
    <Access>Between Hudson and Greenwich St.  Subway: C/E to Spring Street or 1 to Houston Street</Access>
    <Area areaId="soho">Soho</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Kate Werble Gallery presents the work of four artists—Tony Cox, William Lamson, Ken Tisa, and Steven Thompson—in Glass Ceiling, an exhibition that investigates art making process grounded in repetition. Encompassing a range of media from Lamson’s hypnotic video to Tisa’s precisely rendered watercolors, each work stands as the result of contemplative and repetitive processes that verge on ritualistic. In each piece “losing” oneself becomes a manner of attempting to control form, pointing to the slippages between mental shifts and an alchemic transformation of material.

Tony Cox uses thread and small plastic objects to create densely woven compositions on top of canvas. In Meditative Rave, ritualistic imagery is abstracted and simultaneously made highly personal through the materials, as his process transforms a traditionally painstaking domestic activity into contemporary meditation.

In William Lamson’s Levitation Exercise a glowing, white balloon is pushed by the artist over and over into the air. As the balloon recedes, Lamson disappears into the dark. Slowly this mundane gesture transforms into a hypnotic representation. It invites the viewer to consciously know what something is and simultaneously indulge in accepting the illusion, as they are absorbed into its Sisyphean repetition.

Abstract forms are layered across Ken Tisa’s watercolors, creating dizzying visual spaces. The contrast between a Bacchanalian energy and the meticulous rendering of each element builds a tenuous balance between chaos and precision. The repetition of forms invites a state of contemplation that is constantly under siege. 

Steven Thompson creates installations of seemingly precious objects, assembled in elaborate arrangements evocative of renaissance Wunderkammer, scientific displays and religious relics. Nomadic Desk is composed of an array of oddities: found objects and semiprecious stones, mixed with his carefully rendered approximations of them. The piece designates psychological space in which nothing is what it seems.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6B15-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6B15-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6B15-170" width="170" />
  <Karma>1.31783</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-17</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-17" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.726636</Latitude>
  <Longitude>-74.007636</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6B16" href="http://www.nyartbeat.com/event/2012/6B16">
  <Name>&quot;Facture&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/42F48A6C">
    <Name>Airplane</Name>
    <Type>Gallery</Type>
    <Address>70 Jefferson St., Brooklyn, NY 11206</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between Evergreen and Bushwick Aves., Subway: J/M/Z to Myrtle Ave.</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="1" fri="1" sat="1" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Combining a handmade aesthetic with a range of materials, the works in this show manipulate spatial perception and challenge the distinctions between sculpture, painting, photography, and video. Through their formal qualities, along with personal, cultural, and technological references, the works evoke questions about the physicality of the art object. Facture includes work by Hector Arce-Espasas, Jeremy Couillard, Amy Feldman, Elana Herzog, Gisela Insuaste, Jessica Labatte, LoVid, Heather Rasmussen, and Jamil Yamani.  

In Jessica Labatte’s photography, everyday objects are juxtaposed to create abstracted tableaux of vivid colors and geometric shapes. 
Heather Rasmussen reconstructs scenes of shipping container accidents from pieces of brightly colored paper on seamless background paper. In the resulting photographs, the objects retain the fragility of their constructions. Familiar objects are decontextualized and abstracted.  
Using frayed pieces of fabric and wooden and metal supports, Elana Herzog’s labor-intensive work transforms architectural space while reinterpreting the structures of painting, sculpture, and installation. Hector Arces-Espasas’s photograph incorporates painting and portrays a paradisiacal landscape. Gisela Insuaste’s wooden sculptural works depict urban spaces and landscapes and explore the intersection of architecture, topography, and memory. In Amy Feldman’s abstract painting, inverted triangular shapes are utilized to examine spatial structures, as she explores the relationship between figure and ground.   

Jamil Yamani’s video projection of brightly colored circular shapes recall the imagery of mosaic tiles in Islamic architecture and transform into chaotic, flashing lights in the landscape of New York. LoVid, an interdisciplinary artist duo of Tali Hinkis and Kyle Lapidus, construct works of disparate materials ranging from video to fabric as well as performances. In Network, electrical wires were woven together and used to conduct live video, revealing the technological infrastructure and creating a tactile experience. Jeremy Couillard views science as an aesthetic in his painting, which illustrates the evolution of totem poles in a cellular environment —in architectural and biological terms. Patterns and shapes are maniacally repeated, creating a distorted space.    

Eileen Jeng is an independent writer and curator and the archivist at Sperone Westwater gallery in New York. Previously, she was a research assistant in the Department of Contemporary Art at The Art Institute of Chicago. She has been involved in various projects, such as FLOAT at Socrates Sculpture Park in 2007. She received an MA in arts administration and policy from The School of the Art Institute of Chicago and a BA in art history and advertising from Syracuse University.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6B16-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6B16-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6B16-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-11</DateStart>
  <DateEnd>2012-03-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-11" start="19:00:00" end="22:00:00">Opening Reception</Party>
 <DaysBeforeEnd>31</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.698698</Latitude>
  <Longitude>-73.932495</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6B5B" href="http://www.nyartbeat.com/event/2012/6B5B">
  <Name>&quot;Optimismo Radical, 2&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/3897570B">
    <Name>Josee Bienvenu Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., New York, NY 10011</Address>
    <Phone>212-206-7990</Phone>
    <Fax>212-206-8494</Fax>
    <Access>Between 10th Ave. and West Side Highway. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_20">Chelsea 20th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Josée Bienvenu Gallery presents Optimismo Radical, 2. Bringing together nine international artists, the title assembles two words that don’t ﬁt well. As a result, a high indeﬁnition that functions in a number of languages -Spanish, English, Portuguese, French- without being clearly understandable in any of them. Two redundant or contradictory words? Is radical optimism the opposite of moderate optimism? Or the opposite of conservative pessimism? The intention is to create a precise confusion, a label out of focus. In 2012, the gallery will inaugurate a series of individual project room exhibitions under the same title.

Ricardo Alcaide was born in 1967 in Caracas, Venezuela. He currently lives and works  in Sao Paolo, Brazil. Hinged between the poetic and the political, his juxtapositions of images and objects question how people cope with economic and social exclusion in different environments. He has been interested in the Latin American Modernist Movement’s often un-acknowledged debt to vernacular world architecture. His ongoing series of paintings “A Place to Hide”, based on photographs of temporary structures built by homeless people, investigates the notion of shelter. Recent exhibitions include:  A Place To Hide,  Baró Galería, Sao Paulo (2011); Horizonte Vasado, Artistas Latinoamericanos en el ﬁlo, Instituto Cervantes, Sao Paulo, Brazil (2010). 

Benjamin Appel was born in 1978 in Augsburg, Germany, he lives and works in Karlsruhe, Germany. He graduated from the Karlsruhe Art Academy where he studied under Gerd van Dülmen, Thomas Zipp and Daniel Roth. At the interface between painting, sculpture and everyday object while pocking fun at them, Benjamin Appel is committed to the unspectacular and the fragile. sculptural installation of art povera materials such as concrete, earth, soil and elements of furniture coexist with abstract compositions on canvas.  Recent exhibitions include: Das Zimmer des Eremiten, NADA Miami, Weingruell gallery, Die Schwelle des Hauses, Studiokontrolle, Karlsruhe (2010);  Wie Der Vogel in seinem Nest, Kunstahalle Mannheim, Germany (2009).

Johanna Calle was born in Bogota, Colombia in 1965 where she lives and works. She received her MFA from the Chelsea College of Art at the London Institute, London UK in 1993. For the last ten years, she has been focusing exclusively on the medium of drawing. Her work consists of a non-narrative, critical and analytical approach to social and cultural issues in Colombia, speciﬁcally matters relating to women and children, social structures, urbanism and language. Her work was recently featured at the 12th Istanbul Biennial in Turkey, and is currently on view in The Air We Breathe at the San Francisco Museum of Art and in  Submergentes: a drawing approach on masculinities, Museum of Latin American Art (MOLAA), Long Beach, California.  Since 2006 she has had several solo exhibitions with Galeria Casa Riegner in Bogota. She is now preparing for a solo show at Galeria Marilia Radzuk in Sao Paulo, Brazil.

Born in Buenos Aires in 1961,  Alejandro Corujeira moved to Madrid in 1991. His meditative paintings and drawings refer to American Minimalism from Agnes Martin to Brice Marden, and to the Latin American abstract geometric tradition. A past resident of the Josef and Annie Albers Foundation, he has exhibited extensively in Europe and South America with solo exhibitions at the Museo Reina Soﬁa in Madrid and at the IVAM in Valencia. Recent and upcoming exhibitions include: Dan Galeria, Sao Paolo, Brazil (2012); El Comienzo, Marlborough gallery, Madrid, Spain; Lo accessible, vestido de sales, Marlborough Gallery, New York (2009).

Dario Escobar was born in Guatemala City in 1971 where he lives and works. He is known for his sculptural re-contextualization of everyday objects exploring concepts of sculptural, cultural, a n d  h i s t o r i c a l  h y b r i d i t y. I n  2 0 0 9 ,  h e  r e p r e s e n t e d  Gu a t ema l a  a t  t h e  5 3 r d   Ve n i c e Biennale. Upcoming and recent exhibitions include: Singular-Plural, a traveling solo exhibition at Savannah College of Art and Design (SCAD),  Atlanta, GA  (2012). Selections from the Jumex collection, at the Instituto Cultural Cabañas, Guadalajara, México (2011); Video otra vez, Museo de Arte Contemporáneo de Fortaleza, Brazil (2011); From the Recent Past: New Acquisitions, The Museum of Contemporary Art (MOCA), Los Angeles, CA (2011). His ﬁrst monograph will be published by Harvard University Press this year.

Miguel Mitlag was born in Buenos Aires, Argentina in 1969 and currently lives in Turin, Italy. He studied ﬁlm making in Buenos Aires in the 1990’s where he became a member of the experimental art group, ‘Art Destroy’. Minilab, Color Tests, Tropical Experiment: Miguel Mitlag’s photographs seem to document the lab of some mad scientist, they blur the boundaries between science and ﬁction. Ordinary and nearly abstract objects are carefully arranged in spaces ﬁlled with light and super bright colors in a ‘70’s Povera’ aesthetics that recalls Pedro Almodovar’s early ﬁlm sets. Recent exhibitions include:  Como Hacer Un Experimento, Galería Braga Menéndez, Buenos Aires, Argentina (2010);  Anunciamos una repetición....Espacio Telefónica, Buenos Aires, Argentina (2010).

Philomene Pirecki was born in the Channel Islands, UK in 1972, she lives and works in London. She received her MA from The Royal College of Art, London in 1996. At the core of her work is an ongoing enquiry into notions of deﬁnitive representations. Using a  range of media from painting, photography, drawing and sculpture, Pirecki employs slight gestures to modify ﬁxed points of experience in time, history and visual memory.  Recent and upcoming exhibitions include:  Aukje Koks and Philomene Pirecki, MOT International, Brussels, Belgium (2012); Clockwork Gallery, Berlin, Germany (2012); Laure Guenillard, London (2011) ; Aftermath, Chelsea space, London (2011). She also runs the project space Occasionals in London.

Marco Rountree was born in Mexico DF in 1982. He started his career as a grafﬁti artist in  the streets of Mexico, where he still lives. Lately, he has been creating installations of altered books, questioning the access to knowledge in countries where the lower income population doesn’t gain access to education. Recent exhibitions include: Group Show, Museo de arte Moderno, Mexico DF (2011);  Art Positions, Art Basel Miami Beach, Travesía Cuatro, Madrid (2011); Commissioned project curated by Patrick Charpenel for the Coppel collection, Culiacan Sinaloa, Mexico (2011); Nothingless and the being, Coleccion Jumex, Mexico DF, Curated by Shamim Momin (2009).

Fidel Sclavo was born in 1960 in Uruguay. He lives and works in Montevideo and Buenos Aires. As an acclaimed graphic designer, he has published many illustrations and  became reknown for his poster designs. His current work involves fragmenting language in many ways, creating abstract alphabets, micro-pop watercolors and minimal installations. Recent exhibitions include: Cartas no leídas, Tiempos Modernos, Madrid, Spain (2011); Recent work, Centro Cultural de España, Montevideo, Uruguay (2011);  Canvas and papers, Galería Jorge Mara-La Ruche, Buenos Aires, Argentina (2010).

[Image: Miguel Mitlag &quot;2010, Your black pill, Sr., (detail)&quot; (2010) Lambda C-Print, Edition 2 of 5, 29.5 x 29.5 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6B5B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6B5B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6B5B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746167</Latitude>
  <Longitude>-74.0062</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6C16" href="http://www.nyartbeat.com/event/2012/6C16">
  <Name>Chie Fujii &quot;fragment memories&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/5824D07A">
    <Name>Ouchi Gallery</Name>
    <Type>Gallery</Type>
    <Address>170 Tillary St., Suits 507, Brooklyn, NY 11201</Address>
    <Phone>347-559-1368</Phone>
    <Fax></Fax>
    <Access>Between Gold St. and Flatbush Ave. Subway : M/N/R to Lawrence Street or C/F to Jay Street.</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Appointment needed.</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Chie Fujii was reared in Nagoya and Tokyo, Japan. She holds a masters degree in sculpture from Tokyo University of the Arts. After graduating Chie worked in the product industry in Tokyo for 6 years  as a 3D modeling and 3D scanning artist ,which create digital models from scan data to replicate existing real-world objects or from 2D only concepts. This professional experience, creating actual three-dimensional models from 3D software,  has influenced her current work where she creates sculpture, not only by hand,  but with computer 3D software. Her work explores themes of the mind, reality vs. fantasy and what makes up the human body.  In her thought and work, memory forms the boundary between reality and fantasy,  also between herself and others.
Chie lives and works in Los Angles and New York, working as a sculptural artist. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6C16-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6C16-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6C16-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-14</DateStart>
  <DateEnd>2012-02-19</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>10</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.696</Latitude>
  <Longitude>-73.983322</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6C22" href="http://www.nyartbeat.com/event/2012/6C22">
  <Name>&quot;Portraits/Self-Portraits&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/7D8487D4">
    <Name>Sperone Westwater</Name>
    <Type>Gallery</Type>
    <Address>257 Bowery  New York, NY 10002</Address>
    <Phone>212-999-7337</Phone>
    <Fax>212-999-7338</Fax>
    <Access>Between Houston and Stanton St. Subway: F/V to 2nd Avenue.</Access>
    <Area areaId="lower_east_side">Lower East Side</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[Sperone Westwater presents an exhibition of portrait and self-portrait paintings by notable European and American artists from the sixteenth century to the present. This survey includes Old Master paintings from Italy, France, England, and The Netherlands, as well as works by modern and contemporary artists.

The breadth of the works in &quot;Portraits/Self-Portraits&quot; demonstrates that portraiture has been an on-going and reoccurring theme in art history, especially in Western culture, for centuries. The earliest portraits were created to illustrate physical or material attributes of the sitter, which historically included nobility, family, friends, lovers, and the self. According to Angus Trumble, Senior Curator of Paintings and Sculpture at the Yale Center for British Art – who has written the essay for the Portraits/Self-Portraits catalogue – in the seventeenth century, the focus of portraiture shifted to capturing the character or essence of the person. Since the Renaissance, there has been a dichotomy between what portraits – many of which were commissioned – represent or elucidate versus the “likeness” of the sitter. Portraits can depict a person’s wealth, power, piety, occupation, time period, cultural and personal interests, as well as emotional states.

The exhibition also acknowledges new scholarship on works from the sixteenth and seventeenth century. Portrait of a Gentleman from the mid-sixteenth century was recently attributed to Michele di Ridolfo del Ghirlandaio (Florence 1503-1577), the Italian painter of the Renaissance and Mannerist style whose workshop was one of the most important artist’s shops in Florence during this time. In contrast, the painting Portrait of a Young Gentleman by Jacopo Negretti called Palma the Younger (Venice 1548-1628) has a warmer palette, reminiscent of Tintoretto or Titian’s works. A primary portraitist for the Florentine court in the sixteenth century, Jacopino del Conte’s Portrait of a man with gloves is a half-length frontal view of an austere looking man holding gloves, and it has a refined and elegant dark palette. A Young Solider (1624) by Theodor Rombouts (Antwerp 1597 – 1637) is one of the artist’s few dated paintings, and it captures the soldier’s emotional state. Other historical masterworks include those by Leandro da Ponte known as Leandro Bassano (Bassano 1557 – Venice 1622), Nicolas de Largillière (Paris 1656 – 1746), Richard Van Bleeck (The Hague 1670 – 1733 London), to name a few.

Juxtaposed with these paintings are contemporary works that reflect movements in portraiture painting over the last century. Francis Picabia’s Portrait de Suzanne (1942) depicts his lover in a view that was perhaps taken from a photograph. Her makeup and hair indicate the fashion of the time, while her face and posture indicate an emotional state of unease. Pablo Picasso’s Tête de Femme (1943) is painted with vibrant colors and bold brushstrokes in the artist’s signature flat, Cubist style. Andy Warhol’s Self-Portrait (1986) illustrates the artist’s characteristic “fright wig” and his exploration of identity including artist as star, while Kim Dingle’s Group Portrait (2011) explores multiple depictions of the artist.  In Susan Rothenberg’s Memory of 1951 (Self-Portrait), 2011, the artist identifies herself with a toy blue monkey she was given by her parents when she was hospitalized as a child. Tom Sachs’ Krusty (2011) elevates the status of a cartoon character from Pop culture as it becomes the subject of not only a portrait, but a self-portrait painting.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6C22-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6C22-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6C22-170" width="170" />
  <Karma>6.08333</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.723239</Latitude>
  <Longitude>-73.992725</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6C96" href="http://www.nyartbeat.com/event/2012/6C96">
  <Name>&quot;Videorover: Season 3&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/364B519D">
    <Name>NURTUREart</Name>
    <Type>Gallery</Type>
    <Address>56 Bogart St., Brooklyn, NY 11206</Address>
    <Phone>718-782-7755</Phone>
    <Fax></Fax>
    <Access>Between Grattan St. and Harrison Pl. Subway: L to Morgan Street.</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[NURTUREart’s semi-annual video series, Videorover, is an ever-expanding forum for new and emerging video artists. While producing and sharing video is becoming increasingly easier, we believe that truly exceptional video works still deserve to be presented and appreciated in the best possible way. To this purpose, Videorover aims to present a wide range of videos from local and international artists who are willing to question and extend the perceptual limitations of this medium.

Videorover’s Program #1 will present a group of videos that explore the possibilities of a time-based medium. These works do not intend to overwhelm, but derive their power from small moments of refracted realism. Opening on Sunday, December 18 for a week-long presentation at NURTUREart, the videos will be displayed simultaneously in the main gallery space. After the winter break, these videos will move to NURTUREart’s screening area and play on rotation, running concurrently with the regular exhibition schedule. Program #2 features works which show a hightened sense of spectacle by dissecting various elements of filmic tradition. This group, pulling between intimacy and expansiveness, will premier on Friday, January 6, 2012 at Indiescreen Cine Club in Williamsburg Brooklyn. This selection will also be presented at other locations as an itinerant program.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6C96-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6C96-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6C96-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-12-18</DateStart>
  <DateEnd>2012-05-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2011-12-18" start="19:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>98</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.705589</Latitude>
  <Longitude>-73.933197</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6D66" href="http://www.nyartbeat.com/event/2012/6D66">
  <Name>&quot;Peripheral Visions: Italian Photography, 1950s-Present&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/E0B14313">
    <Name>Hunter College Bertha &amp; Karl Leubsdorf Art Gallery</Name>
    <Type>University or School</Type>
    <Address>695 Park Ave., New York, NY 10021</Address>
    <Phone>212-772-4991</Phone>
    <Fax></Fax>
    <Access>SW corner of 68th St. and Lexington Ave. Subway: 6 to 68th St./ Hunter College</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>13:00:00</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[The Hunter College Art Galleries present Peripheral Visions: Italian Photography in Context, 1950s-Present. This landmark exhibition showcases, for the first time in the United States, the works of major Italian photographers who have explored an alternative image of the country: a landscape bound to urban edges, focused on the discarded and the marginal, and deeply connected to a new identity which has developed side by side to the industrial and global transformation of Italian cities. The Hunter College Art Galleries are proud to share these innovative works with the Hunter Community and the City of New York. This group exhibition retraces the history back to the fifties, when photographers like Paolo Monti and Mario Carrieri focused on the blight and the beauty of a city like Milan, where an increasing urban sprawl was creating new social peripheries. The conceptual practices of Franco Vaccari and Ugo Mulas reveal the dynamic dialogue between photography and the overall artistic culture, leading up to Luigi Ghirri’s photography of a new Italian landscape that he treated with a particular color palette. Ghirri’s emphasis on the evocative power of the everyday recurs throughout the show and informs more recent and contemporary visions by artists such as Vincenzo Castella, Massimo Vitali, Francesco Jodice, and Paola Di Bello, among others. The installation also includes film-clips from well-known Italian movies, books and magazines where these photographs have been circulated, and a digital project built to illustrate pages from architectural magazines like Casabella, Domus and other archival sources. 
 
The Hunter College Art Galleries, under the auspices of the Department of Art and Art History, has been a vital aspect of the New York cultural landscape since its inception over a quarter-century ago. This exhibition, curated by Maria Antonella Pelizzari, Professor of Art History at Hunter College, is the result of an educational process developed with graduate students, who have been engaged in the curatorial process at every level. This project underscores the galleries’ unique ability to share the highest levels of academic scholarship and curatorial connoisseurship with the student community and the general public, thus facilitating a dynamic cultural exchange.

[Image: Olivo Barbieri &quot;The Dolomites Project (#3)&quot; (2010) 44 x 58 in. archival pigment print. Edition of 6.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6D66-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6D66-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6D66-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-04-28</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>79</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.768792</Latitude>
  <Longitude>-73.964617</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6DC4" href="http://www.nyartbeat.com/event/2012/6DC4">
  <Name>&quot;Bling!&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/53D56C0B">
    <Name>Jim Kempner Fine Art</Name>
    <Type>Gallery</Type>
    <Address>501 W 23rd St., New York, NY 10001</Address>
    <Phone>212-206-6872</Phone>
    <Fax>212-206-6873</Fax>
    <Access>Corner of 10th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_23">Chelsea 23rd</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>Misc.: Media Arts</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6DC4-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6DC4-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6DC4-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747711</Latitude>
  <Longitude>-74.004222</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6EA7" href="http://www.nyartbeat.com/event/2012/6EA7">
  <Name>Luka Fineisen &quot;Phase Transitions&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/AB3F7C7B">
    <Name>Hosfelt Gallery</Name>
    <Type>Gallery</Type>
    <Address>531 W 36th St., New York, NY 10011</Address>
    <Phone>212-563-5454</Phone>
    <Fax>212-244-8566</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street - Penn Station</Access>
    <Area areaId="midtown">Midtown</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="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Using frost, foam, food, glitter, viscous liquids and molten metal, German artist Luka Fineisen presents ambitious sculptural works that explore moments of becoming. This exhibition is the premiere of Fineisen's work in the United States.

&quot;Phase transitions&quot; is the term used in thermodynamics to describe the shifts between solid, liquid and gaseous states of matter. At a literal level, this is what Fineisen represents in her work - tipping points - the transitional moments when a substance changes from one condition to another. While playing with formal sculptural concerns of modernism and post-minimalism, she explores movement, evanescence and potential. The work is dichotomous - scientific but sensuous, liquid and solid, monumental and fragile, simultaneously in the process of being created and destroyed. Fineisen is unafraid of creating something delightful, but fascinated by the moment when that allure becomes unnerving. When sensuality becomes dangerous. When attraction turns to repulsion. Fineisen shows us the exact moment when she loses control over her creation and the coin- ciding love and fear of that instant.

[Image: Luka Fineisen &quot;Frosting (detail)&quot; (2012) coolant, humidifier, metal, wood, rubber, styrofoam, frost]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6EA7-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6EA7-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6EA7-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-03-31</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>51</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.756258</Latitude>
  <Longitude>-73.999083</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6F35" href="http://www.nyartbeat.com/event/2012/6F35">
  <Name>Pia Myrvold  &quot;FLOW&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/FF21D842">
    <Name>.No Gallery</Name>
    <Type>Gallery</Type>
    <Address>251 East Houston St., NY, NY 10002</Address>
    <Phone>646-580-6535</Phone>
    <Fax></Fax>
    <Access>Between Norfolk and Suffolk Sts., Subway: F to 1st Avenue.</Access>
    <Area areaId="lower_east_side">Lower East Side</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>saturdays openinghour 13:00, sundays openinghour 13:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Media>Screen: Digital</Media>
  <Description><![CDATA[.NO – a nonprofit gallery on the Lower East Side presents Pia MYrvoLD: FLOW,  the third incarnation of a multidisciplinary concept that debuted in Venice during last year’s Biennale and is currently on view at the Los Angeles Center for Digital Art through February 24.  
Pia MYrvoLD: FLOW &quot;While engaging with Flow the immersive experience of emergent technologies is carefully guided by the artist. The ever-changing abstract images, rhythmic textures and chromatic structures of light are inspired by higherminded aspirations. Myrvold’s ongoing research in 3D virtual space engenders a unique mental and aesthetic awareness, as the artist plays with virtual space alongside actual physical space to illuminate what we have not been able to see in traditional media. We are not put in front of a console as is common in many interactive works; rather Flow builds parallel or tangent references between the realms of physical and imaginative presence. 

Stemming from her lifelong work as a painter, Norwegian artist Pia Myrvold creates new work that branches out into a formidable interdisciplinary undertaking using electronic media as a springboard for the intermingling of forms. The pulsing, looping animations and sound are unmistakable in their musical quality, the structure of the installation utilizes large scale sculptural form and there is an architectural aspect as the viewer engages the work by walking through it. The end result is an immersive and interactive environment where the viewer encounters a multi-dimensional interface that is a product of emergent technology.” Rex Bruce, Artweek.LA, Jan 9 2012

Professionally active as a visual artist since her teens, the Paris-based Pia Myrvold has shown extensively all over the world. Her work in a wide range of media has been exhibited at Sotheby London, London; Centre Pompidou, Paris; The Center of Architecture, New York; The Henie/Onstad Art Center; Oslo; Sala 1, Rome, just to name a few. During the Venice Biennale 2011, Myrvold staged Flow as a parallel to the Biennale on the Zattere in Venice. Caroline Langill, Associate Dean of OCAD University, Toronto, said the following of the exhibit: &quot; (…) this body of work was a rare new media offering in what one expects to be a festival that highlights art at the vanguard of contemporary practice. At a time when institutions are grappling with the almost weekly emergence of new digital platforms, MYrvoLD points to the necessity of bridging the analogue/digital divide by producing highly technical work that is both rearward and forward looking. The potentially immersive installation evidences the breadth of her practice as well as her situatedness within contemporary art. Not a technologist, MYrvoLD adopts the digital in order to dispel preconceptions about what art is and can be.  Clearly, she is a pioneer and will continue to shape the future of art&quot;.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6F35-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6F35-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6F35-170" width="170" />
  <Karma>1.35198</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-03" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.721708</Latitude>
  <Longitude>-73.985342</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6FE7" href="http://www.nyartbeat.com/event/2012/6FE7">
  <Name>&quot;Video&lt;&gt;Object&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/56788E83">
    <Name>Dorsky Gallery Curatorial Programs</Name>
    <Type>Gallery</Type>
    <Address>11-03 45th Ave., Long Island City, NY 11101</Address>
    <Phone>718-937-6317</Phone>
    <Fax>718-937-7469</Fax>
    <Access>Corner of 11th St.  Subway: E/V to 23rd St./Ely Avenue or 7 to 45th Road/Courthouse Square</Access>
    <Area areaId="queens">Queens</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Temporarily closed.</ScheduleNote>
  </Venue>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Video&lt;&gt;Object  explores the relationships between Video Art and narcissism; Hegarty cites Rosalind Kraus's essay as expressing the thought that gave rise to the present exhibition:  &quot;[Video's] real medium is a psychological situation, the very terms of which are to withdraw attention from an external object -an Other- and invest it in the Self.&quot;  He further explains that the 'psychological situation' Kraus refers to is one of near pathology - narcissism as the characteristic condition of video art.

Yet, the artists in Video&lt;&gt;Object - Nancy Davidson, Yasue Maetake, Halsey Rodman, Jeanne Silverthorne, and Moira Williams - expand the defining narcissism of video art by reframing it. Narcissism, in a torqued return of the look, is scrutinized by these artists through oblique glances, fluidly drifting back and forth across the porous boundaries of Self and Other. They are engaged in a duel between the giddy pleasure in the self and the impossibility of saying &quot;this is not me.&quot;

About the Curator:  Originally from London, Laurence  Hegarty has lived in New York for more than two decades. Though initially trained as an artist, Hegarty's interests have wandered over the years leading him to pursue film studies and  psychoanalysis as partners in the conversation that shapes his writing, curatorial work and studio practice.  Trained as a psychotherapist, Hegarty now maintains a private practice in  New York City.  Though  the disciplines -studio art, writing, curating and psychoanalysis- are not integrated in  any way,  it is the  overlaps and collisions between them that  shape Hegarty's  art- making, writing and curatorial practice.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6FE7-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6FE7-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6FE7-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-08</DateStart>
  <DateEnd>2012-03-08</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-08" start="14:00:00" end="17:00:00">Opening Reception</Party>
 <DaysBeforeEnd>28</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747917</Latitude>
  <Longitude>-73.94975</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/7062" href="http://www.nyartbeat.com/event/2012/7062">
  <Name>John Small &quot;Field Collection&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/BC2CC396">
    <Name>Ise Cultural Foundation Gallery</Name>
    <Type>Cultural Center</Type>
    <Address>555 Broadway, New York, NY 10012</Address>
    <Phone>212-925-1649</Phone>
    <Fax>212-226-9362</Fax>
    <Access>Between Prince and Spring St. Subway: R/W to Prince Street</Access>
    <Area areaId="soho">Soho</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Sundays by appointment</ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[&quot;Field Collection&quot; is an assembly of artifacts from John Small's ongoing installation practice. Based on the historical practices of early explorers, searching and discovering, &quot;Field Collection&quot; ties together the history of exploration with his imaginative research. The explorer's intentions to discover new territories and let themselves dive into the unknown are mirrored by his art making through his use of fictional historic discoveries, and their transformation into art.

With imagery rooted in heraldry and field guide illustration, John Small combines painting and sculpture with display methods found in natural history museums and cabinet of curiosities, to continue his examination of space and the grounding of his personal world. The work has a nostalgic feel, which takes an inventive approach to a personal journey in which the artist creates his own historical traces. John is dedicated to the analysis of color, painting, and sculpture, their histories, the connections that can be made and their ability to transform space and situate the viewer in a narrative environment.

&quot;Field Collection&quot; – is the first New York Solo show for John Small, living and working in New York City, where he is currently completing his MFA at Parsons The New School for Design.


]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/7062-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7062-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7062-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.72385</Latitude>
  <Longitude>-73.998139</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/70EC" href="http://www.nyartbeat.com/event/2012/70EC">
  <Name>Tadaaki Kuwayama Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/CB6D328A">
    <Name>Gary Snyder Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., Fl. 10, New York, NY 10011</Address>
    <Phone>212-929-1351</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Aves. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_20">Chelsea 20th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Gary Snyder Gallery announces Tadaaki Kuwayama, an exhibition of four site-specific works in titanium, aluminum, Mylar and Bakelite at 529 West 20th Street, opening on January 19, 2012. The main gallery will be configured to contain two distinct installations: Untitled (1992/2012), a horizontal line of twenty-two red aluminum elements that wrap around a corner, and Untitled (2012), eight pink titanium panels standing vertically on the floor at alternating angles. This is the first work Kuwayama has made in this material. The south gallery will feature Untitled (1996/2012), a set of six Mylar sheets bisected by a thin line of red and blue graphite, and Untitled (1992/2012), eight panels of finely grooved, pale pink and yellow Bakelite.

This exhibition follows acclaimed museum shows of Kuwayama’s work in Japan and the United States. His retrospective, Out of Silence, held at the Nagoya City Art Museum in 2010, presented work ranging from early 1960s monochrome canvases to a recent floor-installation of alternating silver and gold aluminum cylinders. In 2011, Untitled – Tadaaki Kuwayama, his solo show at the 21st Century Museum of Contemporary Art, Kanazawa, consisted of five site-specific installations, including a ring of nine-foot-tall anodized aluminum panels in one of the museum’s interior courtyards. The following June, the National Museum of Art in Osaka presented White, for which the artist installed sixty works, including three series of white paintings on handcrafted washi paper. In 2009, Kuwayama’s Untitled (1962) was included in The Third Mind: American Artists Contemplate Asia, 1860–1989, and is currently on display in Surface, Support, Process: The 1960s Monochrome in the Guggenheim Collection. In November this year, Kuwayama will have a solo exhibition at the Museum of Modern Art, Hayama, Japan, and in early 2013 he will show at the Daegu Art Museum, Daegu, South Korea.

Born in Nagoya in 1932, Tadaaki Kuwayama studied nihonga painting at the Tokyo National University of Art. Dissatisfied with the constraints of traditional practice, he and his wife, the artist Rakuko Naito, moved to New York City in 1958. He soon developed a minimalist aesthetic, which at first consisted of two vivid colors juxtaposed in horizontal and vertical compositions, as well as monochromatic panels divided by thin strips of chrome. In 1961 and 1962, he had solo exhibitions at the famed Green Gallery, which showcased other influential artists of the day, including Ralph Humphrey, Dan Flavin, and Robert Morris. Kuwayama’s work attained broad recognition, and was featured in the Guggenheim Museum’s legendary Systemic Painting exhibition in 1966.

Since the 1960s, Kuwayama has had solo exhibitions at many prestigious and influential galleries, including: Green Gallery (1961, 1962, New York), Tokyo Gallery (1967, Tokyo), Galerie Bischofberger (1967, 1968, Zürich), Gallery Yamaguchi (1985, 1989, 1993, 1997, 2001, 2005, 2010, Osaka), Nagoya City Art Museum (1990, Nagoya), Satani Gallery (1990, 1992, 1996, Tokyo), and GARY SNYDER Project Space (2008, New York). During this period his work was also featured in numerous landmark museum exhibitions, such as Vormen van de Kleur (1966–1967, Stedelijk Museum, Amsterdam), Kunst wird Material (1982, Nationalgalerie Berlin), Japanese Art After 1945: Scream Against the Sky (1994, Solomon R. Guggenheim Museum), Monochromes: From Malevich to the Present (2004, Museo Nacional Centro de Arte, Reina Sofía, Madrid), and The Third Mind: American Artists Contemplate Asia, 1860–1989 (2009, Solomon R. Guggenheim Museum). In 1985, the Kitakyushu Municipal Museum of Art held his first retrospective in Japan.

Kuwayama’s work is featured in the collections of over forty major museums, including: the Albright-Knox Art Gallery, Buffalo; the Hara Museum of Contemporary Art, Tokyo; the Hiroshima City Museum of Art; the Indianapolis Museum of Art; the Kawamura Memorial Museum of Art, Chiba; the Museum of Contemporary Art, Tokyo; the Museum of Modern Art, New York; the Nagoya City Art Museum; the Nationalgalerie, Berlin; the National Museum of Art, Osaka; the National Museum of Modern Art, Tokyo; the Solomon R. Guggenheim Museum, New York; the Staatsgalerie, Stuttgart; the Stiftung für Konstructive und Konkrete Kunst, Zürich; and the 21st Century Museum of Contemporary Art, Kanazawa.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/70EC-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/70EC-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/70EC-170" width="170" />
  <Karma>3.72093</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-17</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-19" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746264</Latitude>
  <Longitude>-74.006225</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/720D" href="http://www.nyartbeat.com/event/2012/720D">
  <Name>Charles Atlas &quot;The Illusion of Democracy&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/2AD54D35">
    <Name>Luhring Augustine Bushwick</Name>
    <Type>Gallery</Type>
    <Address>25 Knickerbocker Avenue, Brooklyn, NY 11237</Address>
    <Phone>718-386-2747</Phone>
    <Fax></Fax>
    <Access>Between Johnson Ave and Ingraham st., Subway: L to Morgan Ave.</Access>
    <Area areaId="williamsburg">Williamsburg</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>Screen: Film</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Luhring Augustine presents The Illusion of Democracy, a solo exhibition of the American film and video artist Charles Atlas. This will be the inaugural exhibition at Luhring Augustine’s new space in Bushwick, Brooklyn.

Atlas is a pioneering figure in film and video; for over four decades he has stretched the limits of his medium, forging new territory in a far-reaching range of genres, stylistic approaches, and techniques. Throughout his production, Atlas has consistently been deeply involved in fostering collaborative relationships, working intimately with such significant artists and performers as Leigh Bowery, Michael Clark, Douglas Dunn, Marina Abramovic, Yvonne Rainer, Mika Tajima and the New Humans, Antony and the Johnsons, and most notably Merce Cunningham, with whom he worked closely for a decade from the early 1970s through 1983.

The Illusion of Democracy will include two video installations never before seen in New York, Painting by Numbers, 2008 and Plato’s Alley, 2009. Atlas will also exhibit a new large-scale video work made specifically for this exhibition. 

Charles Atlas was born in St. Louis, MO in 1949; he has lived and worked in New York City since the early 1970s. His work has been exhibited domestically and internationally in such institutions as Tate Modern, London; the Museum of Modern Art, New York; the Centre Pompidou, Paris; the Institute of Contemporary Art, Boston; Hamburger Bahnhof – Museum für Gegenwart, Berlin; and the Whitney Museum of American Art, New York. In Summer 2011, the New Museum, New York held a solo exhibition of Atlas’ film, Joints Array. In March 2012, Atlas will have a solo exhibition at the De Hallen, Haarlem and will be included in the 2012 Whitney Biennial. In late 2012, Regency Arts Press Ltd. will publish the first major publication of Atlas’ work.

[Image: Charles Atlas &quot;Painting By Numbers&quot; (2008) (installation view)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/720D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/720D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/720D-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-18</DateStart>
  <DateEnd>2012-03-20</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-17" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>40</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.707359</Latitude>
  <Longitude>-73.93129</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="2012/75A5" href="http://www.nyartbeat.com/event/2012/75A5">
  <Name>Po Kim Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/C2B26656">
    <Name>Gallery Korea</Name>
    <Type>Cultural Center</Type>
    <Address>460 Park Ave., 6 Fl., New York, NY 10022</Address>
    <Phone>212-759-9550</Phone>
    <Fax>212-688-8640</Fax>
    <Access>Between 57th and 58th St. Subway: 4/5/6/N/R/W to 59th Street Lexington Avenue.</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Korean Cultural Service New York presents the exhibition of Po Kim.

This exhibition will display a great variety of the artist's recent works from 2010-2011 along with the large figurative painting in 1994-95 and small abstract paintings around his early works of 1960s. 

Through this exhibition, Korean Cultural Service NY wishes to offer an opportunity to look into the influence of the absence of the artist's wife and longtime artistic companion, the recently deceased Sylvia Wald, and display the artistic spirit of the artist in his nineties whose fiery intensity measures up to those of young and upcoming artists. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/75A5-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/75A5-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/75A5-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-15</DateStart>
  <DateEnd>2012-03-16</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-15" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>36</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.761917</Latitude>
  <Longitude>-73.970972</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/75D2" href="http://www.nyartbeat.com/event/2012/75D2">
  <Name>&quot;The Substance of Abstraction&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/32BEF472">
    <Name>Agora Gallery</Name>
    <Type>Gallery</Type>
    <Address>530 W 25th St., New York, NY 10001</Address>
    <Phone>212-226-4151</Phone>
    <Fax>212-966-4380</Fax>
    <Access>Between 10th and 11th Ave.  Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[The artists of The Substance of Abstraction use their considerable abilities to enhance and express their quest for inspiration and discovery, sharing the results with their audience through their work. Imaginative, emotional and communicative, these creations show what happens when artists allow every aspect of their lives to influence and in turn be affected by their creative impulses. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/75D2-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/75D2-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/75D2-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-10</DateStart>
  <DateEnd>2012-03-01</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-16" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>21</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749267</Latitude>
  <Longitude>-74.004028</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/7620" href="http://www.nyartbeat.com/event/2012/7620">
  <Name>&quot;Second City Psychasthenia&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/24414933">
    <Name>Andrea Meislin Gallery</Name>
    <Type>Gallery</Type>
    <Address>526 W 26th St., Suite 214, New York, NY 10001</Address>
    <Phone>212-627-2552</Phone>
    <Fax>212-627-1216</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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>Misc.: Media Arts</Media>
  <Description><![CDATA[&quot;But they will teach us that Eternity is the standing still of the present time, a nunc stans (as the schools call it); which neither they, nor any else understand, no more than they would a hic stans for an infinite greatness of Place.&quot;
–Leviathan, IV, 46. As quoted by Borges in Aleph

What does it mean to pass through a city? How long does one stay? What is the residue left behind? Perhaps it is we who compose the residue while our doubles flee the scene leaving us in the lurch. Perhaps we are the residue. The Second City was all about passing through. Here commodities really knew how to dance. They danced to the music of the future. A future that existed as long as it could be bought and sold. By river, rail, road and air nothing was static, nothing remained in place. Anything that did not move was torn down.

What happens when the music stops? Do those passing through get stuck? Do we continue in the perpetual nowtime of a graceful ghost dance or do we stagger like zombies tripping over one another's feet? In the Second City the Louis Sullivan Stock Exchange is in the museum. As a sign of lost élan vital or evidence of an uncanny collective clairvoyance.

Motion and stability are still up for grabs. The Second City conjures trans-millennial debates on cosmology in their current vogue as urban theory. We inadvertently slip back and forth between the rival camps - Ptolemy and Copernicus. &quot;Every photograph is a still life&quot; Garry Winogrand once remarked, with camera to patrol the border between self and other. The supercooled liquid of the glass lens and the camera's electro mechanical guillotine shutter still bear the brunt of negotiating the present collapse into our surroundings. 

The artists in this exhibition met in a City Within a City; in a grid of depersonalized confessionals, the networked interior of oversized cubicles that constitute the studios at The School of the Art Institute of Chicago. Part brothel and part clinic in both form and function. Accumulating and manufacturing symptoms.

[Image: Steve Daly &quot;Moth on Fake Marble Tile Rendered in Halftone&quot; Archival Pigment Print (2011)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/7620-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7620-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7620-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749828</Latitude>
  <Longitude>-74.003467</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/7628" href="http://www.nyartbeat.com/event/2012/7628">
  <Name>Jonathan Lasker &quot;Sketchbooks&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/6EC80A67">
    <Name>BravinLee Programs</Name>
    <Type>Gallery</Type>
    <Address>526 W 26th St., #211, New York, NY 10001</Address>
    <Phone>212-462-4404</Phone>
    <Fax>212-462-4406</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[Jonathan Lasker’ sketchbooks reveal the initial stage of his process the proto-permutations of the glyphs, color fields and arrangements that will later occupy his finished work.  Some motifs are cursory, notational and tentative while others show Lasker to be marching decisively towards fully formed pictures that strongly resemble his finished paintings.  If Jonathan Lasker’s small oil studies on cardboard are like the rehearsals for his paintings, his sketchbooks are like the casting couch.  From page to page Lasker evolves his images, colors, lines and compositions; for viewers familiar with Lasker’s work it is interesting to turn the pages and try and recognize images that made the cut. An exhibition of paintings dating from 1977-1985 opens at Cheim and Read on February 23rd.  Spending time with these sketchbooks is good groundwork to see this show of his seminal early work.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/7628-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7628-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7628-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-06</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-06" start="17:00:00" end="19:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749828</Latitude>
  <Longitude>-74.003467</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/764D" href="http://www.nyartbeat.com/event/2012/764D">
  <Name>&quot;Winter Thoughts&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/EA2E9754">
    <Name>Prince Street Gallery</Name>
    <Type>Gallery</Type>
    <Address>530 W 25th St., 4 Fl., New York, NY 10001</Address>
    <Phone>646-230-0246</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_25">Chelsea 25th</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></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/764D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/764D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/764D-170" width="170" />
  <Karma>1.55172</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-31</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="17:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.74935</Latitude>
  <Longitude>-74.004308</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="2012/776D" href="http://www.nyartbeat.com/event/2012/776D">
  <Name>Erin Raedeke &quot;Things Left&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/49E8379D">
    <Name>First Street Gallery</Name>
    <Type>Gallery</Type>
    <Address>526 W 26th St., Suite 209, New York, NY, 10001</Address>
    <Phone>646-336-8053</Phone>
    <Fax>646-336-8054</Fax>
    <Access>Between 10th and 11th Ave Subway: C/E to 23rd Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[In her first solo exhibition in New York City, Erin Raedeke explores complex relationships by observing the detritus of everyday life. In &quot;Things Left,&quot; the still life becomes a vehicle for grappling with unresolved thoughts and memories. The viewer enters the paintings as if they were entering a play mid-scene. The elusive plot is not unlike the subconscious. Fragments are not connected in an ordered way. Patterns are observed and dynamics play out as the motivations of characters emerge. Is the whimsical bird in a painting an innocent witness or does it play a more complicit role? These are the things that are left in the residue of daily life.
 
Erin Raedeke received her BFA from Indiana University and her MFA from American University.

[Image: Erin Raedeke &quot;The Victim&quot; oil on board 12 x 16 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/776D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/776D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/776D-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-31</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-04" start="15:00:00" end="17:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.7499</Latitude>
  <Longitude>-74.003561</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/7784" href="http://www.nyartbeat.com/event/2012/7784">
  <Name>Tono Stano &quot;White Shadow&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/C857C70C">
    <Name>Pace MacGill</Name>
    <Type>Gallery</Type>
    <Address>32 E 57th St., 9 Fl.,  New York, NY 10022</Address>
    <Phone>212-759-7999</Phone>
    <Fax>212-759-8964</Fax>
    <Access>Corner of Madison Ave.  Subway: N/R/W to 59th Street or to 5th Avenue, F/V to 5th Avenue/53rd Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>09:30:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 10:00, saturdays closinghour 18:00</ScheduleDetails>
    <ScheduleNote>Summer (June 21- Labor Day) Hour: Monday- Thursday, 9:30am – 5:30pm  Friday, 9:30am – 4:00pm</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Czech photographer Tono Stano’s first solo U.S. exhibition features 30 unique gelatin silver prints from the artist’s ongoing series, created from an old 24 x 30 cm large format camera.
 
[Image: Tono Stano &quot;White Shadow 145&quot; (2008) gelatin silver print 11 1/6 x 8 15/16 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/7784-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7784-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7784-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="17:30:00" end="19:30:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.761525</Latitude>
  <Longitude>-73.972417</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/77C3" href="http://www.nyartbeat.com/event/2012/77C3">
  <Name>Derek Lerner Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/333EA2E9">
    <Name>RHV Fine Art</Name>
    <Type>Gallery</Type>
    <Address>683 6th Ave, Brooklyn, NY 11215</Address>
    <Phone>718-473-0819</Phone>
    <Fax></Fax>
    <Access>Between 19th and 20th St. Subway: R to Prospect Ave. or F to 7th ave</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>14:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[Derek Lerner layers countless well refined marks, lines, and shapes to create complex systems that look as if we are peering through a microscope and a telescope at the same time. After 15 years of working, this group of 10 ink on paper drawings (all 2011) constitute Lerner's latest body of work, stemming from his contradictory feelings about urban sprawl, over-development and humanity as a virus.
As Lerner's fictional landscapes meander across the paper, growing outward as layer upon layer is applied, they depict a co-mingling of human-made and natural systems and the tensions between those forces. The elements of each composition multiply and attach themselves to one another or consume others like fungi or suburbs encroaching on open land. He coalesces questions about how complex systems work, about parasites, pesticides and poisons, genetically modified foods, over-consumption and over-population into ironically beautiful visual metaphors that reference mapping, satellite photography, microscopic imagery, radial irrigation systems as well as signs, symbols and the random marks, scrapes and scratches found on the streets of major metropolitan areas.
Looking both biological and man-made, his lyrical compositions embody dualities that reflect Lerner's conflicted feelings about his own role and impact on our environment,
&quot;…while in many ways my work is a reaction to over-consumption and environmental politics, the drawings themselves are yet another &quot;thing&quot; added to the world, made no less with materials that are potentially damaging to the environment.&quot; Although Lerner's work emphasizes the destructive nature of man his work is evidence that beauty can be found in what humans make as well as what we destroy; and that it is perhaps unavoidable for humans to create without consuming at the same time. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/77C3-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/77C3-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/77C3-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-02-26</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>17</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.660736</Latitude>
  <Longitude>-73.990231</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/77E3" href="http://www.nyartbeat.com/event/2012/77E3">
  <Name>Hugh Scott-Douglas &quot;A PLACE IN THE SUN&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/76FBFFCB">
    <Name>Clifton Benevento</Name>
    <Type>Gallery</Type>
    <Address>515 Broadway Fl.6, New York, NY 10012</Address>
    <Phone>212-431-6325</Phone>
    <Fax></Fax>
    <Access>Between Broome and Spring St., Subway: N/R to Prince Street, 6 to Spring Street</Access>
    <Area areaId="soho">Soho</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Clifton Benevento presents A Place In The Sun, the New York solo-debut of the Toronto based artist Hugh Scott-Douglas.
 
Drawing its title from the 1951 George Stevens film of the same name, A Place In The Sun, presents a new body of cyanotypes.
 
Within film history Stevens’ A Place In The Sun, is regarded as an excellent example of analog film editing and is particularly well known for its long dissolves between scenes. Using this as a historical reference and the dissolve as an editing technique to formally connote the passage of time, Scott-Douglas creates a series of 30 by 40 inch cyanotypes  &quot;shot&quot; over a number of afternoons using the natural sunlight outside of his studio. As the sun moves through the sky the amount of light hitting the prints changes, directly affecting the chroma of each frame. While the works in the exhibition are cyanotypes, Scott-Douglas regards them as &quot;frames&quot; because of their conceptual link to film rather than as strictly photographs or paintings.
 
Upon installation at Clifton Benevento, Scott-Douglas organizes his works based on their individual chromatic value. This amalgamation based on a formal quality in turn acts an index of the environmental, time-based conditions aiding the physical development of the work.  Installed in such amanner so the perimeter of each object visually gestures to the adjacent frame, Scott-Douglas's works reiterate the formal notion of the dissolve and in turn completes an almost self-effacing act that makes each piece a part of a larger mise-en-scène rather than an independent object.
 
Whileevidencing pleasure in the pun between the film title, the exhibition title and the notion of work created from being placed in the sun, this body of work also illustrates a narrative of the movement of time, of the passing of afternoons.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/77E3-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/77E3-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/77E3-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-14</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-14" start="16:00:00" end="19:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.722642</Latitude>
  <Longitude>-73.999339</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/77F8" href="http://www.nyartbeat.com/event/2012/77F8">
  <Name>Brian Fekete &amp; Nathan Schiel &quot;Cellar Door&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/89613CA9">
    <Name>571 Projects</Name>
    <Type>Gallery</Type>
    <Address>551 W 21st St., Unit 204A, New York, NY 10011</Address>
    <Phone>212-229-0897</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave.  Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_21">Chelsea 21st</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>and by appointment</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[571 Projects presents Cellar Door, an exhibition of new works by artists Brian Fekete and Nathan Schiel, curated by Joe Elliott. This is Fekete and Schiel’s first exhibition with 571 Projects, and Schiel’s first exhibition in New York City. 
 
Often cited as an example of phonasthetics, here Cellar Door forefronts the concept of thresholds. The hidden, forgotten and stratified belong to the cellar, and a door grants or denies passage into this alternate realm. In literature gateways, portals and even rabbit holes are used as a device to define the transition between perceived truth and enlightenment, and the few who gain access must earn it. Painters Fekete and Schiel both explore similar boundaries between an apparent surface reality and an enigmatic world below in their work on view at 571 Projects. Activating similar thresholds, they challenge us to engage and interact with their work.
 
Believing in the potential of progress rather than a preoccupation with the past, Schiel builds his paintings via an unrelenting system of layers.  Cabin (2011, oil on canvas, 40 x 30 in.) is heavily repainted, revealing only the slightest hint of that which lies beneath. As a result of this stratification our visual understanding is restricted by the physicality of the tangible layers. Adorning the surface of his abstract paintings, Schiel delicately grounds us in the shadows of trompe l’oeil, once again referencing depth though ultimately teasing us with concealed histories. Schiel does not intend to restrict the viewer from the origins of the work, but he asks us to look closely for windows into past layers, revealing the true personality of each painting.
 
In contrast to Schiel’s opaque layers pierced by windows, Fekete uses a latticework of juxtaposed imagery.  Thrusting us deep into a medley of visual symbolism, he challenges logic and convention on a cerebral level. In Serotonin Serenade (2011, ink and gouache on paper, 50 x 38 in.), a distorted image of a brain floats against a boundless, decoratively patterned void. Aided by an extensive image library consisting of automobile catalogues, anatomical prints, and historical illustrations, Fekete uses a process that Elliott describes as ‘analog Photoshop.’ Favoring the photocopier and projector over the convenience of their digital counterparts, he intertwines elements of nature, science, and religion. Through distortion and re-contextualization of these images, Fekete celebrates their similarities and hopes that we too might open our minds, taking a daunting yet critical step into his fantastical world.
 
Originally from Detroit, Michigan, Fekete received his BFA and MFA from the Wayne State University, Detroit, Michigan. Most recently he has exhibited at SoapBox Gallery, NY, Edward Thorp Gallery, NY, Suzanne Hilberry Gallery, MI and Bunting Gallery, MI. His work is represented in multiple private and institutional collections including, The Detroit Institute of the Arts, CB Commercial and Miller, Cranfield, Paddock and Stone. Born in Denver Colorado, Schiel received his BFA from the Rhode Island School of Design. In 2011 Schiel was awarded a full scholarship and teaching fellowship to The University of Massachusetts Amherst. This will be Schiel’s first exhibition in New York City.
 
Joe Elliott is a New York City-based independent curator and the founder of Kingsley Elliott, an online gallery dedicated to supporting and promoting emerging artists via pop-up exhibitions.  Elliott received his BFA from Rhode Island School of Design and his Masters in Visual Arts Administration from New York University.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/77F8-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/77F8-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/77F8-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-16</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>36</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747082</Latitude>
  <Longitude>-74.006364</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/785C" href="http://www.nyartbeat.com/event/2012/785C">
  <Name>&quot;wallflowers&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/46FE916E">
    <Name>Fischbach Gallery</Name>
    <Type>Gallery</Type>
    <Address>210 11th Ave, #801, New York, NY, 10001</Address>
    <Phone>212-759-2345</Phone>
    <Fax>212-366-1783</Fax>
    <Access>Between 24th and 25th Street Subway: C/E to 23rd Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays closinghour 18:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Wall Flowers highlights the finest selection of Fischbach Gallery Artists’ renditions of the flower.  Whether symbolic and metaphorical or photographical and representative, each painting portrays the Artists unique interpretation of the flower and expresses what a wallflower means to the Artist.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/785C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/785C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/785C-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749922</Latitude>
  <Longitude>-74.005956</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/78A2" href="http://www.nyartbeat.com/event/2012/78A2">
  <Name>Christine Hou &amp; Lisa Iglesias &quot;ME, WE&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/6EDA133D">
    <Name>Abrons Arts Center </Name>
    <Type>Cultural Center</Type>
    <Address>466 Grand St., New York, NY 10002</Address>
    <Phone>212-598-0400</Phone>
    <Fax></Fax>
    <Access>Corner of Pitt St.  Subway: F to East Broadway or Delancey, D/B to Grand Street, J/M to Essex Street.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>22:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 11:00, sundays closinghour 18:00, saturdays openinghour 09:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[The Abrons Arts Center presents me, we, a multi-platform collaboration partnering with the Dia Art Foundation’s education program, Abrons Arts Center StudioLab program, and 11th-grade Studio Art majors at Lower Manhattan Arts Academy (LoMA). Grounded by a continuously evolving installation on view at the Abrons Arts Center from February 17-March 17, 2012, me, we is an exploration and articulation of collective authorship that blurs the lines between studio space, exhibition, and public forum.

The gallery will act as a response laboratory between Dia Art Foundation’s Education Associate and poet Christine Hou, Dia Teaching Artist Lisa Iglesias, and the LoMA students. Audience members will witness a visual- and text-based exchange that will include large format graphite drawings, text as image, signage, and miniature casted monuments. Supporting programming will include two public events in the exhibition space and 16 workshop sessions for LoMA students in the Abrons Arts Center StudioLab classroom.

Beginning with the direct quote from Muhammad Ali in 1967, and arguably the shortest poem in the English language, me, we considers the notion of a poetic politics, and how the voice of the individual is shaped within a collective experience. Ideas central to this program will be: text as image (and vice versa), collaboration as a form of growth, and art as a lateral community-building practice. Together, the students will consider thinkers and gestures, such as Joseph Beuys, Sol Lewitt, Gertrude Stein, Kara Walker, the Occupy Wall Street movement, the performance art of William Pope.L and writing in relationship to the body. Throughout the duration of the project, LoMA students will integrate critical thinking within an arts practice as well as develop public programs and exhibit works-in-process to their peers and the Lower East Side community. 

Additional participants included in this specialized partnership are me, we co-creator, Studio and Gallery Programming Manager at the Abrons Arts Center, and LoMA StudioLab Cultural Partner-in-Residence Carolyn Sickles; Queens Borough Poet Laureate Paolo Javier; and The Friendly Falcons, a collaborative arts duo featuring Jeffrey Kurosaki and Tara Pelletier.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/78A2-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/78A2-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/78A2-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-17</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote>Performance: Thursday, March 8, 2012, 6-8 pm, Open Mic Night: Thursday, March 15, 2012, 6-8 pm</ScheduleNote>
 <Party type="1" date="2012-02-24" start="" end="">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.715256</Latitude>
  <Longitude>-73.984058</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/7923" href="http://www.nyartbeat.com/event/2012/7923">
  <Name>Frank Schwere &quot;Detroit&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/7B2FB6F2">
    <Name>Schroeder Romero &amp; Shredder</Name>
    <Type>Gallery</Type>
    <Address>531 W 26th St., New York, NY 10001</Address>
    <Phone>212-630-0722</Phone>
    <Fax></Fax>
    <Access>Between 11th and 12th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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>saturdays openinghour 11:00</ScheduleDetails>
    <ScheduleNote>Viewing also by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[On view with Marsha Pels's sculpture are four photographs by Frank Schwere from his series Detroit. Shown in New York for the first time, these large C-prints depict the ruinous state of America's once great motor city. Photographing in 2008-2009, at the height of the national recession, these images are absent of people and movement and become silent monuments to the industry and metropolis that was. They are not, however, merely epitaphs to a lost city and the passing of American industrialization but in their scale and composition they are elevated records of what still exists-what continues to be grand and what can return. Carefully positioning his view camera, such as in the flat abstracted matrix of broken windows in the Fisher Body Plant 21 or the extended perspective of the vaulted ceiling and arches of the Michigan Central Depot, Schwere creates environments that are both completely contained and seemingly endless, forcing us to question whether we are looking back to the past or looking forward to a rebirth. Schwere was born in Flensburg, Germany in 1966. He studied at Freie Kunstschule Stuggart, and Photography at Fachhochschule fuer Gestaltung, Bielefeld in the early 1990s. He also studied at the International Center of Photography, New York in 1997, living and working in New York until 2009. He currently lives and works in Auckland, New Zealand.

[Image: Frank Schwere &quot;Arcade (Michigan Central Depot, 240 West Vernor Street)&quot; Detroit, MI (Detail), 2008, c-print, 50 x 40 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/7923-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7923-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7923-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750125</Latitude>
  <Longitude>-74.003686</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/7924" href="http://www.nyartbeat.com/event/2012/7924">
  <Name>&quot;New York in Color&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/DE394370">
    <Name>Howard Greenberg Gallery</Name>
    <Type>Gallery</Type>
    <Address>41 E 57th St., New York, NY 10022</Address>
    <Phone>212-334-0010</Phone>
    <Fax>212-941-7479</Fax>
    <Access>Corner of Madison Ave. Subway: N/R/W to 5th Avenue or 4/5/6 to 59th Street or E/V to 5th Avenue/53rd Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/7924-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7924-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7924-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.762294</Latitude>
  <Longitude>-73.972322</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/79C5" href="http://www.nyartbeat.com/event/2012/79C5">
  <Name>&quot;In Their Own World&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/F9D0DBB0">
    <Name>Tache Gallery</Name>
    <Type>Gallery</Type>
    <Address>547 W 27th St., No. 602, New York, NY 10001</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:30:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Curator: D. Dominick Lombardi]]></Description>
  <Image src="http://www.nyartbeat.com/resources/images/nopic" width="30" />
  <Image src="http://www.nyartbeat.com/resources/images/nopic_80" width="80" />
  <Image src="http://www.nyartbeat.com/resources/images/nopic_170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750899</Latitude>
  <Longitude>-74.003599</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/7A0F" href="http://www.nyartbeat.com/event/2012/7A0F">
  <Name>&quot;Shifting Communities&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/050FFC94">
    <Name>Bronx Art Space</Name>
    <Type>Event Space</Type>
    <Address>305 E 140th St., #1A, Bronx, NY 10454</Address>
    <Phone>718-772-4961 </Phone>
    <Fax></Fax>
    <Access>Between 3rd and Alexander Aves. Subway: 6 to 138th Street </Access>
    <Area areaId="harlem_bronx">Harlem, Bronx</Area>
    <OpeningHour>00:00:00</OpeningHour>
    <ClosingHour>00:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[In the fourth exhibition of the series, three collaborative projects The Work Office (TWO), Publicworks Office (PwO) and Works Progress Collective (WPC) present workworkwork, which examines various approaches to the idea of work and how it is defined and viewed. Creating sites of work in the gallery, workworkwork will investigate work as physical labor, work as symbolic labor, and work as work. The Work Office (TWO) will hire artists for a week and compensate them with Depression-era wages. Publicworks Office will publish a volume of analytical/speculative case studies and create an installation of symbolic objects &quot;re-collected&quot; from local communities of material and symbolic exchange. Work Progress Collective will conduct surveys and focus groups, creating generative inflows to the workworkwork process as well as a broader project archive.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/7A0F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7A0F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7A0F-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.811828</Latitude>
  <Longitude>-73.924936</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/7A5A" href="http://www.nyartbeat.com/event/2012/7A5A">
  <Name>Shalom Neuman and Terrenceo &quot;Racks On Racks and Urban ARTifacts&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/05597C6F">
    <Name>Lambert Fine Arts</Name>
    <Type>Gallery</Type>
    <Address>57 Stanton St., New York, NY 10002</Address>
    <Phone>212-353-2787</Phone>
    <Fax></Fax>
    <Access>Between Forsyth and Eldridge Sts., Subway: F to 2nd Avenue, JMZ to Essex St or D to Grand</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>13:00:00</OpeningHour>
    <ClosingHour>20:00:00</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: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Prints</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Lambert Fine Arts presents &quot;Racks On Racks and Urban ARTifacts&quot; highlighting the works of Shalom Neuman and Terrenceo, two of the most prolific and original contemporary artists who expose the social issues that an egocentric society saturated with apathy has long deemed as acceptable. Both artists take a multi-sensory and multi-media approach to boldly challenge our assumptions about contemporary culture and life in the digital age.  
 
Shalom Neuman has been called a &quot;phenomenon&quot; by both Robert Morgan and Donald Kuspit, while his Fusion Art is described by critic Lester Strong as &quot;Combining color, motion, and sound into a multidisciplinary, multisensory extravaganza [that] reflects and comments on a contemporary world he sees as seriously out of joint and in need of repair.&quot;  At Lambert Fine Arts will be the Amerika series, multi-media and interactive portraits made from found objects, sound recordings, motion sensors and toys &quot;constructed from the detritus of our society, they reach beyond the individual to comment on a culture where rampant consumerism threatens to engulf us all.&quot;
 
Terrenceo refers to his bodies of work as Contemporary New Realism and Digital Primitive. Using a complex layering of collage, assorted materials, and distinctive brushwork, Terrenceo updates Nouveau Réalisme and takes a satirical approach in his juxtaposition of iconic images from popular culture to develop compelling and provocative social commentary. His use of found objects and digital manifestations from contemporary life express his response to being submerged in a highly materialistic and technologically advanced world, which we are forced to encounter with no regard for the implications, misinterpretations, and social constructions that form the foundation for entire belief systems.
 
&quot;The work of both artists reflect lives of perseverance and triumph despite conflict, forced displacement, injustice, and racism, and I think Shalom and Terrenceo have extremely significant and timeless things to say about popular culture and modern life,&quot; states Executive Director Marc Lambert.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/7A5A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7A5A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7A5A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="19:00:00" end="22:00:00">Opening Reception</Party>
 <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.721779</Latitude>
  <Longitude>-73.990288</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/7AC3" href="http://www.nyartbeat.com/event/2012/7AC3">
  <Name>Marc Cavello Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8E9E482D">
    <Name>Pleiades Gallery</Name>
    <Type>Gallery</Type>
    <Address>530 W 25th St., 4 Fl., New York, NY 10001</Address>
    <Phone>646-230-0056</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_25">Chelsea 25th</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></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/7AC3-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7AC3-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7AC3-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-24</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-28" start="15:00:00" end="18:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749275</Latitude>
  <Longitude>-74.004308</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/7B9B" href="http://www.nyartbeat.com/event/2012/7B9B">
  <Name>Motoyuki Daifu &quot;Lovesdy&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/AD9ABBF6">
    <Name>Lombard-Freid Projects</Name>
    <Type>Gallery</Type>
    <Address>518 W 19th St., New York, NY 10011</Address>
    <Phone>212-967-8040</Phone>
    <Fax>212-967-0669</Fax>
    <Access>Between 10th and 11th Avenue. Subway: C/E to 23rd Street or A/C/E, or L to 14th Street/ 8th Avenue</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</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>saturdays openinghour 11:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Lombard Freid Projects presents Lovsody, Motoyuki Daifu’s first solo show with the gallery. The young Japanese photographer, based in Tokyo, uses photography to document the highly personal chaos of domestic life with his family and loved ones. Motoyuki’s portraits of people, rooms and objects are filled with energy and color, all of which intermix to generate a natural narrative that feel simultaneously honest and unlikely. Motoyuki’s subjects are unfazed by the continuous presence of his camera, offering up their most intimate moments for documentation and presentation to the outside world.
 
Lombard Freid premiered Motoyuki’s work in the US as part of last year’s critically acclaimed group show Minor Cropping May Occur. His 2009 Family series, made of lovingly shot portraits of Motoyuki’s cramped and hectic life in the Tokyo apartment with his parents and five siblings, was highlighted in the New York Times, The New Yorker, Art Review and ID Online. Lovesdy is an intimate follow up that looks to the more romantic and mournful side of personal relationships.

I met her when she was only twenty years old.
She already had a two-year-old boy and was pregnant again.
I fell in love with her at first sight.
A girl - and a mother.
She had two characters in herself.
I had never met a girl like her- a girl full of motherly love.
This is our six month lovesody.
- Motoyuki Daifu

Lovesody (a portmanteau of love and rhapsody) documents Motoyuki’s brief and potent relationship with a single young mother and her two children. In this series, Motoyuki steps away from the comfort of his family, and presents his own volatile coming of age tale. The resulting narrative is suffused with joy and melancholy, capturing all the intimacies of young love. The frenetic quality seen in his previous work continues to create a fully tactile experience where nothing is concealed; the children’s snot and grime and their mothers’ exhaustion carry the viewer though Motoyuki’s reality where chaos and imbalance reign. The young girl and her small children are portrayed through a loving lens while the viewer looks on aware that the affair ended after only six months. The brevity of the relationship adds to the intimacy of the series with the narrative exposing a series of kinetic emotions that burnt out faster then they could be realized. 
 
Following the photo diary tradition within Japanese photography, a clear timeframe and narrative is presented even as Motoyuki’s gaze repeatedly shifts from amorous admirer, to protective father, and to the child within himself. The order, structure, and stoicism often associated with contemporary Japan are absent, marking Motoyuki as an accurate recorder of a new, uncertain time where generations are shifting and values changing on a daily basis. Added to this, in a country with a staggering age imbalance and birth rates at a critical low, Motoyuki’s Lovesody is a pure anomaly.
 
The exhibition coincides with the release of a limited edition publication of the same name. Published by Little Big Man, 300 copies of Lovesody, along with 10 special editions with a hand-numbered photographic print, will be released on January 25th.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/7B9B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7B9B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7B9B-170" width="170" />
  <Karma>9.5393</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.745333</Latitude>
  <Longitude>-74.006564</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/7D2A" href="http://www.nyartbeat.com/event/2012/7D2A">
  <Name>&quot;Lineup, Round 3&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/6ED8E130">
    <Name>SUGAR</Name>
    <Type>Gallery</Type>
    <Address>449 Troutman St., #3-5, 3rd fl., Bell #21, Brooklyn, NY </Address>
    <Phone>917-443-1986, 718-41</Phone>
    <Fax></Fax>
    <Access>On the corner of St. Nicholas Ave. Subway: L to Jefferson</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>12:00:00</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>Also by appointment</ScheduleNote>
  </Venue>
  <Media>2D: Other</Media>
  <Description><![CDATA[Heavy brush strokes diminish, colors are defined, divided, and consolidated. Shapes are realized while surfaces melt, glisten, shine, and give-in. The transitioning is a tickle to the ribs, and the whole of round 3 is an offering of pleasantries.             ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/7D2A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7D2A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7D2A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-28</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-28" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.707801</Latitude>
  <Longitude>-73.921804</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/7D4E" href="http://www.nyartbeat.com/event/2012/7D4E">
  <Name>&quot;Silverstein Annual&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/0C342BD2">
    <Name>Bruce Silverstein</Name>
    <Type>Gallery</Type>
    <Address>535 W 24th St., New York, NY 10011</Address>
    <Phone>212-627-3930</Phone>
    <Fax>212-691-5509</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_24">Chelsea 24th</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: Photography</Media>
  <Description><![CDATA[The Silverstein Annual is part of the gallery's ongoing effort to provide exposure to emerging artists whose work incorporates the medium of photography. Bruce Silverstein Gallery with the guidance of curatorial advisor Nathan Lyons, annually invites ten prominent curators to nominate one artist whom they feel deserves the opportunity for further exposure within New York's cultural milieu.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/7D4E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7D4E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7D4E-170" width="170" />
  <Karma>1.14332</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>40.748847</Latitude>
  <Longitude>-74.004817</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/7E77" href="http://www.nyartbeat.com/event/2012/7E77">
  <Name>Danica Phelps &quot;The Cost of Love&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/A5B863FB">
    <Name>Brennan &amp; Griffin</Name>
    <Type>Gallery</Type>
    <Address>55 Delancey St., New York, NY 10002 </Address>
    <Phone>212-227-0115</Phone>
    <Fax></Fax>
    <Access>Between Allen and Eldridge Sts. Subway: F and J/M/Z to Delancey Street.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Brennan &amp; Griffin presents “The Cost of love”, an exhibition of new work by Danica Phelps.

For more than a decade, Phelps has been chronicling her own life through a series of charts and drawings that detail the passing of time and her daily actions. Working serially and using self imposed limits, Phelps has created a system of pointed stripes that correlate to her income, expenses, and debt. Similar to On Kawara and Hanne Darboven, Phelps developed a system to represent time and and her daily activities - tram the mundane to the highly emotional - in a mathematically predetermined and structured code.
For her show at the gallery, Phelps has produced a series of panels that represent a recent turn at events in the artist's life and tar the the First time, do not track the passing of time, but rather chronicles the phenomenon of loss. “The Cost of Love” details the split with her girlfriend through the text at court papers and the subsequent financial fallout. Works in the show combine Phelps' system of painted colored stripes to document her Finances that are interspersed with the legal narrative from the housing court judgement that unfolds word by word from one panel to the next. Again, using her personal lite as her source, Phelps explores highly charged and emotional territory in repetitive and systematic marks with subtle gradations at hue and tone. The Cast at love is remarkable for its elegant illustration of loss which when viewed as a whale, reflects a proiect that is greater than the sum of its parts.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/7E77-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7E77-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7E77-170" width="170" />
  <Karma>1.31783</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-11</DateStart>
  <DateEnd>2012-02-19</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-11" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>10</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.719302</Latitude>
  <Longitude>-73.991238</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/7F14" href="http://www.nyartbeat.com/event/2012/7F14">
  <Name>&quot;New Materials, New Approaches&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/92999F1B">
    <Name>D. Wigmore Fine Art</Name>
    <Type>Gallery</Type>
    <Address>730 5th Ave., Suite 602, New York NY 10019</Address>
    <Phone>212-581-1657</Phone>
    <Fax>212-581-3909</Fax>
    <Access>Between 56th and 57th St. Subway: N/R/W to 5th Ave., F to 57th St.or E/V to 5th Ave./53rd St.</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 10:00, saturdays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[The gallery is pleased to announce &quot;New Materials, New Approaches,&quot; an exhibition of 1960s-1970s works in plastics by Julian Stanczak, Mon Levinson, and Leroy Lamis. The exhibition focuses on the extension through plastic of abstract investigations of color, light, and line demonstrated in Lamis’s sculptures, Levinson’s constructions, and Stanczak’s unique series of oil on plastic works created for a solo exhibition at the Corcoran Gallery of Art in 1972.

Over the past five years, the gallery has researched artists investigating new materials in the 1960s, a period that saw both enthusiasm for technology brought on by the Space Race and a renewed interest in the Constructivist and Bauhaus artists of the 1920s. For the exhibition &quot;New Materials, New Approaches,&quot; Mon Levinson (b.1926), Leroy Lamis (1925-2010), and Julian Stanczak (b.1930) were selected as each artist re-purposed industrial materials in innovative ways to create art that rewarded the engaged viewer with shifting imagery of line, color, and reflection. Plastic was first incorporated into art in Europe by the Constructivist and Bauhaus artists of the 1920s. In the United States, Alexander Calder and Charles Biederman incorporated plastic into their sculpture and reliefs in the 1930s. The exploration of plastic in art went into a hiatus through the war years. It was not until the 1960s that artists again looked to plastic for its malleability as well as its smooth surface, luminosity, and ability to be opaque, clear, or colored. By the end of the decade artists working in plastic received attention in focused museum exhibitions like A Plastic Presence at New York’s Jewish Museum in 1969.

[Image: Leroy Lamis &quot;Construction No. 110&quot; yellow, green, blue, and white Plexiglas construction 26 3/8 x 13 1/2 x 7 3/4 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/7F14-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7F14-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7F14-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-04-28</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-08" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>79</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.762639</Latitude>
  <Longitude>-73.974228</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/7FDA" href="http://www.nyartbeat.com/event/2012/7FDA">
  <Name>&quot;Abstract Gambol&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/977B74FE">
    <Name>Heskin Contemporary</Name>
    <Type>Gallery</Type>
    <Address>443 W 37th St., New York, NY 10011</Address>
    <Phone>212-967-4972</Phone>
    <Fax></Fax>
    <Access>Between 9th and 10th Ave. Subway: A/C/E to 34th Street - Penn Station</Access>
    <Area areaId="midtown">Midtown</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="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[&quot;Abstract Gambol&quot; is a painting exhibition that includes the works of six painters whose divergent approaches in both concept and technique reflects a richness of possibility at work in abstraction today. In mediums of oil, gouache, acrylic and enamel, these six artists, each in their own way, respond to change, flux, disruption, beauty, nature- that is the world we inhabit.  Their divergent approaches are reflected in works that pull strands from abstract painting's history to extend and develop fresh ideas and painting experiences.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/7FDA-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7FDA-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7FDA-170" width="170" />
  <Karma>1.46465</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.755817</Latitude>
  <Longitude>-73.996333</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/8098" href="http://www.nyartbeat.com/event/2012/8098">
  <Name>Marlo Pascual Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/30018243">
    <Name>Casey Kaplan</Name>
    <Type>Gallery</Type>
    <Address>525 W 21st St., New York, NY 10011</Address>
    <Phone>212-645-7335</Phone>
    <Fax>212-645-7835</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_21">Chelsea 21st</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>Misc.: Media Arts</Media>
  <Description><![CDATA[PLEATED SUEDE
Dress bare back pump in soft black suede has new pleated vamp. Sizes 9 ½ to 12 in
slim, narrow or medium widths are $20.95 at Nierman’s Tall Girls Shoes.
Utah Celery
Vegetables
(PLESE CREDIT FERRY. MORSE SEED CO.)
Sand Dunes
Mich.­
Oceana County at Silver Lake
The sentinel. This oak, vanquished + uncovered by the dune, Old Hogback, stands as
a sentinel white the dune moves on to vanquish the forest.
A NATURAL MAGNET.
Probably the world’s only natural magnet which was recently found in the Wasatch
Mountains in Utah and was placed on oxhibition at the Field Museum of Natural
History in Chicago. This natural magnet weights 400 pounds and is so powerful that
it will hold a nail suspended from _ almost hosizontal in the air as shown in the
corner of the picture.
(Credit Herbert Photo Inc.)
The Big Kilauea Crater
Lava Buttress
UFO Rock Which Was Reportedly Dropped From Unidentified Craft
ABOVE: Right.
Pants should hit the heel seam of your shoe. If you
Are wearing
High-water slacks
And your socks
Are showing,
You’ve
Commited one of
The cardinal sins
Of menswear.
Photo 1974 Abstract Birds Light
Treasure Buried
Map of stone found on John Writlaw farm near Milford, Mich.
Lighting
1.Man first saw the light-at night-
with such a prehistoric stone lamp,
used by cave men to burn animal fats.
CAT

Marlo Pascual is an American artist living and working in New York. Born in 1972, in Nashville, TN, Pascual completed her MFA at Tyler School of Art, Philadelphia, PA in 2007. This is the artist’s second solo exhibition at the gallery.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8098-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8098-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8098-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-16</DateStart>
  <DateEnd>2012-03-24</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-16" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>44</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746806</Latitude>
  <Longitude>-74.005678</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/8168" href="http://www.nyartbeat.com/event/2012/8168">
  <Name>&quot;The American Hand: Sculpture from Three Centuries&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/5C079AF0">
    <Name>Babcock Galleries</Name>
    <Type>Gallery</Type>
    <Address>724 5th Ave., New York, NY  10019</Address>
    <Phone>212-767-1852</Phone>
    <Fax></Fax>
    <Access>Between 56th and 57th St. Subway: F at 57th Street or E/V at 53rd Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Saturday by appointment only. </ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[This exhibition is carefully curated from the gallery's holdings and includes works by such notable masters as Hiram Powers, Augustus Saint-Gaudens, William Zorach, Seymour Lipton and Dorothy Dehner.

&quot;Stories that attend the art we encounter are often as vivid as the art itself,&quot; observes John Driscoll in his introduction to the exhibition's full-color catalogue.  The American Hand celebrates some of the greatest achievements of American sculptors and some of the great stories that accrue when works of art subsequently pass from hand to hand, collection to collection. &quot;A work of art has its own life through time, through various additional hands, through generations…when the artist's work is done, the life of the work of art begins....”

Among the two dozen sculptures that compose this exhibition are Augustus Saint-Gauden's iconic 1899 &quot;Diana of the Tower,&quot; which was originally modeled to stride atop Stanford White's new Madison Square Garden; Theodore Baur's poignant &quot;The Buffalo Hunt,&quot; an 1876 commission for the United States Centennial Celebration; William Zorach's introspective female nude, &quot;Young Woman,&quot; 1956 that Marilyn Monroe gave to her husband, Arthur Miller, as a Hanukkah gift; and the haunting Felix Weihs de Weldon BUST OF JOHN F. KENNEDY, commissioned by Mrs. Kennedy in the spring of 1963 a few months before his tragic assassination.

[Image: Paul Howard Manship &quot;Young Minerva (Marietta)&quot; (1911) bronze 13 x 6.5 x 6.5 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8168-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8168-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8168-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-16</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>36</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.762547</Latitude>
  <Longitude>-73.974473</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/8295" href="http://www.nyartbeat.com/event/2012/8295">
  <Name>&quot;Darker Stars-The Roots of Steampunk Art&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/E7FA1E66">
    <Name>Cavin-Morris Gallery</Name>
    <Type>Gallery</Type>
    <Address>210 11th Ave., 2 Fl., New York, NY 10001</Address>
    <Phone>212-226-3768</Phone>
    <Fax>212-226-0155</Fax>
    <Access>Between 24th and 25th St. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 11:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[The whole idea of Steampunk is revisionist..... its process is to look back on certain threads of history and reweave them into the present and future.  There are no rules.  A literary precedent has been set with Edgar Allan Poe and Jules Verne up through H.P. Lovecraft, Bruce Sterling, and William Giibson, but as that literary history has darkened and brought in more decadent elements it is common now to include J.K. Huysmans and his ilk for their embrace of the phantasmal and of artifice as weapons against mundane life.  Though there is a Steampunk or Steamgoth literary lineage the same isn't true of its Art.  There have indeed been Contemporary Steampunk art exhibitions but none working back through history.  As I mentioned, there are no rules and so, with this exhibition and several to follow, Cavin-Morris Gallery is going to explore alternative revisionism and establish some Old Masters in the historical lineage of what has become known as Steampunk art.

Despite the twin sisters of poverty or depression, it was a hand-me-down from Victorian times to feel that, with the right machine, the right invention, the right harnessing of one of Nature’s energies (usually having to do with electromagnetism or electricity or steam), one could be rich and a world savior to boot. The Inventor was a god.  The role models were people like Thomas Edison and Nicholas Tesla.  Inventing could push the outer limits of individual opportunity.  One could be rich, famous, and in control of one’s destiny.   It is this feeling of do it yourself unlimited opportunity that the Steampunk and Steamgoth communities draw upon.
 
But the mind does not automatically draw within the lines.   The fantasy world Jules Verne imagined was shared by others.  Charles Dellschau’s Flying Machines were not a literary device.  They represented the hopes and dreams of someone who completely believed in their existence.  Dellschau becomes the center of this exhibition because of his fixation on airships and flying, he is the epitome of what Steampunk design is all about.  But he wasn’t looking backward.  He was looking into his present and forward. 
 
Melvin Edward Nelson was another for whom the magazine, Popular Mechanics, was a Bible.  For him the machine had a different spin and fed a visionary hunger. He was physically in tune with astral geology and the ability of the human mind to receive cosmic information--the very voices of planets being born, of the healing energy of interplanetary light emanations.  He took Dellschau out further from the skyways of earth into the planetary airways.  He designed and built machines that would harness universal energy; the mind and body would fuse and see first hand the awesome births and deaths of planets and stars and use this experience for healing, and he would be the inventor who made it possible.
 
Emery Blagdon grew up with the same belief of the inventor as God.  If properly tuned and psychically aimed, a machine could prevent disease or heal the ill.  He knew he was intuitive.  He could invent and build the machines but he couldn’t necessarily explain how they worked.  That was the work for scientists.  Meanwhile he could channel energy through the Healing Machines and put them to work on an earth that was suffering.  Although his goal was a positive one, it was still infused with poignancy in his recognition of the dark side of Nature and Her legacy of Disease and Death.  Electromagnetism could be recycled through the machines to counter these curses.
 
The Victorian times were also an era of exploration of the occult; of mediums and visionary voyages, of the embrace of mental depression as a route of survival and a sign of creative intensity.  In A Rebours, by Joris-Karl Huysmans, the main character, Jean Des Esseintes, builds a mechanical fish to float in a false sea to replace Nature’s more risky version.  Some in the Victorian world, in opposition to bourgeois complacency, held a need for individual freedom of expression close to anarchy.  Religion was also potentially a path to darker visionary worlds.  In Henry Darger’s struggle with the blood, and complete immersion demanded by Catholicism, he used Prussian soldiers and huge explosions as forces that both protected and threatened the world.  War became the ultimate world of adulthood, both attractive and terrifying.  Darger’s vision is a bridge to the Goth viewpoint in its dance on the edge of cruelty.
 
 If there ever is a revisionist timeline of Steampunk and Steamgoth Art then the names Charles Dellschau, Melvin Edward Nelson, Emery Blagdon, and Henry Darger, certainly should be recorded as some of the natural self-taught progenitors. 
 
This first exhibition examines artists who are self-taught and for whom there is little differentiation between their lives and their artwork. The art itself was really life process. The second show in this series will present works by both trained and untrained artists dealing with the same subject matter.
 
Also shown will be Zbynek Semerak, Leos Wertheimer, and Sandra Sheehy.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8295-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8295-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8295-170" 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="17:00:00" end="19:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750583</Latitude>
  <Longitude>-74.006147</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/830B" href="http://www.nyartbeat.com/event/2012/830B">
  <Name>Takashi Tomo-oka Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/AB922123">
    <Name>Ippodo Gallery</Name>
    <Type>Gallery</Type>
    <Address>521 W 26th St., New York, NY 10001</Address>
    <Phone>212-967-4899</Phone>
    <Fax>212-967-4889</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Tomo-oka's photographs can be described as contemporary Nihonga-style pictures. They represent a new form of painting that is carried out not with ink and brushes, but using a digital camera then printing the resulting image on handmade paper. From traditional painting, as represented by woodblock prints, to contemporary manga or anime, one element common to all Japanese art culture is that all the works are what the artist, Takashi Murakami, refers to as 'superflat', which is to say they do not utilize perspective but present instead a two-dimensional space. Tomo-oka's photographs share this characteristic of appearing flat, but another reason why 'it is difficult to tell whether they are paintings or photographs', is that all extraneous matter has been eliminated, the true essence of the plant being accentuated within the space in the form of lines. As with Japanese family crests or kimono design, the motifs have been simplified to the extreme; in Tomo-oka's words, he 'photographs the space', and the 'composition' this creates can be truly described as embodying the Rimpa style. Another feature of Tomo-oka's work is the reality imbued into the flowers and trees. A tiny wormhole in a petal, a leaf that has been reversed, a rotting berry, he presents a true image of nature and moreover, once the photograph has been exposed, he makes virtually no alterations to the image. From early childhood he devoted himself to painting, but the reason why he decided to use the camera as his tool of expression was because he realized that its ability to capture a single moment in time made it ideally suited to depict the ephemeral life of a flower.

'I wish to express the beauty of 'kaboku', which is to say, flowers and trees, using photographic techniques to create an image resembling a painting. I want to be able to feel the unadorned beauty of the plants, using a composition consisting solely of the plant and empty space, making the picture as simple as possible.'
-Takashi Tomo-oka-

On March 11 it will be one year since the Great East Japan Earthquake struck. We would like to offer our sincere gratitude to all the people of the world who offered their help in the aftermath, and hope that spring, the first of the four seasons, will prove to be beautiful for them all.

[Image: Takashi Tomo-oka &quot;Snow on the Mountain&quot; Digital photo printed on Japanese washi paper 9-1/4 x 18-1/4 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/830B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/830B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/830B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750028</Latitude>
  <Longitude>-74.003458</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/83F8" href="http://www.nyartbeat.com/event/2012/83F8">
  <Name>DUOX &quot;DUOX4Larkin&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/88719A99">
    <Name>Artists Space</Name>
    <Type>Cultural Center</Type>
    <Address>38 Greene St., 3rd Fl.,  New York, NY 10013</Address>
    <Phone>212-226-3970</Phone>
    <Fax>212-966-1434</Fax>
    <Access>Corner of Grand St. Subway: A/C/E to Canal Street or N/R to Canal Street</Access>
    <Area areaId="soho">Soho</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>Wednesdays open until 8pm, Saturdays open until 5pm</ScheduleDetails>
    <ScheduleNote>Closed on July 4th</ScheduleNote>
  </Venue>
  <Media>2D: Graphics</Media>
  <Media>2D: Other</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/83F8-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/83F8-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/83F8-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-29</DateStart>
  <DateEnd>2012-03-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-28" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>38</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.721553</Latitude>
  <Longitude>-74.002064</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/8567" href="http://www.nyartbeat.com/event/2012/8567">
  <Name>Madeleine Gekiere Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/6AF88F88">
    <Name>Fred Torres Collaborations</Name>
    <Type>Gallery</Type>
    <Address>527 W 29th St., New York, NY 10001</Address>
    <Phone>212-244-5074</Phone>
    <Fax>212-244-5075</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street, C/E to 23rd Street</Access>
    <Area areaId="chelsea_28_above">Chelsea 28th - 33rd</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Fred Torres Collaborations presents a survey of drawings, paintings, and assemblages by Madeleine Gekiere. This is Gekiere’s first solo exhibition with the gallery. 

The exhibition features a selection of over 50 years of Gekiere’s extensive body of work. Throughout Gekiere’s oeuvre, whether working in painting, drawing, or other mediums, there is a constant interest in form, memory, emotion, and text. Many of the early drawings and paintings explore modernist abstraction and feature an earthy palette of blacks, browns and tans. Later Gekiere began to experiment with assemblage, using everyday found objects including light bulbs, wood handles, toys, hosiery, and books to create witty juxtapositions. Like many of Gekiere’s works, her assemblages imply connections to figurative forms, which relate to earlier works. Gekiere’s “book assemblages” and “hieroglyphic” works demonstrate her interest in text, language, and memory. Throughout her career, Gekiere has written short stories and published many illustrated books, whereby text and book covers naturally find their place in a significant portion of her fine art work. 

Madeleine Gekiere was born in Switzerland in 1919. She lives and works in New York. Gekiere studied at NYU, Brooklyn Museum School, and the Art Students League. Gekiere began exhibiting in the 1950’s with Babcock Gallery, and continued to show there through the 1970’s. Between 1953 and 1963, her books were named five times by the New York Times as one of the “Ten Best Illustrated Books of the Year.” In the 1970’s and 1980’s her experiments in over 20 films screened extensively throughout the U.S. More recently, in the fall of 2011 Anthology Film Archives screened several of her short films including the1980 film Chewing. In addition to Babcock Gallery, she has exhibited at Forum Gallery, New York University, and Galerie Wolfsberg, Zurich. Her work is in numerous museum collections, including the Art Gallery of Ontario, the Baltimore Museum of Art, the Brooklyn Museum of Art, the Cleveland Museum of Art, the Dallas Museum of Fine Arts, and the San Francisco Museum of Art]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8567-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8567-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8567-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-13" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751972</Latitude>
  <Longitude>-74.002417</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/8580" href="http://www.nyartbeat.com/event/2012/8580">
  <Name>Dannielle Tegeder &quot;Transparent Studio&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/CD2A2C33">
    <Name>Bose Pacia</Name>
    <Type>Gallery</Type>
    <Address>163 Plymouth St., Brooklyn, NY 11201</Address>
    <Phone>212-989-7074</Phone>
    <Fax>212-989-6982</Fax>
    <Access>Corner of Jay St. Subway: A/C to High Street/ Brooklyn Bridge or F to York Street.</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 12:00,</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[Bose Pacia presents the second installment of Transparent Studio with Dannielle Tegeder. The artist will occupy the gallery space from February 7 through March 1 during which time the public is invited to view the work in progress in the open studio space. We encourage visitors to stop by to see the artist in action. The studio residency term will culminate in an evening with the artist on Thursday, March 1 during the Dumbo First Thursdays evening event. 
 
Dannielle will be facilitating four workshop sessions, each consisting of invited artists, writers, poets, friends, affiliates of Bose Pacia and the public. During the sessions the group will reflect, research, and create collaborative projects on ideas inherent in drawing and abstraction. The work produced may include non-traditional drawings, a screening of drawing, writing projects, and discussions on art inspired by well-known debates on theory and practice at the Institute of Artistic Culture in Moscow, from 1920–22. The project produced during the residency, including the research and raw materials process, will be on continuous display throughout her entire residency term. Finally, the workroom will function as a dynamic space that merges the role of the working studio and exhibition space.]]></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>2012-02-07</DateStart>
  <DateEnd>2012-03-01</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="4" date="2012-03-01" start="18:00:00" end="21:00:00">Closing Reception</Party>
 <DaysBeforeEnd>21</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.703886</Latitude>
  <Longitude>-73.986808</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/8652" href="http://www.nyartbeat.com/event/2012/8652">
  <Name>On Kawara &quot;Date Painting(s)&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/4E0C8908">
    <Name>David Zwirner</Name>
    <Type>Gallery</Type>
    <Address>525 W 19th St., New York, NY 10011</Address>
    <Phone>212-727-2070</Phone>
    <Fax>212-727-2072</Fax>
    <Access>Between 10th Ave. and West Side Expressway. C/E to 23rd Street or A/C/E to 14th Street or L to 8th Avenue.</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</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[David Zwirner presents the exhibition On Kawara: Date Painting(s) in New York and 136 Other Cities, on view at the gallery’s 525 and 533 West 19th Street spaces. The exhibition will feature over 150 works selected by the artist, comprising a seminal presentation of his renowned date paintings from 1966 to the present (known collectively as the Today series).

Spanning both of the gallery’s exhibition spaces at 525 and 533 West 19th Street, the exhibition will address the temporal and geographical scope of the artist’s continuing practice, which is characterized by its meditative approach to concepts of time, space, and consciousness. Date paintings from each year since the inception of the Today series will be brought together in an expansive, evocative installation: a comprehensive selection of works painted in New York will be displayed in one gallery, while the second exhibition space will be devoted to the presentation of works painted in almost all other cities ever visited by the artist.

For over four decades, On Kawara has created paintings, drawings, books, and recordings that examine chronological time and its function as a measure of human existence. The artist began making his now signature date paintings in 1966 in New York City, and continues to make them in different parts of the world. Following the same basic procedure and format, each of these works is carefully executed by hand with the date documented in the language and grammatical conventions of the country in which it is made (Esperanto is used when the first language of a given country does not use the Roman alphabet). The artist has created a version of the sans serif typeface, which he uses to meticulously paint the letters and numbers in white on a monochrome surface. Each painting, when not on display, is encased in a cardboard box handmade by the artist. On certain days, a newspaper clipping from the city in which the painting is executed is selected and used to line the interior of the box.

The particular syntax with which any given date is recorded evokes specific locations and subtly reflects the regional differences that exist despite the universality of time. With works on display from over a hundred cities in more than thirty countries, the grammar of the paintings emerges as a code to be deciphered. The global dimension of the Today series is further evidenced by the local newspapers accompanying many of the works, whose headlines add to the virtually endless events encompassed by the given date recorded by Kawara (presentation binders with facsimiles of the newspapers clippings will be accessible for visitors to read).

New York occupies a central importance within the Today series as the city where the first date painting was made (JAN. 4, 1966) and where the majority of the works have been executed. It also marks the location of three significant paintings produced on the days surrounding the first manned moon landing in July 1969 (JULY 16, 1969; JULY 20, 1969; and JULY 21, 1969); each presents the largest canvas size Kawara has used for the date paintings (61 x 89 inches). The actual newspaper clippings accompanying these works are exhibited alongside the paintings and offer a narrative component, with the headline of one reading “MAN WALKS ON MOON.”

Also on view will be one-hundred-year calendars: one from the twentieth century and another from the twenty-first. Starting with the date of his birth, Kawara systematically marks each day of his life with a yellow dot on the calendars, and registers a completed date painting with a green dot (red dots signify that more than one painting was completed on that given day).

Japanese writer Lei Yamabe notes in the catalogue accompanying the exhibition that each date painting “is like a letter whose delivery has been delayed, or one might say that each work resembles a star.” Conversely, for each day in which a date painting is not produced, “Kawara is shut in the closed room of time, simultaneously alive and dead...[T]he flickering between life and death, existence and non-existence, is transferred intact to the entire Today series made up of date paintings. This is because the series will be complete when Kawara’s body ceases to exist—when superposition finally collapses completely and Kawara has entered the irreversible phase of ‘death.’ Or conversely, because until that moment the series itself is a superposition of existence and non-existence.”1

On Kawara: Date Painting(s) in New York and 136 Other Cities will be accompanied by an eponymous, fully illustrated catalogue published by Ludion. Since 1999, Kawara’s work has been represented by David Zwirner, and On Kawara: Date Painting(s) in New York and 136 Other Cities marks his fifth solo exhibition at the gallery.

On Kawara is a prominent figure in contemporary art, and his work has been included in numerous conceptual art surveys from the seminal Information show at The Museum of Modern Art, New York, in 1970 to 1965-1975: Reconsidering the Object of Art at the Museum of Contemporary Art, Los Angeles, in 1995-96. The artist’s work has been the subject of recent solo exhibitions at prominent institutions worldwide, including the Dallas Museum of Art in 2008. On Kawara: Consciousness. Meditation. Watcher on the Hills was a major solo exhibition, which traveled to a dozen international venues between 2002 and 2006, including the Ikon Gallery, Birmingham, England; Le Consortium, Dijon, France; Kunstverein Braunschweig, Germany; Institute of Contemporary Arts, Singapore; and The Power Plant, Toronto. A long-term installation of the artist’s date paintings is currently on view at Dia:Beacon in Beacon, New York.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8652-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8652-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8652-170" width="170" />
  <Karma>15.6481</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-06</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.745461</Latitude>
  <Longitude>-74.006464</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/86D1" href="http://www.nyartbeat.com/event/2012/86D1">
  <Name>&quot;Phases&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/F36F8707">
    <Name>Wallspace</Name>
    <Type>Gallery</Type>
    <Address>619 W 27th St., New York, NY 10001 </Address>
    <Phone>212-594-9478</Phone>
    <Fax></Fax>
    <Access>Between 11th and 12th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/86D1-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/86D1-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/86D1-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751522</Latitude>
  <Longitude>-74.005594</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/87EC" href="http://www.nyartbeat.com/event/2012/87EC">
  <Name>Susan Post &quot;Color Balance&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/1EC68E01">
    <Name>The Painting Center</Name>
    <Type>Cultural Center</Type>
    <Address>547 W 27th St., Suite 500, New York, NY 10001</Address>
    <Phone>212-343-1060</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street Station</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Susan Post finds ways for paint to “behave”, in paintings where simultaneous contrast and ambiguous space create surfaces both flat and deep. The work in “Color Balance” derives from a single composition called Seven Lines – a 2008 pencil drawing of stripes of contrasting values set perpendicularly against a third value. In 2010 a fourth color arrived and in 2011 it stuck around, affording ample complexity for Post’s idiosyncratic study of the interactions of color and edge. The composition dictates that an equal amount of each color is distributed, so that any perceived imbalance is purely a function of the colors, their relative values, and the way that they butt up against one another. Each patch or strip of color in these paintings acts as part of two of the four distinct vertical or horizontal structural elements, and every part of the painting hovers between figure and ground.

In 2007 Susan Post earned her MFA from Massachusetts College of Art and Design, where she was a member of their inaugural class in residence at The Fine Arts Work Center in Provincetown. Post’s work has been featured on the cover of Carnegie Hall’s Playbill, and has shown at OK Harris Gallery and The Painting Center in New York City, and at the Woman’s Museum in Dallas. She has exhibited at the Barbara Krakow Gallery, The Kingston Gallery and Samson Projects in Boston, and is represented on Cape Cod by The Schoolhouse Gallery in Provincetown. Post lives and works outside Boston.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/87EC-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/87EC-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/87EC-170" width="170" />
  <Karma>2.86472</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-31</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750899</Latitude>
  <Longitude>-74.003599</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/8818" href="http://www.nyartbeat.com/event/2012/8818">
  <Name>Clay Ketter Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/CAE79014">
    <Name>Sonnabend</Name>
    <Type>Gallery</Type>
    <Address>536 W 22nd St., New York, NY 10011</Address>
    <Phone>212-627-1018</Phone>
    <Fax>212-627-0489</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street, A/C/E to 14th Street, L to 8th Avenue.</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</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: Photography</Media>
  <Description><![CDATA[Sonnabend Gallery presents an exhibition of new works by Clay Ketter.

Continuing his investigation into the familiar yet overlooked surfaces of architecture in various stages of construction and disrepair, Ketter’s new large scale photographic compositions are constructed from material taken in Naples, Italy at MADRE - Museo d’Arte Contemporanea Donna Regina. Apparently disregarding the museum’s impressive collection of contemporary art, 8 x 10 inch color negatives were taken through the open windows of the museum, to the views of wall surfaces and structures across the way. 
 
This MADRE Veduta series is a continuation of the artist’s reading and interpretation of wall surfaces as painting, while in these particular motifs framing, objectification and even perspective are allowed to play a more prominent role. All but one of the compositions include the open window enclosure as a framing device. The images are carefully re-composed using picture-making techniques recognizable from Ketter’s more recent paintings – manipulations used in building the compositions are deliberately revealing, sometimes resulting in Rorschach inkblot-like symmetries. 
 
Ketter’s work continues to challenge the boundaries between painting and photography, fiction and fact. Examples of Ketter’s later paintings and other large format photographs will hang alongside the new works as an overview of this fluctuation. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8818-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8818-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8818-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-14</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-14" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.74745</Latitude>
  <Longitude>-74.005708</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/886C" href="http://www.nyartbeat.com/event/2012/886C">
  <Name>Julien Langendorff &quot;Goddess Fuzz Fantasy&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/4A707DE5">
    <Name>agnès b. galerie boutique</Name>
    <Type>Shop</Type>
    <Address>50 Howard St., New York, NY 10013</Address>
    <Phone>212-431-1335</Phone>
    <Fax>212-431-1350</Fax>
    <Access>Between Broadway and Mercer Sts. Subway: 6/N/R/Q/W to Canal Street.</Access>
    <Area areaId="soho">Soho</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 12:00, sundays closinghour 18:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>2D: Other</Media>
  <Description><![CDATA[Agnès b. and the agnès b. Galerie Boutique in Soho, presents a solo show by French artist, Julien Langendorff, whose work combines collage, pen and ink drawings and paper cut-outs. He has exhibited in numerous galleries
in NYC, Paris, Tokyo and Berlin.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/886C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/886C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/886C-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-11</DateStart>
  <DateEnd>2012-04-01</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-11" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>52</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.720117</Latitude>
  <Longitude>-74.001494</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/887D" href="http://www.nyartbeat.com/event/2012/887D">
  <Name>Ellen Emmet Rand and Ellen Emmet Rand Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/22CCE13E">
    <Name>Figureworks</Name>
    <Type>Gallery</Type>
    <Address>168 N 6th St., Brooklyn, NY 11211</Address>
    <Phone>718-486-7021</Phone>
    <Fax></Fax>
    <Access>Corner of Bedford Ave. Subway: L to Bedford Avenue</Access>
    <Area areaId="williamsburg">Williamsburg</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>Also by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[The work in this show will combine Ellen Emmet Rand’s portrait paintings and drawings from the turn of the century with Ellen Emmet Rand's new abstract collage paintings, which have been inspired from and created directly over a series of her earlier figurative paintings done in the 1990’s. Though these women have created quite different works in technique and subject, there is a remarkable similarity in palette, use of light, and a unified sensitivity to composition. These women, having come from very different generations, paths and circumstances, manage to share a unique bond of creativity and perspective. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/887D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/887D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/887D-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-03-04</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-13" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>24</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.717117</Latitude>
  <Longitude>-73.958119</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/88ED" href="http://www.nyartbeat.com/event/2012/88ED">
  <Name>&quot;All Talk&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/D99167C4">
    <Name>Pandemic Gallery</Name>
    <Type>Gallery</Type>
    <Address>37 Broadway, Brooklyn, NY 11211</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between Kent and Wythe Sts. Subway: J/M/Z to Marcy Avenue.</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>00:00:00</OpeningHour>
    <ClosingHour>00:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Other</Media>
  <Description><![CDATA[&quot;ALL TALK&quot; features some of New York City's boldest anti-heros, cynics and preachers. Those that run us through the gauntlet of fine art, design, and graffiti. From spray paint to oil paint to print making, this group of artists will display a collection of work to be hung in a gallery, but that can also be seen on the streets, walls and rooftops of New York. Their consistency and work ethic have been unparalleled in a scene that seems to be full of come and go artists looking for quick fame. This group has proved themselves time and time again to be among the most authentic and dedicated creators around. Engulfed with the love for what they do, they demonstrate their undaunted drive and creative dominance............... unless it's just all talk.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/88ED-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/88ED-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/88ED-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-17</DateStart>
  <DateEnd>2012-03-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-17" start="19:00:00" end="23:00:00">Opening Reception</Party>
 <DaysBeforeEnd>31</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.710817</Latitude>
  <Longitude>-73.967336</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="2012/8B36" href="http://www.nyartbeat.com/event/2012/8B36">
  <Name>Noriyuki Haraguchi &quot;Works from Yokosuka&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/80D0C828">
    <Name>McCaffrey Fine Art</Name>
    <Type>Gallery</Type>
    <Address>23 E 67th St., New York, NY 10065</Address>
    <Phone>212-988-2200</Phone>
    <Fax>212-988-2250</Fax>
    <Access>Between Madison Ave. and 5th Ave.  Subway: 6 to 68th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</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>3D: Sculpture</Media>
  <Description><![CDATA[McCaffrey Fine Art presenst its first solo exhibition of the work of Noriyuki Haraguchi. On the occasion of this exhibition, &quot;Works from Yokosuka&quot;, the artist has constructed a full-scale replica of the tail of a US Navy A-7E Corsair II jet, created from raw stretched canvas, aluminum, and plywood. This monumental sculpture will be shown in conjunction with a selection of works that he created between 1963 and 1972.

Noriyuki Haraguchi first came to prominence in the late 1960s, developing paintings and sculptures that engaged with cultural and environmental issues through a post-minimalist vocabulary. The artist was born in 1946 and raised in the town of Yokosuka, the home port of the US Navy's 7th Fleet since the end of hostilities in 1945. Yokosuka's large sailor population has made it a flash point in cultural relations between Japan and the United States. It was also the primary Japanese naval base from which the Vietnam War was fought, which incited antiwar and pro-pacifist protests in Japan.

In November 1968, while Haraguchi was still a student at Nihon University, Tokyo, riots broke out at the university in protest against the war in Vietnam, the presence of US military on Japanese soil, and the Japanese-American security treaty (ANPO agreement). An encounter with the exhaust vent and tail of a US Navy jet fighter being transported onto the Yokosuka Navy Base one evening in late 1968 proved decisive in cementing Haraguchi's politically infused minimalist aesthetic and inspired his first magnum opus, A-4E Skyhawk (1969). Constructed behind the barricades at Nihon University amid the riots, Haraguchi handcrafted a full-scale plywood reproduction of the tail of the aircraft. He also completed a series of monochrome white Air Pipe constructions (1968–69) of stretched canvas on plywood armatures that resemble jet engine exhausts. The A-4E Skyhawk was exhibited in 1969 in Tokyo before being returned to Nihon University, where it was subsequently destroyed by riot police and the university authorities.

The A-7 E Corsair II jet tail is the fifth sculpture of Vietnam-era American warplanes that Haraguchi has completed since 1968–69. In the exhibition, it will be accompanied by two examples from the Air Pipe series (1969), along with a lacquered paper battleship sculpture from the Ship series (1963–65) and Tsumu 147 (1966), a life-size rendition of the doors of a freight wagon. These works evince an early and acute awareness of the aesthetics of militarism and heavy industry that continues to inspire Haraguchi's distinctive body of work. 

Haraguchi's work first came to prominence in the West in 1977 at Documenta, where his Oil Pool sculpture attracted a great deal of attention. Since then, his work has only occasionally been seen in the United States and Europe, most notably at the Lenbachhaus in Munich in 2001. Retrospective exhibitions of his work have recently been held at BankART, Yokohama, Japan, in 2009, and the Yokosuka Museum of Art in 2011. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8B36-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8B36-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8B36-170" width="170" />
  <Karma>3.47874</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-06</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.769111</Latitude>
  <Longitude>-73.968133</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/8B7E" href="http://www.nyartbeat.com/event/2012/8B7E">
  <Name>&quot;Mind the Gap&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/2DD676AF">
    <Name>Kent Fine Art</Name>
    <Type>Gallery</Type>
    <Address>210 11th Ave., Fl.2, New York, NY 10001</Address>
    <Phone>212-365-9500</Phone>
    <Fax></Fax>
    <Access>Between 24th and 25th Sts. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Each of the works in &quot;Mind the Gap&quot; operates between and within signs in order to discover, tease out, and make manifest meaning that is neither obvious nor orthodox. The artists presented here respond to our world with particular intelligence and sensitivity to these gaps. It is in their natures to be radical, and each questions and provokes in their own way.

The title and spirit of the exhibition take their cue from Lise Patt's description of W.G. Sebald:

If there is a Sebaldian method, in Austerlitz we are given its opening line: &quot;mind the gap&quot; between words, between and in images and text, but most significantly, mind the gaps in (not only between) signs. Look at the spaces between seeing and not seeing (where you'll catch a glimpse of &quot;the phantom traces created by the sluggish eye&quot;). Notice the gaps between cards being dealt of pages of a book flipping by. Don't turn away from the visual magma, after-images that &quot;leak&quot; out from their moving sides. Pay attention to the momentary arrest of language required by a period, a comma, an &quot;aside.&quot; Don't ignore the &quot;whispered&quot; secrets of the last spoken syllable hanging in the air, or the last written word of a paragraph stranded on its own line. Study those photographs created in slips of the shutter or captured in concert with bodily sighs. These are the gaps that open the way to the production of thought itself, to awaking, not anesthetizing, the creative mind.

[Image: Lise Patt &quot;What I Know for Sure,&quot; in Searching for Sebald: Photography after W.G. Sebald (Los Angeles: Institute of Cultural Inquiry, 2007), pp. 81-82.] ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8B7E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8B7E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8B7E-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749972</Latitude>
  <Longitude>-74.006147</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/8B94" href="http://www.nyartbeat.com/event/2012/8B94">
  <Name>&quot;Alex Doolan's Mud Doctors: a story in two chapters, told with paint (Chapter One)&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/81CED815">
    <Name>The ArtBridge Drawing Room</Name>
    <Type>Gallery</Type>
    <Address>526 W. 26th St., Studio 503, New York, NY 10001</Address>
    <Phone>917-720-5742</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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[ &quot;I've been thinkin' about the future. I could be a mud doctor. Checkin' out the eart'.  
                       Underneat&quot;.                                                                      - Days of Heaven &quot;1978&quot; 

The ArtBridge Drawing Room debuts the work of artist Alex Doolan and his whimsical six-painting narrative series, Mud Doctors. Doolan's large, loose, colorful canvases catapult the viewer into the thick of the high stakes drama taking place inside his weird and extraordinarily sincere world, where mud, (yes, mud) is rushed to a hospital underneath the earth's surface with a mystery ailment whose remedy only the mud doctors can supply. 

Taking its cues from his affection for storytelling, The ArtBridge Drawing Room will present Doolan's Mud Doctors in two, three-painting, chapters. Join us for the opening reception of Chapter One on Thursday, January 12 from 6-8PM. Chapter Two and the story's conclusion will be told in February, 2012.
                   
Alex Doolan was born in Singapore and has lived all over the world, from Hong Kong to Belgium to New Jersey. First a psychology major at Manhattanville College, Purchase, he switched to the BFA track with a concentration in painting after taking an art class during his first semester. He is currently a candidate for his MFA in Painting and Drawing at Brooklyn College. Mud Doctors is the first solo exhibition of his work. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8B94-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8B94-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8B94-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-09</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749852</Latitude>
  <Longitude>-74.003766</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="2012/8C76" href="http://www.nyartbeat.com/event/2012/8C76">
  <Name>&quot;Remarkable Treasures:  Folk Art from the Allan Stone Collection&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/CAC9473D">
    <Name>Allan Stone Gallery</Name>
    <Type>Gallery</Type>
    <Address>5 E 82nd St., New York, NY </Address>
    <Phone>212-987-4997</Phone>
    <Fax>212-987-1655</Fax>
    <Access>Between 5th and Madison Aves. Subway: 4/5/6 to 86th Street or 6 to 96th Street.</Access>
    <Area areaId="upper_east_side">Upper East Side</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>saturdays closinghour 17:00</ScheduleDetails>
    <ScheduleNote>Summer Mon - Thu 10 - 6, Fri 10 - 4. Closed in August.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[Allan Stone Gallery presents &quot;Remarkable Treasures: Folk Art from the Allan Stone Collection&quot;, the gallery’s second exhibition at its new East 82nd Street location. From primitivist painting, antique carousel animals, and cigar store figures, to weather vanes, store signs and prison art, this exhibition gathers over twenty five rare, prized, whimsical and bizarre folk art treasures from the collection of legendary art dealer and collector Allan Stone. Though he is most recognized for handling New York School artists such as Willem de Kooning and Joseph Cornell, Allan Stone had a covetous appetite for any aesthetic object that manifests formal vitality, visceral intrigue, unself-conscious conviction and personal vision. Combined with passionate connoisseurship, this appetite brought together the extraordinarily rich cross section of folk art and Americana from which this exhibition is drawn.

Many of the works in this exhibition were selected for their significance in the field of folk art and others for their universal accessibility or visceral impact. Most of the pieces on view were made with a utilitarian purpose that became illuminated by formal expression through the crafting process, such as a chair made of beer cans, a weather vane in the form of a rooster or an elliptical clock decorated with one giant eye. Several non-utilitarian objects in the show touch on the facetious and bizarre, such as a cluster of ghoulish figures made from gnarled roots or a small pine cone figure wearing a tiny leather jacket. Paintings in the exhibition range from nautical subjects and primitive figuration to invented fantasy landscapes.

Some of the highlights include an exceptional circa 1880 carved and painted pine “Turk” cigar store figure attributed to Samuel Robb from New York, an antique carousel camel with its original bridle still attached, a peculiarly lifelike bust of Henry Clay, and a celebrated work of “prison art” from the collection depicting a carved polychrome gorilla in stiff contraposto. On the lyrical side is an anonymous abstract figure of a man poised in a serene dance-like gesture, carved from wood in a manner reminiscent of Nadelman or early Brancusi. The beckoning sweep of his arm and the gently nuanced surface of this work fittingly convey the élan permeating the entire Allan Stone collection.

[Image: &quot;Carousel Animal in the form of a Camel&quot; painted wood, steel, leather, and glass 36 x 9 x 48 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8C76-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8C76-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8C76-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="17:00:00" end="19:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.778809</Latitude>
  <Longitude>-73.96138</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/8D14" href="http://www.nyartbeat.com/event/2012/8D14">
  <Name>Louis Renzoni &quot;The Darker the Shadow The Brighter the Light&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/D62ACC27">
    <Name>Kim Foster Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., New York, NY 10011</Address>
    <Phone>212-229-0044</Phone>
    <Fax>212-229-0044</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_20">Chelsea 20th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[The Darker the Shadow, The Brighter the Light is a show of recent figurative paintings by Louis Renzoni.

Using a color palette of dark blue, soft yellow, pink and white , Renzoni creates a noir atmosphere of women caught in a moment of transition. Ordinary routines appear slightly sinister. Small areas of light don't illuminate but seem on the verge of being completely overwhelmed by darkness. Major characters, rather than being accented by shadows, are in and hidden by them. The paintings convey a specific mood, usually a kind of disturbing quiet. He calls it a flicker between the romantic and the ordinary.

In the largest paintings, the portraits are imbued with the glamour of old fashion movie heroines. The women appear doll-like with radiant cheeks and cherry lips. In several smaller works, faces are turned away and we are left to view shadows that become visual silhouettes. The closer one gets to the painting, the more blurred the imagery.

Renzoni's preference for oblique lines, and the constant opposition of light and dark, creates the compositional tension that radiate from these paintings. Adding to the tension is Renzoni's technique of painting in layers, sanding down, then repainting, a process that obliterates certain details but leaves smoky shadows in the background.

Louis Renzoni is a New York based, Canadian born artist who has been widely exhibited nationally and internationally. He is in numerous private and public collections. His artwork has been reviewed in ARTnews, Art in America, among other publications.

[Image: Louis Renzoni &quot;Lost Necklace&quot; (2011) Oil on canvas, 70 x 70 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8D14-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8D14-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8D14-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746167</Latitude>
  <Longitude>-74.0062</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/8E21" href="http://www.nyartbeat.com/event/2012/8E21">
  <Name>David Febland &quot;Bringing it Home&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/04E999AD">
    <Name>George Billis Gallery</Name>
    <Type>Gallery</Type>
    <Address>521 W 26th St., B1, New York, NY 10001</Address>
    <Phone>212-645-2621</Phone>
    <Fax>212-645-2397</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8E21-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8E21-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8E21-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-07</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750029</Latitude>
  <Longitude>-74.003457</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/8E65" href="http://www.nyartbeat.com/event/2012/8E65">
  <Name>Mat Collishaw Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/545C297B">
    <Name>Tanya Bonakdar Gallery</Name>
    <Type>Gallery</Type>
    <Address>521 W 21st St, New York, NY 10011</Address>
    <Phone>212-414-4144</Phone>
    <Fax>212-414-1535</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_21">Chelsea 21st</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[In Gallery 2, Mat Collishaw creates installation and photo-based works that explore the impact of disturbing subject matter presented through formally stunning imagery.  New photographs from both Collishaw's &quot;Insecticide&quot; and &quot;Last Meal on Death Row - Texas&quot; series will compliment a large multi-media installation and sculptures.  Mining the fertile ground between oppositional themes: reality versus reproduction, observation versus exploitation, seduction versus repulsion, Collishaw presents works that captivate the viewer in their seemingly contradictory ability to incorporate beauty and horror in equal measure.  ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8E65-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8E65-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8E65-170" width="170" />
  <Karma>1.0061</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746647</Latitude>
  <Longitude>-74.005653</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/8E76" href="http://www.nyartbeat.com/event/2012/8E76">
  <Name>Ward Shelley &quot;Unreliable Narrator&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/2CECDDEE">
    <Name>Pierogi</Name>
    <Type>Gallery</Type>
    <Address>177 N 9th St., Brooklyn, NY 11211</Address>
    <Phone>718-599-2144</Phone>
    <Fax></Fax>
    <Access>Between Bedford Ave. and Driggs Ave.  Subway: L to Bedford Avenue</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8E76-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8E76-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8E76-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-17</DateStart>
  <DateEnd>2012-03-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-17" start="19:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>38</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.718567</Latitude>
  <Longitude>-73.955908</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/8FB6" href="http://www.nyartbeat.com/event/2012/8FB6">
  <Name>&quot;Benny Andrews, Alice Neel, Bob Thompson&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/A5403741">
    <Name>Michael Rosenfeld Gallery</Name>
    <Type>Gallery</Type>
    <Address>24 W 57th St. New York, NY 10019</Address>
    <Phone>212-247-0082</Phone>
    <Fax>212- 247-0402</Fax>
    <Access>Between 5th and 6th Ave. Subway: B/Q to 57th St.</Access>
    <Area areaId="midtown">Midtown</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="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Summer Hours (July/Aug): Monday - Friday 10:00 AM - 6:00 PM</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[[Image: Benny Andrews &quot;The Cop&quot; (1968) oil with fabric collage on canvas  24 x 18 x 1 1/4 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8FB6-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8FB6-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8FB6-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-28</DateStart>
  <DateEnd>2012-04-07</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-04" start="16:00:00" end="18:00:00">Opening Reception</Party>
 <DaysBeforeEnd>58</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.763253</Latitude>
  <Longitude>-73.974683</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/8FD6" href="http://www.nyartbeat.com/event/2012/8FD6">
  <Name>Ned Colclough &quot;Winter Arrangement&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/95ACB24C">
    <Name>Nicelle Beauchene Gallery</Name>
    <Type>Gallery</Type>
    <Address>21 Orchard St., New York, NY 10002</Address>
    <Phone>212-375-8043</Phone>
    <Fax></Fax>
    <Access>Between Canal and Hester Sts.  Subway: F to East Broadway or D/B to Grand Street.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</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: Sculpture</Media>
  <Description><![CDATA[Nicelle Beauchene Gallery presents &quot;Winter Arrangement&quot;, the first New York solo exhibition by Ned Colclough.

Using Bauhaus theater, Ikebana and Arte Povera as variant points of departure in his work, Colclough’s sculptural assemblages encompass a visual style where formalism, minimalism and neomodernism are repositioned into abstract mediations. Balancing and integrating his sculptural elements, a vocabulary that includes found wood, stone, rope, and plaster, into orchestrated compositions, Colclough lends a lyrical and poetic relationship to both material and object.

Colclough’s work pivots on the use of spontaneity within his practice as he engages chance and coincidence through a number of ostensibly slight tricks that appear to suspend laws both physical and theoretical. The contrast presented in his sculptures between the strength of the parts and the fragility of the whole, evokes a spatial tension and material appropriation first referenced in post-minimalism and conceptual art. His architectural metaphors and the rhythmic play between the formal qualities of texture, surface, scale and form enriches his expansive and vanguard compositions with a subtle and transcendent purity.

Ned Colclough received his BFA from the NYSCC School of Art and Design in Alfred, NY.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8FD6-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8FD6-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8FD6-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-08</DateStart>
  <DateEnd>2012-02-19</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-08" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>10</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.715389</Latitude>
  <Longitude>-73.991825</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9037" href="http://www.nyartbeat.com/event/2012/9037">
  <Name>&quot;Other Bodies: A Collection of Vernacular Photography&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/A1F09EF4">
    <Name>ZieherSmith</Name>
    <Type>Gallery</Type>
    <Address>516 W 20th St., New York, NY 10010</Address>
    <Phone>212-229-1088</Phone>
    <Fax>212-229-1260</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street .</Access>
    <Area areaId="chelsea_20">Chelsea 20th</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: Photography</Media>
  <Description><![CDATA[ZieherSmith proudly presents 65 found photographs spanning the American 20th century, celebrating its conspicuous beauty and encapsulating a lifestyle of exquisite hubris, baffling habits and poetic leisure. Focusing on the eerie and bizarre found in everyday life, including odd family units, perverse couplings of awkward figures in vaguely familiar places, and solo views of predominantly male figures, the patina of the vintage prints are often enhanced by blurring caused by misfired flash-bulbs, over and double exposures, crude processing and care-worn edges.  This singular grouping invites the viewer to see a crooked world through straight and narrow eyes and 65 ostensibly unrelated (and virtually untraceable) sources reinvented as a new, fleeting narrative.

Factual names, dates and whereabouts in these pictures remain as mysterious and enticing as the random, cumulative effect of each image’s unconscious formal accomplishment, but a lack of facts also enhances their allure. Artfully off-handed and off-kilter compositions, such as abrupt, spare body parts at oddly foreshortened angles, are unwittingly finessed by way of heirloom Brownies and endless Kodak mementoes. 

While sometimes resembling canonical photographers such as Ralph Meatyard, Diane Arbus, Robert Frank, or Mike Disfarmer, we remember that each of these photographs was taken for personal reasons altogether removed from the public realm. They are therefore crucial documents of a nature alternately anthropological and historical, but always luscious in their unorthodox and rarefied aesthetics.

Amassed by artist Jason Brinkerhoff over a period of roughly ten years, the selection in Other Bodies was culled from nearly 2000 photographs found from a wide variety of sources and curated over two years by the artist and gallery owner Scott Zieher.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9037-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9037-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9037-170" width="170" />
  <Karma>1.69643</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-14</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.745933</Latitude>
  <Longitude>-74.006169</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/90C6" href="http://www.nyartbeat.com/event/2012/90C6">
  <Name>&quot;Blind Cut&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/246CDAF6">
    <Name>Marlborough Chelsea</Name>
    <Type>Gallery</Type>
    <Address>545 W 25th St., New York, NY 10001</Address>
    <Phone>212-463-8634</Phone>
    <Fax>212-463-9658</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Marlborough Chelsea is pleased to present Blind Cut, a group exhibition curated by Jonah Freeman and Vera Neykov. The works included address diverse notions surrounding the themes of fiction or deception. This collection, spanning several generations from Dada to the present, poses questions regarding identity, authorship, originality and reality. The practices and methodologies range from: depictions of fictional places, imagined personas, inaccurate histories, invented language, urban utopias and complex, unrevealed material gestures.

The tradition of art as trickery or deception is rich and varied. Whether it is the fantastical architecture imagined by Piranesi, the Surrealist’s use of trompe l’oeil, or the Cottingley Fairies photographic series by Elsie Wright and Frances Griffiths, much of the significant art over the last century has approached questions of authenticity through methods of appropriation, re-contextualization, and critique. Examples in expanded culture are equally numerous, ranging from Luis Buñuel’s faux ethnographic film Land Without Bread (exhibited), and Orson Welles’ 1938 fake radio news presentation of H.G. Welles’ War of the Worlds, as well as in recent years: Clifford Irving’s fake biography of Howard Hughes, the false journalism of former New York Times writers Judith Miller and Jayson Blair and the late capitalist trends of credit default swaps and phantom wealth.

Anchoring the exhibition is the work of Marcel Broodthaers, whose short yet diverse artistic career employed fiction as its principle medium. In projects such as Musée d’Art Moderne, Department of Aigles (1968-74), and Décor (1974-75), Broodthaers presented a situation in which objects and environments framed as ‘fictions’ revealed the layered and often dubious conditions of our so-called ‘real’ institutions.

Accompanying the exhibition will be a fully illustrated catalogue that along with documentation of the work exhibited will also include interviews, writings, and ephemera surrounding the themes of fiction and deception. A viewing schedule for the films will be released on the gallery website in conjunction with the show.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/90C6-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/90C6-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/90C6-170" width="170" />
  <Karma>5.10381</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-19" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749528</Latitude>
  <Longitude>-74.004503</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/90F8" href="http://www.nyartbeat.com/event/2012/90F8">
  <Name>Duro Olowu &quot;Material&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/B8A7CACA">
    <Name>Salon 94 Freemans</Name>
    <Type>Gallery</Type>
    <Address>1 Freeman Alley, New York, NY 10002</Address>
    <Phone>212-529-7400</Phone>
    <Fax>212-529-7401</Fax>
    <Access>Between Bowery and Christie St., off Rivington St. Subway: F/V to 2nd Ave. or J/M/Z to Bowery Street.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>tuesdays openinghour 13:00, </ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[London-based fashion designer Duro Olowu will present a show and pop-up shop of fashion and art at Salon 94’s Freeman Alley Gallery. The show will present a group of limited edition fashion and accessory designs from Duro's Spring 2012 collection as well as a selection of vintage and contemporary photography, textiles, contemporary art, furniture, music, books and objets trouvés.
Duro has long curated, in his London store in Masons Yard Saint James, a diverse assemblage of &quot;things&quot; that have captivated and inspired him and his work. Clothing created by Duro for the exhibition will include intricately draped bias dresses with ruffle details, guipure lace jackets and paneled tail coats, collage bib sheaths and gilets, corseted and full skirted print dresses, billowing chiffon gowns and skirts, and hand made footwear and will be featured alongside commissioned pieces by Paris-based jeweler Taher Chemirik, New York-based artist Mathew Ronay and paintings by Katherine Bernhardt.
Installed in a mise-en-scène featuring works by Juergen Teller, including images from collaborations with Duro, vintage photography by Malian photographer Hamidou Maiga and designer Carlo Mollino, a large photograph by Laurie Simmons, illustrations by Bella Foster, woven canvases by New York artist Tony Cox, prints by Suzanne Wenger, drawings by Lorna Simpson, furniture and objects by Martino Gamper and Maria Pergay, sculptures by Ghanaian artist Paa Joe and London based Francis Upritchard, ceramics by Matthias Merkel Hess, vintage West African textiles and rare fabrics from couture fabric makers including Abraham of Switzerland, along with work by Kara Hamilton, Jackie Nickerson, Ludovica Gioscia, and Philip Kwame Apagya. Olowu adds &quot; My work, like my eye, is certainly international in its aesthetic, offbeat yet focused. As such, I am always open to the surprise of the new, the technique and skill of the past and the ability of fashion and art to challenge preconceived ideas of taste and culture.&quot;
After training in law, Duro Olowu turned to a career in fashion, launching his label in 2004. In 2005 the British Fashion Council honored him with the prestigious New Designer of the Year Award. Last year, he won the Best Designer Award at the African Fashion Awards and was a finalist for the Swiss Textiles Award. Alluring silhouettes, sharp tailoring, original prints and vintage textiles in combinations are Duro’s signature, inspired by his Jamaican-Nigerian heritage and London upbringing, making him a favorite among fashion insiders.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/90F8-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/90F8-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/90F8-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-08</DateStart>
  <DateEnd>2012-03-04</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-08" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>24</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.721467</Latitude>
  <Longitude>-73.992747</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9124" href="http://www.nyartbeat.com/event/2012/9124">
  <Name>Uri Aran &quot;By Foot, By Car, By Sea&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/7E1DB1CC">
    <Name>Gavin Brown's Enterprise</Name>
    <Type>Gallery</Type>
    <Address>620 Greenwich St., New York, NY 10014</Address>
    <Phone>212-627-5258</Phone>
    <Fax></Fax>
    <Access>Corner of Leroy St. Subway: 1 to Houston Street.</Access>
    <Area areaId="soho">Soho</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: Photography</Media>
  <Media>2D: Other</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9124-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9124-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9124-170" width="170" />
  <Karma>1.28623</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>40.730397</Latitude>
  <Longitude>-74.008208</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9305" href="http://www.nyartbeat.com/event/2012/9305">
  <Name>El Roto (Andrés Rábago) &quot;Draw What You Think&quot; </Name>
  <Venue href="http://www.nyartbeat.com/venue/9AA33C49">
    <Name>Instituto Cervantes New York</Name>
    <Type>Cultural Center</Type>
    <Address>211 E 49th St., New York, NY 10017</Address>
    <Phone>646-361-3266</Phone>
    <Fax></Fax>
    <Access>Between 2nd and 3rd Aves. Subway: 6 to 51st Street.</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:30:00</OpeningHour>
    <ClosingHour>21:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Illustration</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[After a brief showing at Film Society at Lincoln Center, Instituto Cervantes New York presents a collection of twenty-four drawings, the work of the cartoonist Andrés Rábago, also known as EL ROTO, internationally renowned for his satirical cartoon contributions to the Spanish newspaper EL PAIS and to the International Herald Tribune.

[Image by El Roto (Andrés Rábago)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9305-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9305-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9305-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-15</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>6</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.755133</Latitude>
  <Longitude>-73.970714</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/948F" href="http://www.nyartbeat.com/event/2012/948F">
  <Name>Leah Kohlenberg &quot;Ruin:Rebirth&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/32814AC4">
    <Name>Hadas Gallery</Name>
    <Type>Gallery</Type>
    <Address>541 Myrtle Ave., Brooklyn, NY 11205</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between Steuben and Emerson Sts., Subway: G to Classon Ave.</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>13:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="1" sat="1" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Hadas Gallery presents the recent work of photographer Leah Kohlenberg.

“Ruin: Rebirth” is a series of 30 photographs that focus on the evolution and devolution of urban life. Kohlenberg has spent the past 5 years traveling the eastern block and Mediterranean region documenting communities left in the shadow of the soviet collapse and economic downfall.

Her photographs find beauty in the decay of urban structures and humor in its awkward attempts at repair. Kohlenberg’s use of floral imagery is an important sub-theme that serves as a poetic reminder of “vanitas”, as well as a counterpoint to the manmade structures.

The inclusion of Grecian ruins helps relate the timeless lifecycle of a city. As Kohlenberg documents tourism to these ruins, she brings into question her own tourism of the fallen communist empire. The inclusion of single image taken in Brooklyn links our city to those halfway around the world and asks us if we are in a state of ruin or rebirth.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/948F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/948F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/948F-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-29</DateStart>
  <DateEnd>2012-03-19</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-16" start="19:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>39</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.693942</Latitude>
  <Longitude>-73.962728</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/94BE" href="http://www.nyartbeat.com/event/2012/94BE">
  <Name>&quot;Night Falls&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/F26D3665">
    <Name>P.P.O.W.</Name>
    <Type>Gallery</Type>
    <Address>535 W 22nd Street, Fl. 3, New York, NY 10011</Address>
    <Phone>212-647-1044</Phone>
    <Fax>212-647-1043</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</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="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Other</Media>
  <Description><![CDATA[Martin &amp; Muñoz are an art team best known for their “Travelers” series of snow globes and photographs. In the world that they have developed, blizzard transformed landscapes often serve as backdrops for enigmatic narratives. These are in some instances angst-dream inspired. Others are hard times fables. There is a socio-political as well as a psychological aspect to these images and sculptures. As is often the case with this couple's work, the narratives have an unfinished open ended quality. 

For this exhibition, Martin &amp; Muñoz have chosen night as a back drop.  Fires, flashlights and moonlight puncture the dark to expressive effect.  Important details and aspects of the narratives are lent a dynamic chiaroscuro where the interplay of light and dark shape both the mood and contour of the subject.  Some of the images and snow globes depict a sort of dystopian Kinderland.  This is a place where children have no parents, a place where adults appear only as an opposing tribe.  Some of characters depicted and developed in this group of photos include: a giant black dog, a band of rogue tree children and a nefarious priesthood.  A small group of related snow globes will also be exhibited.

Walter Martin and Paloma Muñoz have been collaborating since 1993 and have since exhibited internationally. Their work is in numerous museum collections, including the Museo Nacional Centro de Arte Reina Sofia in Madrid, the Nerman Museum of Contemporary Art in Overland Park, Kansas, and the KIASMA Museum of Contemporary art in Helsinki, Finland.  Recently their work was featured in group exhibitions at the Bellevue Arts Museum, Bellevue, Washington; the Museum of Art and Design, New York, NY and the University of Michigan in Ann Arbor, Michigan. Concurrent with the exhibition at P.P.O.W the artists are participating in the exhibition “Fairytales, Monsters and the Genetic Imagination” at the Frist Center for the Visual Arts in Nashville, Tennessee.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/94BE-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/94BE-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/94BE-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747592</Latitude>
  <Longitude>-74.005639</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9542" href="http://www.nyartbeat.com/event/2012/9542">
  <Name>&quot;The Bricoleurs&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8887592D">
    <Name>BRIC Rotunda Gallery</Name>
    <Type>Gallery</Type>
    <Address>33 Clinton St., Brooklyn, NY 11201</Address>
    <Phone>718-683-5621</Phone>
    <Fax>718-488-0609</Fax>
    <Access>Between Tillary and Pierrepont St. Subway: A/C at High Street, 2/3/4/5/M/R trains at Court Street/Borough Hall</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</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>Hours during exhibition only</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Prints</Media>
  <Media>2D: Other</Media>
  <Media>3D: Sculpture</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[BRIC Arts | Media | Bklyn presents The Bricoleurs, an exhibition at BRIC Rotunda Gallery featuring a range of Brooklyn artists who embrace the practice of bricolage and construct visual works from discrepant elements, creating new forms and imagery. Curated by Christian Fuller and Risa Shoup.

All artists in the show were selected from BRIC’s Contemporary Artists Registry, the oldest registry of visual artists in Brooklyn with more than 16,000 digital submissions from 800 artists. Founded in 1983, the Registry is open to artists living or working in Brooklyn; visit registry.bricartsmedia.org to view a range of artists’ work.

Bricolage is a term used in several disciplines to refer to the construction or creation of a work from a diverse range of sometimes seemingly disparate  things; a person who engages in bricolage is called a bricoleur. The range of work in this show includes: video, painting, collage, assemblage, sculpture and digital printing.

According to the curators: “We have chosen artists for the exhibition who pull together styles and materials that might otherwise appear disparate and unattractive save for the artist’s ability to combine them into one cogent, integral whole… With The Bricoleurs, we turn our analytical gaze more to the practice of creating bricolage less than the product, the bricolage itself.”]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9542-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9542-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9542-170" width="170" />
  <Karma>1.02919</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-25</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-25" start="19:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.695328</Latitude>
  <Longitude>-73.991797</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9626" href="http://www.nyartbeat.com/event/2012/9626">
  <Name>Paula Scher &quot;Maps&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/9C5EEEED">
    <Name>Bryce Wolkowitz Gallery</Name>
    <Type>Gallery</Type>
    <Address>505 W 24th St., New York, NY 10001</Address>
    <Phone>212-243-8830</Phone>
    <Fax>212-243-8620</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_24">Chelsea 24th</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: Graphics</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[For the past twenty years, renowned graphic designer and fine artist Paula Scher has been reinterpreting society's approach to data and our visual representation of the trafficked environment. Through her large-scale cartographic paintings, she has created a novel way of mapping traditional information, while subjectively twisting and confounding it. Intricate, colorful and obsessively detailed, her paintings have the foundations of accuracy, but are ultimately impressionistic visions of our interconnected world.

Scher culls data from informational media such as headlines, commercial maps, and diagrams and renders them in madcap fields of hand-drawn typography. The accumulated textures and patterns provide an exuberant portrait of contemporary information in all its complexity and subjectivity, while questioning our innate ability to synthesize and analyze. 
Scher has been a principal of the international design consultancy Pentagram since 1991, where she is renowned for her creation of graphic identities, publications and environments.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9626-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9626-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9626-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748861</Latitude>
  <Longitude>-74.003992</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/962A" href="http://www.nyartbeat.com/event/2012/962A">
  <Name>John Miserendino &quot;Pavilion&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/19B58D63">
    <Name>Recess Art</Name>
    <Type>Event Space</Type>
    <Address>41 Grand St., New York, NY 10013</Address>
    <Phone>646-863-3765</Phone>
    <Fax></Fax>
    <Access>Between W Broadway and Thompson Sts. Subway: N/ R/ W/ A/ C/ E to Canal Street</Access>
    <Area areaId="soho">Soho</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="1" hol="0" />
    <ScheduleDetails>thursdays openinghour 14:00, thursdays closinghour 20:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[
On January 10th, John Miserendino will begin work on his project, Pavilion, as part of Recess’s signature program, Session. Session invites artists to use its public space as studio, exhibition venue and grounds for experimentation.

For Pavilion, Miserendino will reinterpret Dan Graham’s original plans for his architectural structures. The artist, who sees himself as a collaborator with Graham and other prominent players—who may remain unaware of the joint venture—will stage a series of three reenactments inside his Pavilion to translate existing artworks into personal terms.

Using discarded studio materials from several well-known artists, Miserendino will use Pavilion as a recording studio to make an audio facsimile of Sonic Youth’s Daydream Nation, an album he has never heard personally. He will rely on visitors’ descriptions of the band and their memories of the music to approximate the album.

Pavilion will also become the set for a third version of Michael Haneke’s film, Funny Games. Miserendino worked as a PA for Haneke’s shot-by-shot 2008 American remake of his own movie, originally shot in 1997 in Austria. Using the original film as his guide and sourcing trashed costumes from the 2007 version, Miserendino will serve as actor, director, production designer, and editor for his 2012 iteration.

Finally, Pavilion will be used a stage for the artist to learn discarded choreography from the Broadway show Spider-Man: Turn Off The Dark. Miserendino will work with a dancer from the cast to learn dance sequences that have been cut from the present version of the musical.

In each case, Miserendino hopes to capture a discarnate likeness of the existing artworks, providing an additional layer of commentary to the original productions through new collaborations.


Artist Bio:
About the Artist: John Miserendino was born in 1980 in New Jersey and now lives and works in New York City. He received a BA in architecture from Cornell University in 2003. Earlier this year, his project “A Selection of Snapshots taken by Felix-Gonzalez Torres and John Miserendino” was published for Printed Matter in New York. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/962A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/962A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/962A-170" width="170" />
  <Karma>1.15885</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-10</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.722467</Latitude>
  <Longitude>-74.004267</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9675" href="http://www.nyartbeat.com/event/2012/9675">
  <Name>&quot;From Iceland&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8C69B816">
    <Name>Luise Ross Gallery</Name>
    <Type>Gallery</Type>
    <Address>511 W 25th St., #307, New York, NY 10001</Address>
    <Phone>212-343-2161</Phone>
    <Fax>212-343-2468</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Some years ago, Icelandic artists would have been a category unfamiliar to the American art public. It would have seemed a category without discernible unity or order, thus devoid of the kind of meaning that would allow itself to be turned into myth.  By connecting all the dots we have the beginnings of a myth centering  on a society precariously poised between the civilized and savage, urban and rural, self-deprecation (How do you like Iceland?) and dreams of world domination.
 
Typically, the Icelandic artists included in this survey both conform to this myth and render it meaningless. All of them have close ties to the countryside; they use it as a refuge or incorporate its features and legends into their art, both of which is true of Gudbjorg Lind, Gudrun Kristjansdottir and Niels Hafstein. At the same time they are ready to fly to New York, Paris or Beijing at a moments notice. Their approach to their work may be firmly centered on the physicality of the body, as is the case with Gudny Kristmanns, or it may be predicated on the dissolution of materiality, which is the kind of thing we find in the work of Gustav Geir Bollason. Or they may take up a position midway between sense and big time sensuality, as happens in the highly literate and knowing work of Jon Laxdal and Thordis Alda. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9675-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9675-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9675-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-10" start="15:00:00" end="18:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749125</Latitude>
  <Longitude>-74.003533</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="2012/98D2" href="http://www.nyartbeat.com/event/2012/98D2">
  <Name>Yong Sun Suh &quot;Territory&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/00BEE330">
    <Name>Kips Gallery</Name>
    <Type>Gallery</Type>
    <Address>511 W 25th St., New York, NY 10001</Address>
    <Phone>212-242-4215</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[As an artist, I have always been interested in our history, our story. I have prepared this exhibition in the intention to create a base in expressing my thoughts on the Korean War. We store what we see in the society and in nature within our body as our memory and we communicated it with others. There is a moment this phenomena became a part of my identity.The Korean language I speak has been developed in a specific Asian region. Throughout the long years, as the boundary of the region where the language is used changes, the identity of the folks who speak the language changes. These memories turn into deep experience carved onto me and serve me as a guide to live in this world.  They even create ideology or faith.Like pictures or photographs, the stored images in our unconscious become imprinted in our memory and part of our social communication, Even sound or it's memories like other sensory perceptions, are sometime brought back on viewing these specific images.
 
People, particularly in the west define this event in the history of our Country, as the &quot;Korean War&quot;. The Korean War bears a special meaning for me. The Korean War refers to a regional conflict between South Korea and North Korea.  However, it also refers to a war directly involving other countries such as the United States, the Soviet Union, and China.  The point is that it is so unnatural for the twoKoreas to exist as two separate nations, because their natures are so identical.The memories of those including my parents who remember the War have become a part of mine and my personal experience. It was hard to recreate them in pictures. However, because of my experience and cultural background these past associations are dissociable from my way of living and expressing myself, as an artist.
 
These paintings represent my latest attempt in trying to give it a tangible life.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/98D2-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/98D2-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/98D2-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749322</Latitude>
  <Longitude>-74.003679</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9914" href="http://www.nyartbeat.com/event/2012/9914">
  <Name>Alakananda Mukerji Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/CCE3481F">
    <Name>Blue Mountain Gallery</Name>
    <Type>Gallery</Type>
    <Address>530 W 25th St., New York, NY 10001</Address>
    <Phone>646-486-4730</Phone>
    <Fax>646-486-4345</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Alakananda Mukerji grew up in India on the River Ganges. She says memories, media, materials – bits of canvas, pieces of the past -- anything she can get hold of -- become her art. She works in watercolor, finding its free-flowing quality ideal for experimentation.
Artist Statement

I am Alakananda Mukerji, and I grew up on the River Ganges. I have long since left the narrow streets of Benaras where life is awash in a flood of color and a constant stream of souls. Yet however so far I may find myself from those ancient riverbanks, my memory, my art, and indeed my very being -- these are forever caught up in the notion of endless, sacred flow.

People and faces, the surge of sounds, the unfathomably old commingling with the untarnishedly new -- all the rhythms and rhymes of India: this is the wellspring of who I am. I flow from this source, but I have become the river -- changing, evolving, flowing. And what flows from me, my painting, it is often a conversation between the me that was and the me that is becoming. Memories, media, materials -- bits of canvas, pieces of the past -- anything I can get hold of: this is my art. I am the medium. I am the flow.

The subtle tones of Europe, and the soaring spirit of America: these flow in me too, for in these places I was also educated, alongside rivers with strange-sounding names like the Aliákmonas, the Thames, and the Mississippi. These are part of me now and I am part of them. And I am changed, though my wellspring stays the same. For I am a river, and a river is process. Art is process. Life is process.

I work in watercolor. I always found the free-flowing quality of watercolor interesting and ideal for experimentation. At first I thought this was some personal reaction to my source, to my life in Benaras, where everyone and everything is close, where there does not always seem room enough to grow, and where family and friends, and India itself influence one’s decisions. I was foolish. Sometimes we do not see what we have already understood. And sometimes we do not understand what we have already perceived. Watercolor was not an escape. Experimentation does not undo who I was. Watercolor is my Ganges. It is my endless, sacred flow. It is who I was but also who I am and who I am becoming. It is my medium. It is me. I am a river. I am the flow.

And I am flowing. My work that you see here today is where I have arrived after years of work. But a river never simply arrives. I am changing, I am still becoming. And we shall all see where the flow takes me next, or where I take myself, or where I allow myself to be taken, for it is all the same.

My name is Alakananda Mukerji, and I live in Manhattan, between the Hudson and the Harlem. My name is Alakananda Mukerji and I grew up on the Ganges. I am an artist. I am a teacher. I work in watercolor. I am a river.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9914-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9914-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9914-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-31</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749267</Latitude>
  <Longitude>-74.004028</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9917" href="http://www.nyartbeat.com/event/2012/9917">
  <Name>&quot;Exposed&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/F7040037">
    <Name>The Muriel Guépin Gallery</Name>
    <Type>Gallery</Type>
    <Address>47 Bergen St., Brooklyn, NY 11201</Address>
    <Phone>718-858-4535</Phone>
    <Fax></Fax>
    <Access>Between Smith and Court Sts. Subway: F to Bergen Street, 2/ 3/ 4/ 5 to Borough Hall, R to Court Street. </Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>sundays openinghour 12:00, sundays closinghour 17:00</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Other</Media>
  <Description><![CDATA[Muriel Guépin Gallery presents &quot;Exposed&quot; a new group show featuring the artwork of: Andrea Dezsö, Donald Graham Hershey &amp; Rogelio Manzo.

Interested primarily in human forms as a vehicle to penetrate human psychology and reveal their true character, these artists all work with different medium -such as embroideries to reveal personal experiences with social myths and family pressures- or use deceptive delicate works that reveal unsettling tension of human existence.  
 
Andrea Dezso received Best show in The Village Voice 2007. A visual artist and writer work across a broad range of media including drawing, artist's books, cut paper, embroidery, sculpture, site-specific installation, animation and large scale public art.The Transylvanian-born Dezsö has embroidered dozens of her mother's sayings and arrayed them along the close-set walls of a maze-like corridor. Andrea Dezsö has shown her work in museums and galleries around the world.    
 
Donald Graham Hershey's drawing and video works memorialize the intangible world with tangible elements slowly procured from a sensualist's unconscious. Hershey's work eludes one emotional impact. Often rendered in pencil on off-white paper, his drawings explore corporeal disconnections, narrative fragments, and manifestations of distant memory all imbued with a characteristic darkness.  Hershey's drawings are not typically ornamental - sometimes depicting a singular part of a figure, a lone garment, or an aura engulfed by a graphite sfumato.  They are deceptively delicate works that reveal unsettling tension without the slightest use of gore or camp. The series is part of the artist's ongoing investigation on the effects of corporate and mass media aesthetics, primarily packaged beauty and the individual's perception of identity. 

In most of his works, Rogelio Manzo places the figures in the foreground with rarely a sense of an environment. Thus, the viewer is forced to focus on the fragmented visages and figures that are painted with an expressionistic fervor. The surfaces of these works range from thick impasto to thin washes, worn and scratched areas to realistic hand painted hints of skin, flesh and bones, and sleek digital image transfers. This treatment adds to the sensation of his subjects being flayed to reveal their innermost feelings. Manzo's preferred format of squares, often as large as 6' x 6', are painted on resin panel and canvas. Manzo also focuses the viewer's attention on the anguished faces and bodies. His palette of tones of black, brown, gray, and a blood red adds to the feeling of bleak reality. As perhaps accents of optimism, occasional hits of dandelion yellow, sky blue, or cardinal red brightens his palette.  ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9917-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9917-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9917-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-26</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-13" start="18:30:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>17</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.687361</Latitude>
  <Longitude>-73.991353</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/996E" href="http://www.nyartbeat.com/event/2012/996E">
  <Name>Anne Truitt &quot;Drawings&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/717D47A1">
    <Name>Matthew Marks Gallery 523 W 24th St.</Name>
    <Type>Gallery</Type>
    <Address>523 W 24th St., New York, NY 10011</Address>
    <Phone>212-243-0200</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Avenue. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_24">Chelsea 24th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[This retrospective of Truitt’s works on paper spans the four decades of her career. The 40 works on view date from the early 1960s, when she first developed the totemic sculptures in painted wood for which she is best known, to the last years of her life. Many works are being shown for the first time. 

Drawing was a daily ritual for Anne Truitt (1921-2004). The works in the exhibition include the full range of her drawing techniques including graphite, ink, pastel, and acrylic on paper. Edges are variously taped, rolled, and sliced. Line is sometimes bold, and at other times subtle enough to appear at first glance almost invisible. A 1966 series of distilled, hard-edge forms evoke the architecture of Truitt’s childhood home with its white clapboard siding and picket fence. In a group of works from 1976, paint is applied in layers of subtle color, a signature of her work in all media. 

A fully illustrated hardcover book, with an essay by Brenda Richardson, will be published to accompany the exhibition.

Anne Truitt was born in Baltimore and lived the majority of her life in Washington, D.C. Her first one-person exhibition was at the Andre Emmerich Gallery, New York, in February 1963. Her work has been the subject of one-person exhibitions at the Whitney Museum of American Art, New York (1973); the Corcoran Gallery of Art, Washington, D.C. (1974); and the Baltimore Museum of Art (1974 &amp; 1992). In 2009, the Hirshhorn Museum and Sculpture Garden, Washington, D.C., organized an acclaimed retrospective of her work. Truitt was also a distinguished writer and published three volumes of her memoirs, Daybook (Pantheon, 1982), Turn (Viking Penguin Press, 1986), and Prospect (Penguin, 1996). ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/996E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/996E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/996E-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-04</DateStart>
  <DateEnd>2012-04-14</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-03" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>65</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748681</Latitude>
  <Longitude>-74.004425</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="2012/9A7B" href="http://www.nyartbeat.com/event/2012/9A7B">
  <Name>&quot;New Selections: South Asia&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/1C82646F">
    <Name>Thomas Erben Gallery</Name>
    <Type>Gallery</Type>
    <Address>526 W 26th St., 4 Fl., New York, NY 10001</Address>
    <Phone>212-645-8701</Phone>
    <Fax>212-645-9630</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street or A/C/E to 34th Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Thomas Erben Gallery presents work by a selection of artists related to the larger South Asian field, whose wide variety of concerns, media, and practices have recently garnered our attention.

Ehsan ul Haq’s (b. 1983, Lahore, Pakistan) sculptures, installations and videos are carefully considered arrangements of simple elements like rubble, cinderblocks, furniture, houseplants, light bulbs and, occasionally, live animals. His work transcends the symbolic and avoids flippancy, creating empathic poetry from everyday objects, which he organizes into flawed systems. The photographs included in the show document studio installations. One features a donkey, whose ability to roam is hampered by a tethered weight; the other, a rooster tied by the ankle to a feed-covered floor, resulting in a perfect circle of empty floor space over time. 

Ul Haq received his BFA from the Beacon House National University, Lahore (2008). Most notably, his work was included in Resemble/Reassemble, Devi Art Foundation, New Delhi (2010) curated by Rashid Rana. He had solo shows with Rohtas (2009) and the National College of Art Gallery (2010), both in Lahore, and has been included in exhibitions in the UK, Pakistan, and Germany.

The primary concern of interdisciplinary artist Sreshta Rit Premnath (b. 1979, Bangalore, India) is how “political and economic power produces [an] unequal distribution of knowledge” and “how paradigms of power produce and constitute our relationship to objects and events in the world.” Rhizome – a photo series of manipulated roots, linked together with crimped metal inserts - focuses on the ginger rhizome, a household cooking ingredient with locally well know medicinal uses in India and China, whose genes have been patented by pharmaceutical corporations for commercial use. The ways in which systems of knowledge have been, and continue to be colonized is an underlying theme.

Premnath, founder and editor of Shifter Magazine, is based in New York. He completed his BFA at The Cleveland Institute of Art (2003), his MFA at Bard College (2006), and attended the Whitney Independent Study Program (2008). Solo shows include: Galerie Nordenhake, Berlin (2011) and Gallery SKE, Bangalore (2004, 2008, 2010), which also presented his work at Statements, Art Basel (2010).

Schandra Singh’s (b. 1977, Suffern, NY) saturated, large-scale oil paintings executed on linen, feature lounging tourists enclosed in their own watery paradise. Built of faceted shapes as if their muscles and fascia were exposed, her figures threaten to disintegrate into the surrounding, equally fractured pool water. Singh’s work, incongruously full of buzz and anxiety, exposes an agitation resulting from the psychological, and subsequently political, implications of leisure in an era of global crisis.

Singh completed her BFA (1999) at the Rhode Island School of Design and went on to receive her MFA in Painting (2006) at Yale. She had solo exhibitions at Nature Morte, Berlin (2011), Bose Pacia, New York (2010), Galerie Bertrand &amp; Gruner, Geneva (2008) and has shown internationally, most notably in The Empire Strikes Back, Saatchi Gallery, London (2010).

Vinod Balak (b. 1982, Kerala, India) are excessive in terms of aesthetics as well as social norms. Constructing his social allegories in the tilted, flattened space of miniature painting, Balak’s human and/or animal protagonists are rendered in - and surrounded by - a brash, synthetic palette and jarring patterns. Loud yet static, the classical compositions allow for the hedonist impulse of contemporary consumerism to be perceived on a more reflective level.

Balak received his BFA from The Government College of Fine Arts, Thrissur, Kerala (2007) and his MFA from the S.N. School of Fine Arts, Hyderabad (2009). His work was included in Roots in the Air, San Jose Museum of Art, CA (2011) and a solo-exhibition was held at Galerie Mirchandani + Steinruecke, Mumbai (2010). He currently lives and works in Hyderabad.

Koshal Hamal’s (b. 1988, Mugu, Nepal) works are engaged in a synthesis of appropriation, combining Western art with the historical format of miniature painting. Working in oil, he copies Western art historical works (and their gilded frames), in diminutive size, onto larger scale primed canvases. He grants these works the specialness of singularity, while simultaneously reevaluating and taking ownership – conceptually as well as culturally – through the act of appropriation and miniaturization.

Hamal received his BFA from Beaconhouse National University, Lahore (2011) on a South Asia Foundation Scholarship. His graduating exhibition was reviewed by Atteqa Ali: “The star of the show is a Nepalese artist Koshal Hamal. […] His paintings examine complicated concepts; however, Koshal does not reduce the significance of the form. Instead, his visually compelling technique is a kind of foil for heavy ideas. It’s a powerful trait found in the most interesting art made in Pakistan.” Hamal lives and works in Kathmandu, Nepal.

Faiza Butt (b. 1973, Lahore, Pakistan) composes her midsize drawings from collages of journalistic, personal and advertising images, touching on issues of cross-cultural integration, including sex/gender, religion, and aesthetics. She works slowly, incrementally growing imagery through innumerable colored felt-tip-pen dots on Mylar, which are then exhibited backlit, akin to advertisements. At the core of her practice is the hybridization of media – for example, a meticulous handmade drawing resembles a coarse offset print of a photographic image, glowing in a public ad display.

Faiza Butt received her BFA from the National College of Arts (1993) and her MFA from the Slade School of Art (1999), both in London. Her work was exhibited in Hanging Fire: Contemporary Art from Pakistan, Asia Society, New York (2009) as well as at venues in the UK, France, Hong Kong, Dubai, Pakistan, and India. Solo exhibitions include: Grosvenor Vadhera Gallery, in London (2010) and at Art Dubai (2011); Rohtas Gallery, Lahore (2009, 2008, 1996); Green Cardamom, London (2008). She lives and works in London.

The densely patterned, abstract paintings of Anoka Faruqee (b. 1972, Ann Arbor, MI) are composed of tripods and asterisks. Her chromatically gradated, hand painted surfaces recall warped pixelated spaces, Islamic tile geometry, and abstract color-fields. Adhering to a diligently methodical process, Faruqee has supplanted spontaneity and dramatic gesture through controlled repetition, thus finding self-expression within the potential of geometric space.

Faruqee received her BA from Yale (1994) and her MFA from Tyler School of Art (1997). She attended the Whitney Independent Study Program, the Skowhegan School of Art, and the PS1 National Studio Program. Her work has been exhibited at Hosfelt Gallery, PS1, Max Protetch and Apexart, among others.

Hasan Elahi (b. 1972, Bangladesh) is perhaps best known for his ongoing FBI tracking project. Ten years ago, Elahi was detained by the FBI for suspicion of housing explosives in a Florida storage unit. After an exhaustive investigation, the agents were convinced of their error. To avoid future “complications,” Elahi has since documented every detail of his life by providing a real time map with financial data, communication records and transportation logs. In our exhibition, a photograph of airplane meals demonstrates his interest in the public and investigative value of an overwhelming amount of personal information.

Elahi is currently Associate Professor of Art at the University of Maryland as Director of Digital Cultures and Creativity. Over the past years, his work has been included in exhibitions at venues such as SITE Santa Fe, Centre Georges Pompidou, Sundance Film Festival, Kassel Kulturbahnhof, The Hermitage, and at the Venice Biennale.

[Image: Ehsan ul Haq]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9A7B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9A7B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9A7B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-10</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-10" start="18:00:00" end="20:30:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749853</Latitude>
  <Longitude>-74.003767</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9AEB" href="http://www.nyartbeat.com/event/2012/9AEB">
  <Name>Iva Gueorguieva Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/BB060749">
    <Name>Ameringer | McEnery | Yohe </Name>
    <Type>Gallery</Type>
    <Address>525 W 22nd St., New York, NY 10011 </Address>
    <Phone>212-445-0051</Phone>
    <Fax>212-445-0102</Fax>
    <Access>Between 10th and 11th Aves.  Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</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[[Image: Iva Gueorguieva &quot;Vagal Vex&quot; (2011) Acrylic, dry pigment, collage and oil stick on canvas, 74 x 78 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9AEB-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9AEB-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9AEB-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.74725</Latitude>
  <Longitude>-74.005414</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9B9A" href="http://www.nyartbeat.com/event/2012/9B9A">
  <Name>Jane Swavely &quot;New Work&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/2FD3D32C">
    <Name>A.I.R. Gallery</Name>
    <Type>Gallery</Type>
    <Address>111 Front St., #228, Brooklyn, NY 11201</Address>
    <Phone>212-255-6651</Phone>
    <Fax>212-255-6653</Fax>
    <Access>Between Washington and Adams Sts. Subway: F to York Street, A/C to High Street.</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[New Work features pastel drawings and oil paintings of vibrant and visceral landscapes. Swavely employs cinematic quick cuts of landscape against panoramic shots. Swavely captures the transient moment, the changing tide of light, tonal values of deepening color and shadow, and the volume of space and depth.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9B9A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9B9A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9B9A-170" width="170" />
  <Karma>1.55172</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-01</DateStart>
  <DateEnd>2012-02-26</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>17</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.702653</Latitude>
  <Longitude>-73.988995</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9BA2" href="http://www.nyartbeat.com/event/2012/9BA2">
  <Name>Kay Rosen &quot;Wide and Deep&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/306D8265">
    <Name>Sikkema, Jenkins &amp; Co</Name>
    <Type>Gallery</Type>
    <Address>530 W 22nd St., New York, NY 10011</Address>
    <Phone>212-929-2262</Phone>
    <Fax>212-929-2340</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street, A/C/E to 14th Street, L to 8th Avenue.</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Sikkema Jenkins &amp; Co. presents Wide and Deep, an exhibition of two series of recent works by Kay Rosen.
 
Kay Rosen’s paintings, drawings, editions, collages, and installations on walls, billboards and buildings are best known for using language as their imagery. Understanding language as a visual and malleable form, Rosen explains in a 2010 interview: “When it comes to reading my work, throw out all the rules you ever learned: spelling, spacing, capitalization, margins, linear reading, composition…all your old reading habits will be useless.”
 
The first series of Wide and Deep consists of: gray-toned paintings, which use enamel sign-paint on canvas, and two wall paintings. The wall paintings, Between a Rock and a Hard Place and Wideep (detail), enlist the limits of the basic architecture of the space and the possibilities of everyday language. 
 
Challenging normal left to right reading on both the canvas and the walls, the works in this series convey their message in a number of ways: horizontally, vertically, upside-down, as a detail or a fragment. 
 
Rosen’s second series of works—gouache and pencil drawings on watercolor paper, a wall drawing and an illuminated stained-glass edition—grew out of her investigation of words whose letters are layered on top of each other (deep), instead of sequentially (wide).  These works are abstract and function more like objects than as readable text.  In some, like Sweet Jesus, the stacked letters are transparent, revealing the lines of the underlying letters; while in others, like Open Kimono, the letters are semi-transparent, producing a kind of verbal sandwich.  The third type of work, which includes Kiss on the Cheek, depicts only the outer contours of the words, appearing only as opaque silhouettes.
 
Rosen applied three rules to this second series: the word images must begin and end with the same letter, creating a closed-end, self-contained verbal unit; the letters are to be layered on top of each other; and the strategy (transparent, sandwiched, opaque) should correspond to some aspect of the text’s meaning.
 
Born in Texas, Kay Rosen is a Midwest-based artist whose language-based work has been exhibited in museums and institutions both nationally and internationally for several decades.  Her work has previously been exhibited at The Museum of Contemporary Art, Los Angeles, where she had a retrospective exhibition in 1998-99; the Linde Family Wing at The Museum of Fine Arts, Boston; MASS MOCA, North Adams, Massachusetts; the Whitney Biennial (2000); The Art Institute of Chicago; inaugural exhibition commission for The Contemporary Jewish Museum, San Francisco; The MCA Chicago, and in solo gallery exhibitions across the U.S. and Europe. 
 
Additionally, Rosen taught at The School of the Art Institute for eighteen years.  She is the recipient of three National Endowment for the Arts fellowships and an Anonymous Was A Woman grant. A book about her work, Kay Rosen: AKAK, was published by Regency Art Press, New York City, in 2009.

[Image: Kay Rosen &quot;Wideep&quot; (2011) Enamel sign paint on canvas, 20 x 28.375 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9BA2-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9BA2-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9BA2-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-03" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747378</Latitude>
  <Longitude>-74.005536</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="2012/9C6A" href="http://www.nyartbeat.com/event/2012/9C6A">
  <Name>Juan Genovés Exhibitiion</Name>
  <Venue href="http://www.nyartbeat.com/venue/C0A11582">
    <Name>Marlborough (Midtown)</Name>
    <Type>Gallery</Type>
    <Address>40 W 57th St., New York, NY 10019</Address>
    <Phone>212-541-4900</Phone>
    <Fax>212-541-4948</Fax>
    <Access>Between 5th and 6th Ave. Subway: B/Q to 57th Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Born in Valencia in 1930, Genovés is one of Spain’s best-known contemporary artists. Recognized for his aesthetic style rooted in Social Realism and political art, Genovés strongly criticized Franco’s fascist regime. Genovés was sent to jail because the opposition made a poster of his painting El Abrazo, which is now in the collection of the Museo Nacional Centro de Arte Reina Sofía.
At the beginning of his career, Genovés’ body of work was devoted to the subject of political engagement. His artistic development occurred in the isolated world of Franco’s Spain, where he was influenced by modern photography and cinema, and, like for Francis Bacon, the films of Sergei Eisenstein were a main source of influence.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9C6A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9C6A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9C6A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-11</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.763483</Latitude>
  <Longitude>-73.975231</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9CDF" href="http://www.nyartbeat.com/event/2012/9CDF">
  <Name>&quot;Hey Beautiful!&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/E76E578F">
    <Name>Amos Eno Gallery</Name>
    <Type>Gallery</Type>
    <Address>111 Front St., #202, Brooklyn, NY 11201</Address>
    <Phone>718-237-3001</Phone>
    <Fax></Fax>
    <Access>Between Washington and Adams Sts. Subway: F to York Street, A/C to High Street</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Prints</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Beauty. There is perhaps no concept more closely associated with art in the popular imagination. But beauty has been having a rough time lately. Successive avant-garde movements and each corresponding “anti-art” gesture have deposed the belle of the ball. The art world did not drive out beauty directly; rather it got rid of her partner, the ugly. Decaying ruins became Romantic; banal fixtures became Culture; Film du Soleil made the burned out wasteland a magical counter-utopia. By aestheticizing and canonizing the Gothic, the Industrial, the Abject, and the Uncanny, the art world turned “ugly” into “interesting”. And where did that leave beauty? No longer the opposite of ugly, beauty became the opposite of relevant. Never one to dance alone, beauty sat on the sidelines. Someone once offered her a Sublime corsage; it lifted her spirit, but provided no gladness to the senses. 

This exhibition inquires into the role of beauty in art now. Can beauty retake the aspirational zenith of art? Or does it function as cultural décor and marketable commodity? Is art today merely designed or aesthetically purposive? These works play with, against, and for beauty, asking us to consider whether beauty can be reformed. Even celebrated. Is beauty back? ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9CDF-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9CDF-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9CDF-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-01</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.702694</Latitude>
  <Longitude>-73.988936</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9D5F" href="http://www.nyartbeat.com/event/2012/9D5F">
  <Name>Rene Lynch &quot;Leda's Daughter&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/65007A7F">
    <Name>Hpgrp Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., 2W, New York, NY 10011</Address>
    <Phone>212-727-2491</Phone>
    <Fax>212-727-7030</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street Station</Access>
    <Area areaId="chelsea_20">Chelsea 20th</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="0" hol="1" />
    <ScheduleDetails>sundays openinghour 12:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[hpgrp GALLERY NY presents Leda’s Daughter, an exhibition of new paintings by Rene Lynch. These large-scale works present gorgeous women communing with animals in fantastic landscapes of stormy skies and over-scaled roses. These paintings are an expression of Lynch’s life as a woman and an artist, as well as an invitation into her dream world. They are lush with color, romantic, and unapologetically operatic, the manifestations of Lynch’s conviction that she “paints because she breathes.”

Lynch cites numerous sources of inspiration in the work, including the 1948 film The Red Shoes—which is about a ballet dancer who gives everything for her craft much in the same way that Lynch gives everything for her art—as well as tragic and powerful feminist icons; such as the late contemporary artists Pina Bausch and Amy Winehouse, and Joan of Arc, Icarus and Artemis, the magic realism of Japanese anime and the twin concepts of beauty and death depicted in 17th century Dutch Still Life painting. 

Referring to the works as self portraits and an “attempt to define a raw truth about women’s creative ambition and sexual energy”, Lynch depicts figures that are more goddesses than they are humans, sporting crowns of gold and plush wings of snow-white feathers, along with other accouterments of wealth, beauty, magical powers, and suffering. They are surrounded by Lynch’s own personal avatars—crows for their cleverness, cats for their sensuality, swans for their fierceness and vulnerability—which offer a glimpse into Lynch’s own psyche, as well as the pathology of her drive as an artist, which like the fairytale of The Red Shoes, she will never be able to cure.

Rene Lynch’s art has been widely exhibited around the world, and has been featured in publications such as The New York Times, Art and Antiques, The Washington Post, Bunte, Oxford American and American Art Collector. This is her second solo exhibition at hpgrp GALLERY NEW YORK following her 2007 exhibitions in New York and Tokyo. Recent solo exhibitions include; Galerie Kaysser in Munich Germany in 2011, 2008, and 2007, and Jenkins Johnson Gallery NYC and San Francisco in 2009, 2008, and 2007. Recent museum exhibitions include her solo Gaze at Galerie Künstlade in Zittau, Germany in 2008, and major works exhibited at Haus der Kunst, Munich, Germany, 2006, and the Hunterdon Museum, Clifton, NJ, 2007 and 2005. Lynch studied painting, art history, and critical theory at Virginia Commonwealth University. She has been awarded numerous fellowships including; P.S.1 Museum, NYC, Virginia Center for the Creative Arts, and Oberpfalzer Künstlerhaus, Germany.  

[Image: Rene Lynch &quot;Swan Prisoner&quot; (2011-12) oil on canvas, 48 x 72 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9D5F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9D5F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9D5F-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746264</Latitude>
  <Longitude>-74.006225</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9DC4" href="http://www.nyartbeat.com/event/2012/9DC4">
  <Name>Mark Price &quot;Hyper 20XX&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/AD344CA8">
    <Name>Kesting / Ray</Name>
    <Type>Gallery</Type>
    <Address>30 Grand St., New York, NY 10013</Address>
    <Phone>212-334-0204 </Phone>
    <Fax></Fax>
    <Access>Between Thompson St. and 6th Ave. Subway: A/C/E to Canal Street.</Access>
    <Area areaId="soho">Soho</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>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>2D: Prints</Media>
  <Description><![CDATA[KESTING/RAY presents Hyper 20XX, the second New York solo exhibition for Philadelphia-based artist Mark Price. In a new series of meticulously-cut and super-color-saturated collages incorporating screenprinting, painting and photography, Price packs multiple moments into single frames stuck in the endless loop of an inescapable present. 

Price's work speaks to a deep-seated human fear of groundlessness and change. We seek stability and a world we recognize as sane and reliable, and Price's work won't give it to us. Instead he offers incomplete warnings of a shattered future in day-glow gestures that pierce the picture plane, flattening it into odd shapes that we strain to recognize. A silhouetted character appears from time to time in the work, functioning as a reminder of the fragmentary and incomplete nature of consciousness.

In Price's installation, our own experience can no longer be trusted. The high-resolution screen through which we view things has shattered into stuttering and razor-sharp regions of color and text. Pierced and pinned to the wall as fragmentary bits of a larger situation, his collages emerge into a three-dimensional plane that feels tentative, vulnerable and hyper-real. Philosopher Paul Virilio, in describing the global financial crisis, touches on this atmosphere when he states, &quot;We have moved from the stage of the acceleration of History to that of the acceleration of the Real. This is what 'progress' is: a consensual sacrifice.&quot;

In 2011, Price spent months traveling throughout the US and India to deepen his experience of non-linear perception. In describing this time he notes, &quot;In not having a fixed home base, I began to understand a new kind of stillness that comes from being perpetually in motion. Whether on a bike or train or plane, I found comfort from the mode of constant acceleration and the knowledge that everything remains open and inconclusive.&quot;]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9DC4-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9DC4-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9DC4-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-04</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="19:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>24</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.722936</Latitude>
  <Longitude>-74.004558</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9E1B" href="http://www.nyartbeat.com/event/2012/9E1B">
  <Name>&quot;Younger&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/4AE5C862">
    <Name>Daniel Cooney Fine Art</Name>
    <Type>Gallery</Type>
    <Address>511 W 25th St., Suite 506, New York, NY 10001</Address>
    <Phone>212-255-8158</Phone>
    <Fax>212-255-8163</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9E1B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9E1B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9E1B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749125</Latitude>
  <Longitude>-74.003533</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9EB1" href="http://www.nyartbeat.com/event/2012/9EB1">
  <Name>Mounira Al Solh &quot;Dinosaurs&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/53EAC23D">
    <Name>Art in General</Name>
    <Type>Cultural Center</Type>
    <Address>79 Walker St., New York, NY 10013</Address>
    <Phone>212-219-0473</Phone>
    <Fax>212-219-0511</Fax>
    <Access>Between Broadway and Lafayette St.. Subway: 6/N/Q/R/W/J/M/Z to Canal Street</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Art in General presents its first international New Commission, a new film installation by Lebanese artist Mounira Al Solh.

A series of scenes that seem both familiar yet brand new. A grouping of characters that seem to live in an eternal present conditioned by everlasting chaos and unrest. A set of locations marked by darkness and yet illuminated by the intensity of those that inhabit them. A narrative that instead of answering a specific question, is in itself a search for answers.

Mounira Al Solh’s new film installation, Dinosaurs, takes its inspiration from four different films by John Cassavetes. Culling vignettes from Opening Night, Faces, Husbands, and The Killing of A Chinese Bookie, Al Solh directs her friends to reenact specific scenes wherein the act of drinking reveals moments of intimacy, aggression, and loneliness. Invoking Cassavetes as both a means of study and a lens, Al Solh reflects on the relationship between substance and evaporation, exploring how alcohol can become instrumental in confronting fate. Dinosaurs’ fragmented scenes build a fragile portrait of a place in flux, a loose narrative that continues to unravel and unhinge with each drink. At once claustrophobic, circular and tense, Al Solh’s reinterpretation of Cassavetes creates a space of suspended chaos.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9EB1-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9EB1-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9EB1-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-28</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-28" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.718186</Latitude>
  <Longitude>-74.001742</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/9F34" href="http://www.nyartbeat.com/event/2012/9F34">
  <Name>Craigie Horsfield &quot;Modern Magnificence&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/4ACA141D">
    <Name>Marvelli Gallery</Name>
    <Type>Gallery</Type>
    <Address>526 W 26th St., 2 Fl., New York, NY 10001</Address>
    <Phone>212-627-3363</Phone>
    <Fax>212-627-3368</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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: Photography</Media>
  <Description><![CDATA[by Carol Armstrong
October 26, 2011

Photo-tapestry? Isn’t that an oxymoron? And in this day and age? I always thought—probably most people think—that tapestry was a Renaissance art form. And depicting a Russian circus in Barcelona with teetering elephants and a caged tiger in black and white? There is something strange about the conjunction of “photograph,” “tapestry,” “today” and “circus.

Well, yes, strange, but also wonderful, and completely magnificent. Craigie Horsfield is an artist who has decided that we deserve magnificence in our time, and that we can bring the past forward into the present, and sit in wonderment before it, like grown-up children at a magic-show, or for that matter, a circus. And then go away and come back and talk about it, and keep talking about it into the future. Among the things we can talk about as we go away and come back to it are the contradictions involved in it. At the same time we can, as the sensuous and subjective animals that we are, revel in the sensory experience of it, and in the flights it allows our imaginations. For we are stranger beasts than elephants or tigers, in all our peculiar curiosity about other beings, with the combination of cruelty and kindness, detachment and empathy, sensation, emotion and mental abstraction, that that curiosity involves.

The art of tapestry gives the art of the photograph a richness and tactile warmth that it often otherwise lacks. By means of art it brings the “realism” of the photograph home to our senses, and makes the “everyday,” not banal, but splendid. We are heir to two decades of large art photographs made to rival paintings in size and imaginative scope, and as such fit to enter into world-class museums, galleries and ambitious collections. Names like Thomas Struth and Jeff Wall are widely known in this regard. But though less well-known to American audiences, the English artist Craigie Horsfield was already making large-scale photographic pictures in the ‘eighties, first in black-and-white, and now more recently in color, in places like Poland and London, and then Barcelona and Madrid, the Canary Islands, Naples and Belgium. And he has been among the very first to explore the new technical possibilities offered by the large inkjet print.

There are other things in this exhibition besides the two large-scale photo-tapestries in the front room: colored inket prints of human faces and still lifes that beautifully evoke the other times and places we continue to be curious about, in the long here and now. But together the two photo-tapestries form the centerpiece of the show, and suggest that it is we the people, and not just kings and popes of the past, who deserve this modern magnificence. And in fact, there is a perfectly modern pedigree for these tapestries. Indeed, the first computers arose, around the same time as the photograph, out of the jacquard loom with its punch-cards: Horsfield has brought the double strands of the (scanned) analogue photograph and digital media back together in the modern, computer-driven jacquard loom that wove these photo-tapestries in Belgium, the home of fine tapestry-making since the Northern Renaissance. Moreover, in addition to evoking the magic of Georges Seurat’s modern nocturnal entertainments, these tapestries might also serve to remind us that the system of color mixture that drives the contemporary inkjet printer depends on much the same color theory, invented by the director of the Gobelins Tapestry Works in 19th-century Paris, that inspired Seurat—it is not entirely by coincidence that Seurat’s large pointillist paintings were often compared to tapestries. In short, these are thoroughly modern works of art, made for us, today. Yet they are unique; there is nothing else like them being made out there today.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9F34-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9F34-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9F34-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-22</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-16" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>42</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749853</Latitude>
  <Longitude>-74.003767</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9F53" href="http://www.nyartbeat.com/event/2012/9F53">
  <Name>&quot;Moon Lee and Steve Hickok&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/EF649842">
    <Name>Able Fine Art NY Gallery</Name>
    <Type>Gallery</Type>
    <Address>511 West 25th St., Suite 507, New York, NY 10001</Address>
    <Phone>212-675-3057</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Lee and Hickok’s paintings engage nature and landscapes that evolve within their different approaches.  

Moon Lee’s paintings embody her subconscious mind thereby naturally exposing her emotional and spiritual experiences. The natural objects, whether it is plants, trees, or flower pots, that inspire her paintings are the basis of what is a textural juxtaposition of rich colors.  Her work is not a mere still-life or landscape, but rather becomes unique through compositions concentrating on interplay of colors and various objects. She sees her paintings as an ideal method for her to communicate with the outside world, especially when there are simply not enough words to express her thoughts and emotions. Not only does she want to interact in harmony with the world, but she constantly strives to enlighten herself. By letting herself delve into a world in which she can freely “paint my favorite objects with various materials and techniques,” she also explores the depth and limits of her own life. 

This exhibition also features Steve Hickok's newest work, &quot;The Earth&quot; which fully identifies with nature through a unique process in which he leaves his paintings outside and lets the natural elements add their touch to his work. After he creates paintings with vibrant colors, Hickok then leaves them outside to be “surrendered to the elements”: to weather in the sun, scratched or sanded by the street, or left in the storm to be washed by rain. This new series has a strong biomorphic feel with its artistic designs and naturally occurring patterns reminiscent of nature. Hickok takes it one step further as the elements themselves help create the art. Sculptural geometric squares with natural paint drips and spontaneously overlapping colors show an energetic and buoyant spirit as he contemplates the raw scenery of his environment.

Their distinctive vision is unveiled in this exhibition as they explore the boundaries of the natural environment. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9F53-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9F53-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9F53-170" width="170" />
  <Karma>3.14103</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-02-22</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>13</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749322</Latitude>
  <Longitude>-74.003678</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9F8C" href="http://www.nyartbeat.com/event/2012/9F8C">
  <Name>Anne and Patrick Poirier Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/CAE79014">
    <Name>Sonnabend</Name>
    <Type>Gallery</Type>
    <Address>536 W 22nd St., New York, NY 10011</Address>
    <Phone>212-627-1018</Phone>
    <Fax>212-627-0489</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street, A/C/E to 14th Street, L to 8th Avenue.</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</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: Photography</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9F8C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9F8C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9F8C-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-14</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-14" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.74745</Latitude>
  <Longitude>-74.005708</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9FFE" href="http://www.nyartbeat.com/event/2012/9FFE">
  <Name>Kurt Tong &quot;In Case It Rains in Heaven&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/34281FAF">
    <Name>Jen Bekman Gallery</Name>
    <Type>Gallery</Type>
    <Address>6 Spring St., New York, NY 10012</Address>
    <Phone>212-219-0166</Phone>
    <Fax></Fax>
    <Access>Between Elizabeth St. and Bowery.  Subway: 6 to Spring Street, N/R to Prince St., F/V to 2nd Avenue, B/D/F/Q to Broadway/Lafayette or J/M to Bowery</Access>
    <Area areaId="lower_east_side">Lower East Side</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="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Crafts</Media>
  <Description><![CDATA[Traditionally, many Chinese believe that when a person dies, he leaves with no earthly possessions and it's up to their descendants to provide for them in their afterlife until reincarnation.

Joss paper, made from coarse bamboo paper, is burnt as offerings for the dead.  Depending on the region, Joss paper is decorated with seals, stamps, silver or gold paint.  These are often folded into the shape of gold or silver ingots.

Plain Joss paper is offered to newly deceased spirits and spirits of the unknown.  Silver is given to ancestral spirits as well as spirits of local deities.  Gold spirit money is given to higher gods such as the Jade Emperor.  Some believe that the money will enable their ancestors to live lavishly in the afterlife.  Others believe that the money is used to bribe the guards and the Black Judge of the afterlife in order to escape early.  More contemporary varieties of Joss paper include Hell Bank Notes and paper credit cards.

In the last 50 years, more and more elaborate items have been made out of paper as offerings for the dead.  Cars, servants and houses were common sights at funerals.  As consumer culture takes over in China, Joss products have become more and more outrageous.  While this practice is officially banned in China, it has always been tolerated.

Some see the offerings as compensations for what a person never had during his lifetime.  Many consider the items as a reflection of the values of the living of our society.

In 2006, it was reported that paper prostitutes, viagra, condoms, ecstacy and gambling equipment were found outside of cemeteries.  This lead to a crack down of the more extreme products.  

The images in this series reflect some of the products currently available to burn for the dead.

All items were burnt as offerings to my ancestors.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9FFE-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9FFE-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9FFE-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-28</DateStart>
  <DateEnd>2012-03-04</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-27" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>24</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.721075</Latitude>
  <Longitude>-73.994333</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/A122" href="http://www.nyartbeat.com/event/2012/A122">
  <Name>&quot;Cultural Production&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/DA16EFED">
    <Name>Andrea Rosen Gallery</Name>
    <Type>Gallery</Type>
    <Address>525 W 24th St., New York, NY 10011</Address>
    <Phone>212-627-6000</Phone>
    <Fax>212-627-5450</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_24">Chelsea 24th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[[Image: Courtesy Konrad Fischer Galerie. © Estate of Hanne Darboven/DACS]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/A122-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A122-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A122-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-11</DateStart>
  <DateEnd>2012-03-24</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-10" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>44</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748667</Latitude>
  <Longitude>-74.004694</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/A144" href="http://www.nyartbeat.com/event/2012/A144">
  <Name>Deborah Rosenthal &quot;Journeys and Topologies&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/55A1BADA">
    <Name>Bowery Gallery</Name>
    <Type>Gallery</Type>
    <Address>530 W 25th St., 4 Fl., New York, NY 10001</Address>
    <Phone>646-230-6655</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</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[Several kinds of invented compositions are featured in the exhibition. In the small paintings of the Journeys series, Rosenthal inscribes human figures within linear armatures on opaquely painted grounds. The short and rhythmical lines and intervals in these compositions reflect their origins in the rhythms and scale of art songs, particularly Schubert's &quot;Die Winterreise&quot; (Winter Journey). The Topologies are invented landscapes with forms evoking mountainous terrain. Large reciprocal curves or stark oppositions of dark and light frame the tensions that carry us through the imagined space. 

Rosenthal has shown at the Bowery Gallery since 1984. Her paintings and prints have also been shown widely in venues including the Painting Center, Lori Bookstein Fine Art, and the Francis Naumann Gallery in New York; at the University of Richmond Museums in Virginia; at the Huntington Museum in West Virginia; and in university galleries nationally. Her 1998 solo exhibition, &quot;Eve's Vocabulary,&quot; traveled from Hebrew Union College in New York to Yale University and to the Philadelphia Museum of Jewish Art. 

Rosenthal's work has been discussed and reproduced in the pages of many publications, including The New York Times, The New Yorker, Art in America, Modern Painters, the New York Sun, and on artcritical.com. A suite of her prints appeared, with texts by Jed Perl, in the Yale Review. Her work, including her stained-glass windows, was the subject of a segment on PBS-TV. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/A144-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A144-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A144-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-31</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="17:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749275</Latitude>
  <Longitude>-74.004308</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/A172" href="http://www.nyartbeat.com/event/2012/A172">
  <Name>&quot;Systemic Risk&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/364B519D">
    <Name>NURTUREart</Name>
    <Type>Gallery</Type>
    <Address>56 Bogart St., Brooklyn, NY 11206</Address>
    <Phone>718-782-7755</Phone>
    <Fax></Fax>
    <Access>Between Grattan St. and Harrison Pl. Subway: L to Morgan Street.</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[In financial terms, systemic risk refers to a domino effect of cascading failures, leading to the total, irreversible collapse of an entire system or market. The artists in this exhibition work to reorganize specific parameters of a given system in order to point to phenomenological behavior, inequality, misperception, and in some cases complete lack of understanding.

Daniel Bejar, Sujin Lee, Laura Napier and Risa Puno point toward conditions in contemporary life wherein a transition to a less optimal equilibrium is inevitable and often irreversible. This transition is key to the context of a selection of works that highlights humorously skewed results, competing agendas, and unfortunate compromises. Employing games, social behavior, language, and cultural recognition, Systemic Risk reveals how our familiar and trusted systems are in a process of breaking down and being discredited. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/A172-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A172-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A172-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-17</DateStart>
  <DateEnd>2012-03-16</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-17" start="19:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>36</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.705589</Latitude>
  <Longitude>-73.933197</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/A19F" href="http://www.nyartbeat.com/event/2012/A19F">
  <Name>Pat Badt and Scott Sherk &quot;Intersection&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/4D5AFA6E">
    <Name>The LAB Gallery</Name>
    <Type>Gallery</Type>
    <Address>501 Lexington Ave., New York, NY 10017</Address>
    <Phone>212-339-2092</Phone>
    <Fax></Fax>
    <Access>Corner of 47th St.  Subway: 6 or F/E to 53rd Street/ Lexington Avenue</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>00:00:00</OpeningHour>
    <ClosingHour>00:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Curated by Creighton Michael, &quot;Intersection&quot; is a sound-based, site-specific installation by Pat Badt and Scott Sherk. Badt and Sherk's creative practice involves cultivating awareness of the qualities of specific spaces through the realignment of the senses. This installation concentrates on the &quot;stop and go&quot; of Midtown traffic outside the gallery, focusing on the pulse and energy of the city. A hanging string column cycles between stillness and movement, while real time video sonograms and spectrograms are projected on to the gallery walls making the sound of the intersection visual.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/A19F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A19F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A19F-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-10</DateStart>
  <DateEnd>2012-03-02</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>22</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.754889</Latitude>
  <Longitude>-73.973436</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/A1BC" href="http://www.nyartbeat.com/event/2012/A1BC">
  <Name>Alec Soth &quot;Broken Manual&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/EEDD4AC1">
    <Name>Sean Kelly Gallery</Name>
    <Type>Gallery</Type>
    <Address>528 W 29th St., New York, NY 10001</Address>
    <Phone>212-239-1181</Phone>
    <Fax>212-239-2467</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street or A/C/E to Penn Station 34th Street</Access>
    <Area areaId="chelsea_28_above">Chelsea 28th - 33rd</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>saturdays openinghour 10:00, saturdays closinghour 18:00</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Sean Kelly Gallery presents Alec Soth’s new exhibition, Broken Manual. 

Broken Manual will be Soth’s premiere exhibition with the gallery and the first opportunity to view such a large selection of this important body of work in New York. The majority of photographs that comprise this compelling series were taken over a four-year period, from 2006-2010. They reflect Soth’s increasing interest in the mounting anger and frustration that some—specifically male—Americans feel with societal constraints and their subsequent desire to remove themselves from civilization. The resultant work is a group of portraits of men and the landscapes they inhabit that are poignant, disturbing and mysterious. Soth’s uncanny ability to gain the trust of those whom he photographs gave him unprecedented access to these notoriously elusive individuals, in moments, variously, of brooding, deep reflection or vulnerability. 

The genesis of the work is Soth’s fascination with the life of Thomas Merton, the Trappist monk who, prior to his death in 1968, lived for almost three decades at the remote Abbey of Gethsemani in Kentucky. Additionally, Soth studied the years that Olympic Park bomber Eric Rudolph spent evading the authorities in the Appalachian Mountains of North Carolina. In visits to these two locations, Soth realized that both these men’s stories ignited “a fantasy of retreat”. 

Soth’s alter ego, Lester B. Morrison, was borne out of his research on this topic. Morrison created a text—the eponymously titled manual that accompanies the exhibition—written to aid others who, like him, choose to retreat from society and live off the grid in a remote area of the country. In it, he offers helpful hints on everything from disguising one’s appearance to creating a pseudonym. Soth, in turn inspired by Morrison’s manual, traveled the country taking photographs that illustrated Morrison’s ideas. Morrison proclaims: “Let this book be your guide. Over the last few years I’ve studied the experts of escape. Let us now praise these lonely men: hermits and hippies, monks and survivalists.” He goes on to explain, “I’ve included a number of photos by my comrade Alec Soth. When you look at these scenes, try to put yourself in the picture. Visualize your new life on the lam. Before you know it, you just might make the break.” 

In addition to the photographs in the main gallery, gallery two will include a site-specific installation of the special edition of the Broken Manual book. This highly sought-after, signed and numbered edition is placed inside larger found books, the interiors of which have been carved out to create a secret repository for the manual, an action that mimics the concealment of covert material by someone living a double-life, who must hide evidence of their alternative existence from those around them. A very limited number of the special edition books will be available for sale from the gallery. 

Gallery one will feature the 2011 full-length documentary, Somewhere to Disappear (running time: 57 minutes). Directed by Laure Flammarion and Arnaud Uyttenhove, and produced by Mas Films, the film follows Soth as he travels across America in search of the subjects for Broken Manual. The screening schedule for Somewhere to Disappear will be posted in the gallery and on our website. For more information about the film, please visit the Somewhere to Disappear website. 

Soth has been featured in numerous solo and group exhibitions. In 2008, a large survey exhibition of Soth's work was exhibited at the Jeu de Paume in Paris and the Fotomuseum Winterthur in Switzerland. In 2010, the Walker Art Center mounted a comprehensive exhibition with an accompanying catalogue entitled From Here To There, Alec Soth’s America. His first monograph, Sleeping by the Mississippi, was published by Steidl in 2004 to great critical acclaim. Since then, Soth has published NIAGARA (2006), Fashion Magazine (2007), Dog Days, Bogotá (2007), The Last Days of W (2008) and Broken Manual (2010). Steidl will release the trade publication of Broken Manual in early 2012. In 2008, Soth started his own highly-regarded publishing company, Little Brown Mushroom. His work is in the permanent collections of numerous museums, including the Museum of Modern Art, New York; the Brooklyn Museum of Art; the Los Angeles County Museum of Art; the Museum of Contemporary Art, Chicago; the Museum of Fine Arts, Houston; the San Francisco Museum of Modern Art; the Walker Art Center, Minneapolis; and the Whitney Museum of American Art, New York, amongst others. Soth became a nominee of Magnum Photos in 2004 and a full member in 2008.

[Image: ALEC SOTH &quot;2008_08zl0215&quot; (2008) framed archival pigment print mounted to 4 ply museum board, 50 x 40 inches (127 x 101.6 cm), edition of 7 with 3 APs.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/A1BC-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A1BC-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A1BC-170" width="170" />
  <Karma>7.72683</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-03-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>31</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751781</Latitude>
  <Longitude>-74.002267</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/A24F" href="http://www.nyartbeat.com/event/2012/A24F">
  <Name>&quot;WNTRSLN#2&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/BB1D0FA1">
    <Name>Parker's Box</Name>
    <Type>Gallery</Type>
    <Address>193 Grand St., Brooklyn, NY 11211</Address>
    <Phone>718-388-2882</Phone>
    <Fax>718-388-2882</Fax>
    <Access>Between Bedford Ave. and Driggs Ave.  Subway: L to Bedford Avenue</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>13:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[WNTRSLN#2 is the second 'Winter Salon' show at Parker's Box, featuring selected works by gallery artists and special guests. As we head into the deepest part of winter with undoubtedly the coldest days of 2012 ahead of us, (before the Spring madness of the Armory Show and Volta), this exhibition offers diverse inspiration from a motley crew of committed and exciting artists. From established favorites to new discoveries in terms of both practices and artists, this winter exhibition should be one to warm the cockles and tickle the fancy, while stimulating the intellect with the innovatory approach and pioneering spirit that we can expect from all of these artists.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/A24F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A24F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A24F-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-10</DateStart>
  <DateEnd>2012-02-26</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-10" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>17</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.714231</Latitude>
  <Longitude>-73.960606</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/A27B" href="http://www.nyartbeat.com/event/2012/A27B">
  <Name>Jan Staller &quot;Heavy Duty Landscapes&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/BC2CC396">
    <Name>Ise Cultural Foundation Gallery</Name>
    <Type>Cultural Center</Type>
    <Address>555 Broadway, New York, NY 10012</Address>
    <Phone>212-925-1649</Phone>
    <Fax>212-226-9362</Fax>
    <Access>Between Prince and Spring St. Subway: R/W to Prince Street</Access>
    <Area areaId="soho">Soho</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Sundays by appointment</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>2D: Other</Media>
  <Description><![CDATA[This exhibition features sixteen large format photographs selected from projects completed during the past seven years. Regarding this work, The New York Times observed, &quot;These images portray an otherworldly place that somehow feels familiar. . .and strangely beautiful.&quot;

Decidedly not documentary photography, Staller captures a poetic visual order in the chaos of industrial sites. At construction sites, recycling plants, and the sides of roads - the kinds of places that go unnoticed by most people, Staller finds unintentional, serendipitous beauty. In &quot;Pilings, Flushing Queens,&quot; the oxidized pilings seem to be a carefully thought out earthwork or a post-industrial petrified forest. Close viewing is rewarded by accents of color peeking through the narrow vertical spaces between the pilings.

In contrast to Staller's earlier pioneering twilight and mixed light landscape photographs with their lurid skies, evocative color, and deep space, many of his recent pictures use a flat, white, daytime sky to isolate subjects in tightly framed shallow spaces. In &quot;Tank Car In Snow, Port Reading New Jersey&quot; the pure black form of the tank car is placed centrally within the enveloping white of a snowstorm, according the car an iconic stature.

Snow is used to strange effect in two other panoramic works. In a frontally formal composition, a plywood wall barricade appears to be a torn photograph resting on white paper. On closer examination it becomes apparent the torn edge consists of an uneven snowdrift. In another image, a battered blue cargo container is framed with drifting snow at top and bottom, the floating blue panel appearing as if it's an archeological frieze.

In addition to playing with ambiguous spatial qualities, Staller's images play with sculptural concerns such as weight and gravity. In one construction site photograph, &quot;Grid and Culvert Tubes,&quot; a study in black and silver, the wire grid overlaid on black fabric appears to be both foreground and background, magically supporting the massive galvanized steel spiral columns that comprise the upper half of the composition.

In the monochromatic &quot;Target Floor, Missouri,&quot; the repeated patterns of tire tracks covering a concrete floor bring to mind the shadings of a delicate charcoal drawing or the markings left behind by a strange yet-to-be-discovered sea monster that scuttled across the ocean floor.

The work in the show is balanced between monochromatic and vividly hued work. Extracted by photography from the real world, many of the objects seem to glow with color, at times confounding our notions about how to read a photograph. In &quot;Rebar Cylinders&quot; brightly colored dots looking like so many dabs of paint applied to the surface of the photograph, are in actuality the painted ends of rusted steel rods.

Rather than just showing us things as they appear, Staller presents his singular vision of aesthetic order and unexpected form that he finds in metamorphic landscapes.



]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/A27B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A27B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A27B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-03-02</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>22</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.72385</Latitude>
  <Longitude>-73.998139</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/A2CB" href="http://www.nyartbeat.com/event/2012/A2CB">
  <Name>&quot;Elemental Realms&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/32BEF472">
    <Name>Agora Gallery</Name>
    <Type>Gallery</Type>
    <Address>530 W 25th St., New York, NY 10001</Address>
    <Phone>212-226-4151</Phone>
    <Fax>212-966-4380</Fax>
    <Access>Between 10th and 11th Ave.  Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[The work in Elemental Realms touches on the essence of the subjects chosen by the artists, revealing the hidden elements that help to define what we know. Passionate, varied and closely tied to the reality that we all share, these astonishing creations bring new vision to enliven and inform our own perspectives. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/A2CB-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A2CB-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A2CB-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-10</DateStart>
  <DateEnd>2012-03-01</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-16" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>21</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749267</Latitude>
  <Longitude>-74.004028</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/A371" href="http://www.nyartbeat.com/event/2012/A371">
  <Name>Gerald Ferguson Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/B108B06D">
    <Name>Canada</Name>
    <Type>Gallery</Type>
    <Address>55 Chrystie St., New York, NY 10002</Address>
    <Phone>212-925-4631</Phone>
    <Fax></Fax>
    <Access>Between Hester and Canal St.. Subway: B/D to Grand Street or 6/N/Q/R/W/J/M/Z to Canal Street</Access>
    <Area areaId="lower_east_side">Lower East Side</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>2D: Painting</Media>
  <Description><![CDATA[CANADA presents this exhibition of paintings by Gerald Ferguson curated by Luke Murphy. It includes eleven major works and is accompanied by a catalog with essays and pieces by Lawrence Weiner, Donald Kuspit and Peggy Gale. 

Ropes, chains, clothesline, ash cans, drain covers, black enamel house paint rubbed across raw canvas, repeated, rearranged and repeated again -- the work of Gerald Ferguson appears in New York for the first time in forty years. This array of eleven paintings include works from his 1968 typographical &quot;period&quot; paintings and a key group of his later frottages. 

Ferguson was a first generation conceptual artist whose early conversations informed his approach to painting throughout his career. From his 'task oriented' paintings to his later rigorous methodology, painting was, in his words, one of the only things he really understood. His work, he said &quot;let beauty in through the back door.&quot; 

GERALD FERGUSON. WORK. is a glimpse of a career driven by an autotelic logic. It begins with his early stenciled grids and ends with his late works, created by passing black-enamel laden rollers over abject objects under raw canvas and forming expansive landscapes of black indexical marks or dense monumental architectonic compositions. 

Ferguson's work can be characterized as sets of sometimes beautiful, sometimes difficult tensions between the manifest logic and the absurd simplicity of the process, between roughshod production and the sensitivity of the chosen compositions, between blackness and the promise of light. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/A371-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A371-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A371-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-07</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-07" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.716861</Latitude>
  <Longitude>-73.994514</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/A3FE" href="http://www.nyartbeat.com/event/2012/A3FE">
  <Name>Juergen Teller Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/F5CAFAE2">
    <Name>Lehmann Maupin (201 Chrystie Street)</Name>
    <Type>Gallery</Type>
    <Address>201 Chrystie St., New York, NY  10002</Address>
    <Phone>212-254-0054</Phone>
    <Fax>212-254-0055</Fax>
    <Access>Corner of Stanton St. Subway: F/V to 2nd Avenue</Access>
    <Area areaId="lower_east_side">Lower East Side</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: Photography</Media>
  <Description><![CDATA[Lehmann Maupin Gallery presents Juergen Teller at 201 Chrystie Street.

Presented in three parts, this exhibition highlights three recent series, demonstrating Teller’s dynamic and diverse oeuvre. Featuring the controversial photographs of Kristen McMenamy and seductive portraits of Vivienne Westwood, juxtaposed with intimate portraits of his family and close friends, this exhibition displays an amalgam of subjects and personalities. The exhibition starts with Teller’s controversial series of photographs featuring Kristen McMenamy, shot in the home of Carlos Mollino. Drawing inspiration from the eccentric architect, Teller recalls Mollino’s fascination with the erotic, capturing McMenamy in provocative poses. Although the series garnered controversy for its alleged “pornographic” nature, it demonstrates Teller’s skilled storytelling and fearless approach to his medium.

The exhibition continues with a selection of images from “Keys to the House.” Composed of recent photographs taken in and around his home in Suffolk, the series includes deserted landscape shots alongside intimate portraits of Teller’s family and closest friends. 

The third section of the exhibition features photographs from “Men and Women,” including portraits of Vivienne Westwood and photographer William Eggleston, as well as Teller’s son, Ed. As a whole, the series has been read as a representation of masculinity at two stages –coming of age and loss of virility – contrasted with a strong feminine power.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/A3FE-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A3FE-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A3FE-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>40.7222</Latitude>
  <Longitude>-73.991775</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/A440" href="http://www.nyartbeat.com/event/2012/A440">
  <Name>Jeff Keen &quot;Works from the 1960s + 1970s&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/7CB74E3E">
    <Name>Elizabeth Dee</Name>
    <Type>Gallery</Type>
    <Address>545 W 20th St., New York, NY 10011</Address>
    <Phone>212-924-7545</Phone>
    <Fax>212-924-7671</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street, A/C/E to 14th Street or L to 8th Avenue.</Access>
    <Area areaId="chelsea_20">Chelsea 20th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>Screen: Film</Media>
  <Description><![CDATA[Elizabeth Dee Gallery presents the first solo exhibition at the gallery and United States debut of paintings and films by Jeff Keen [b. 1923, UK]. This important first exhibition in New York will explore in depth Keen's most influential and fundamental period of work, the 1960s and 1970s, during which he established a prolific visual practice extending to five decades of drawing, painting, experimental film, concrete poetry and performance.

Keen is primarily known as a legendary underground filmmaker whose work and activities coincided with the emergence of expanded cinema. He was one of the original participants in the 60s at the London Filmmakers Co-op. The BFI and later the British Arts Council supported and enabled Keen to make films and devise a multitude of drawings and paintings. During this period, Keen maintained jobs as a landscaper in the Parks and Recreation department of his hometown, Brighton, and sometimes as a postal worker delivering mail. The artist made movies primarily on weekends with his family and friends in an ensemble cast and his painting and drawing studio was for 40 years a repository of props and art that accumulated to extraordinary effect that has been fully documented.

Embracing the increasingly available technology of 8mm, 16mm and prevelance of American Pop imagery and Comics [and later Punk], Keen employed modes of popular media, technology and music in painting, drawing and collage using a stop frame animation process and in camera editing, resulting in active and evocative films. Utilizing a frequency of speed not found in work of the period, Keen, through the possibilities of the medium, brought new life to the significance of radical visual media.

Keen was able to merge Surrealist and Dadaist ideology with a social-political critique of American consumerism with the spontaneity of the Beat and 60s era. These works are avid responses to an overwhelming sense of increasingly proliferating media and commodification during the decade. He often explored his experiences surviving World War II in this material, focusing on monuments of power and the ever-present war within the artist as individual. This took the form of invented characters or corporations [i.e. Rayday Films] with brands, personas or protagonists in a fractured narrative style. Performative and reminiscent of Surrealism's influence on his formative period in the 1950s, Keen additionally drew from English Romanticism and his love of language to devise a novel method of working in a newly evolving medium. 

Keen's work can be viewed today as prescient to modes of film and video that began to take cultural references into an exploration of our own larger social portraiture. His enthusiastic embrace of alternative modes of discourse in a pre-internet age is astoundingly fresh today, and the diversity of his practice calls to mind both painters, film and video artists who succeeded him, from such figures as Derek Jarman, Richard Hamilton and Linder, to American artists such as Jack Smith, Ryan Trecartin and Peter Saul. 

Jeff Keen very rarely exhibited his drawings and paintings. He first showed Rayday Film [1968 - 1970] in the First International Underground Film Festival at the National Film Theatre in 1970. Upcoming 2012 exhibitions include a retrospective at the Brighton and Hove Museum, the National Portrait Gallery, London and Tate Modern, London.

[Image: Jeff Keen &quot;Rayday Film&quot; (1968 - 70 +1976) 16mm, 13 mins]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/A440-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A440-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A440-170" width="170" />
  <Karma>1.89383</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746275</Latitude>
  <Longitude>-74.006578</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/A487" href="http://www.nyartbeat.com/event/2012/A487">
  <Name>Natasha Bowdoin &quot;Jungle Book&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/69A0DBC5">
    <Name>Monya Rowe Gallery</Name>
    <Type>Gallery</Type>
    <Address>504 W 22nd St., 2nd Fl., New York, NY 10011</Address>
    <Phone>212-255-5065</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[Monya Rowe Gallery presents the first New York solo exhibition of hand-cut drawings by Natasha Bowdoin titled Jungle Book.

Pushing the boundaries between drawing, sculpture and installation, Bowdoin meticulously constructs layers of cut paper into text culled from various literary sources, often classic literature, such as Lewis Carroll’s Alice’s Adventures in Wonderland, Jorge Borges’ Dreamtigers, and Herman Melville’s Moby Dick. Beyond simple recontextualization, Bowdoin uses language to create pictures of words through interwoven transcriptions, breaking apart and reconfiguring these iconic texts into free flowing rhythms. Bowdoin allows the viewer to depict readable words, and readable images. For instance, in “Tiger Mind” (2011), we are noticeably faced with an image of a tiger head arranged from layers of text and gouache, however in “Foolish Fire” (2011), it becomes more difficult to identify what the form actually represents. In essence, the ritual of transcribing text becomes a conduit for hidden interpretations where language defies its’ initial intent.
 
All the work in Jungle Book began as direct transcriptions of Walt Whitman's Leaves of Grass, including the passages &quot;I Sing the Body Electric,&quot; &quot;To a Stranger&quot; and &quot;Roots and Leaves Themselves Alone.&quot; Whitman himself practiced a literary form of collage, rearranging language in an ever-evolving poetic form. The itinerant Whitman's words were literally always on the move, both geographically and in his notebooks where he cut and pasted lines into multitudinous arrangements, and broke language down into increasingly portable units. In both his process and the content of his poetry, Whitman emulated the fluidity of boundaries, between body and nature, body and book, love and lover.
 
As Bowdoin's work develops, some letters remain recognizable while others are buried and transformed into abstraction.  Her dense reconstructions are paeans to Whitman's &quot;free verse&quot; collage process.  An excised piece of one drawing might be grafted onto the next.  Bowdoin’s elegant palimpsests evoke growth and decay, and the uncanny psychological space in which the familiar becomes unnamable. Bowdoin cultivates Whitman's wild flora and fauna into a brimming jungle of words, into which one must venture deep to discover the mysteries within.
 
Natasha Bowdoin received a MFA from Tyler School of Art, PA, a  BA and a Post-Baccalaureate Certificate from Brandeis University, MA, and also completed studies at Slade School of Art, London. She completed a residency at The Core Program, Museum of Fine Arts Houston, TX from 2008-2010 and was recently awarded a residency at the Bemis Center for Contemporary Arts in Omaha, NE (2012). Bowdoin is the recipient of a Joan Mitchell Foundation Grant (2007). Her work has recently been exhibited at Bryan Miller Gallery, Houston, TX; UT Visual Art Center, Austin, TX; Weatherspoon Art Museum, Greensboro, NC and Kohler Arts Center, Sheboygan, WI. Bowdoin lives and works in Houston, TX.

[Image: Natasha Bowdoin &quot;Tiger Mind&quot; (2011) pencil, ink and gouache on cut paper, 20 x 20 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/A487-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A487-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A487-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747076</Latitude>
  <Longitude>-74.00513</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/A48A" href="http://www.nyartbeat.com/event/2012/A48A">
  <Name>&quot;Death to Pie Charts&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/DCBD57BB">
    <Name>The Museum at FIT</Name>
    <Type>Museum</Type>
    <Address>227 W 27th St., New York, NY 10001</Address>
    <Phone>212-217-7642</Phone>
    <Fax></Fax>
    <Access>Corner of 7th Ave. and 27th St.  Subway: 1/9 to 27th Street, C/E/ to 23rd Street, F/V/ to 23rd Street, or R to 28th Street</Access>
    <Area areaId="chelsea_east">East Chelsea</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>20:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails>saturdays openinghour 10:00, saturdays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Graphics</Media>
  <Media>2D: Prints</Media>
  <Media>2D: Other</Media>
  <Description><![CDATA[Death to Pie Charts examines the recent trends in the fields of information graphics, highlighting a selection of the best information graphics done by the members of the Media Design Club at FIT. This exhibition showcases information graphics in a variety of formats including animation, interactive, print, and physical constructions.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/A48A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A48A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A48A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-28</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746883</Latitude>
  <Longitude>-73.994378</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/A4C5" href="http://www.nyartbeat.com/event/2012/A4C5">
  <Name>&quot;Under 30&quot; Exhibiton</Name>
  <Venue href="http://www.nyartbeat.com/venue/A213238C">
    <Name>Skylight Gallery NYC</Name>
    <Type>Gallery</Type>
    <Address>538 W 29th St., New York, NY 10001</Address>
    <Phone>646-772-2407</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Aves. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_28_above">Chelsea 28th - 33rd</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>16:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 12:00, saturdays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[A group exhibition featuring smaller works of art 30 inches wide and under.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/A4C5-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A4C5-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A4C5-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-08</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751738</Latitude>
  <Longitude>-74.002693</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/A4D6" href="http://www.nyartbeat.com/event/2012/A4D6">
  <Name>Don Doe &quot;Tossed Overboard&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/20A51708">
    <Name>Morgan Lehman Gallery</Name>
    <Type>Gallery</Type>
    <Address>535 W 22nd St., Fl.6, New York, NY 10011</Address>
    <Phone>212-268-6699</Phone>
    <Fax>212-268-6766</Fax>
    <Access>Between 10th and 11th Avenues. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[Morgan Lehman Gallery presents, Tossed Overboard, paintings and works on paper by Don Doe. This is Doe's first solo exhibition with the gallery. The artist is closely associated with the group of figurative artists that includes Lisa Yuskavage and John Currin - all of whom graduated from the same class in Yale's Fine Art MFA program. While these artists choose to frequently represent fantastically sexualized images of nude women, each of them have chosen highly individualized stylistic methodologies and theoretical underpinnings in which to explore issues of kitsch, gender and sexuality.  
 
Don Doe creates fantasy images of women depicted in the garb and backdrop of the sea-faring pirate. Typically in a work, a lithe female is a represented, often semi-nude, with costume accouterments such as an eye-patch, bandana, parrot or buccaneer's cutlass. They are culled from magazine sources  - both old and new, such as &quot;girly&quot; magazines, advertising and vintage and contemporary fashion magazines. In any one picture, an advertisement from American Apparel, a vintage sixties stag magazine and a plate from a Robert Louis Stevenson book can be mashed together to create a perplexing work that references both our nostalgic past and our modern life.  As viewers, we recognize the humor and character of these faux-menacing harlots. Doe comments on contemporary pop culture's connection between sexuality and danger by using the symbol of the pirate archetype hybridized with the pin-up girl of teenage fantasy, while still leaving ample room for the viewer to interpret the narrative.
 
Don Doe was born in 1963 in Toledo, Ohio and currently lives and works in Brooklyn, New York. He earned his MFA at Yale University in 1987.  Recent solo exhibitions include &quot;New Mothers&quot; at Mireille Mosler, Ltd., New York, NY and &quot;Heroines &amp; Hellions&quot; at Cornell University Herbert F. Johnson Museum of Art, Ithaca, NY.  His work is in the collections of The Art Institute of Chicago, The Museum of Modern Art, and Yale University Art Gallery among others. Doe's work has been reviewed in The New York Times, Chicago Journal, Art in Review, The New Yorker and NY Arts among others.          

[Image: Don Doe &quot;Thirst&quot; (2011) Watercolor, ink, pastel on paper, 17 x 14 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/A4D6-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A4D6-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A4D6-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747592</Latitude>
  <Longitude>-74.005639</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/A56F" href="http://www.nyartbeat.com/event/2012/A56F">
  <Name>&quot;Passion 2012&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/0C0816AA">
    <Name>C.C.C.P. Gallery</Name>
    <Type>Cultural Center</Type>
    <Address>38 Marcy Ave., 1R,  Brooklyn, NY 11211</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Corner of Hope St.(also the entrance). Subway: G/L to Lorimer Street</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="1" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>fridays openinghour 15:00, fridays closinghour 20:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/A56F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A56F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A56F-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-02-26</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-03" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>17</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.713083</Latitude>
  <Longitude>-73.955109</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/A71F" href="http://www.nyartbeat.com/event/2012/A71F">
  <Name>Sarah Kurz &quot;Made For Love&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/F346A8DB">
    <Name>Allegra LaViola Gallery</Name>
    <Type>Gallery</Type>
    <Address>179 East Broadway, New York, NY 10002</Address>
    <Phone>917 463 3901</Phone>
    <Fax></Fax>
    <Access>Between Jefferson and Rutgers Sts. Subway: F to East Broadway or 4/5/6/N/R to Canal Street</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 13:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/A71F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A71F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A71F-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-08</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-08" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.714078</Latitude>
  <Longitude>-73.989222</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/A72F" href="http://www.nyartbeat.com/event/2012/A72F">
  <Name>&quot;Body Beautiful&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/B8E5EB32">
    <Name>Porter Contemporary</Name>
    <Type>Gallery</Type>
    <Address>548 W 28th St., Fl. 3, New York, NY 10001</Address>
    <Phone>212-696-7432</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Aves. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_28_above">Chelsea 28th - 33rd</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>thursdays closinghour 20:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[orter Contemporary presents Body Beautiful, a group exhibition of seven artists  that will both confirm and re-examine our ideas of beauty when it comes to the human form. 

Porter / Contemporary has selected artists and works that engage our inherent sense of beauty. The graceful and smooth marble sculptures of  Carolina Baptista Rodriguez and the intimate photographs of Sarah Kaufman are juxtapozed with Juliet Foxtrot’s modernized Da Vinci type painted nudes, Jennifer Murray’s half human half animal mixed media works and Catherine Tafur’s disturbing and erotic paintings. Body Beautiful inspires a self-exploration of what defines beauty through different forms and mediums.

About the Artists:
David Agenjo is a self-taught artist born in Madrid and working in London. He works at refining his understanding of the visual language of the human body and his need to represent our psychologies, thoughts and emotions onto that which is at once most familiar, but also so easily lost in the complex visual cultures of the modern world.﻿

Born in Chile and currently living and working in London, Pato Bosich is drawn to creating atmospheres and situations that resist easy reading and instead convey a sense of mystery and tension. Often, the imagery comes from second hand visual sources and Bosich explores how experience of such sources can be arrested, slowed down and sensually intensified by  expressing them through oil paint.

Juliet Foxtrot is a Sydney based artist whose work captures the dynamic figure derived from contemporary life and imagery in punching, shouting kicks of acrylic and resin on canvas.

Sarah Kaufman, an Assistant Professor of Art in Photography at Ursinus College in Pennsylvania, finds her subjects on Craigslist and visits them in their homes. She asks them to try to show her the world that they inhabit when they are alone and the resulting photographs explore the relationships among the subjects, their bodies, and their spaces. 

Exploring themes of gender, sexuality, and sociopolitical power struggles, Jennifer Murray uses totemic animal characters to express her impressions of human life within the decaying and carnal confines of New York City. Murray recently completed a Masters in Humanities and Social Thought from New York University, where her concentration was post-colonial studies, gender politics, and metaphorical framing in sociopolitical discourse.

Carolina Rodriguez Baptista draws inspiration from the complex world of women: makers of life, owners of the secret keys of wisdom and intuition, and driving forces that shape the game of life. Rodriguez Baptista was born in Venezuela, moved to New York City to attend The Parsons School of Design and currently lives in Barcelona, Spain. 

Born in Peru, Catherine Tafur moved to New York City to attend the Cooper Union School of Art and now resides in New York. Using images of the body, Tafur explores ideas of gender deconstruction, confrontational sexuality, and the disillusionment and loss of innocence through imagery of disfigurements, idealized androgyny and mutilation. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/A72F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A72F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A72F-170" width="170" />
  <Karma>2.75958</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:30:00" end="20:30:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751297</Latitude>
  <Longitude>-74.003361</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/A856" href="http://www.nyartbeat.com/event/2012/A856">
  <Name>Zimoun &quot;Volume&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/C2CAA62C">
    <Name>Bitforms Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., 2 Fl., New York, NY 10011</Address>
    <Phone>212-366-6939</Phone>
    <Fax>212-366-6959</Fax>
    <Access>Between 10th Ave. and West Side Highway. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_20">Chelsea 20th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[bitforms gallery presents Volume, the first solo exhibition in New York by Swiss artist Zimoun. On view will be an immersive, site-specific sound installation based on prepared dc-motors and cardboard boxes. 

Part of a series that received its U.S. debut in a solo exhibition at the Ringling Museum of Art this Fall, the installation emphasizes the grid as a method of visual organization. Precariously balanced rows of cardboard boxes form an architectural space containing a rumbling din produced by mechanical motors humming in unison. 

Pulsing rhythmically, each unit in the system reverberates with its own sense of purpose and timing. Temporal microstructures emerge and shift, made visible by collective behavior. With minimalist and low-tech means, Zimoun constructs a blank zone of play utilizing repetition and the physical pressure of vibration.

As an author, Zimoun uses scale and tools of amplification to transform our associations with commonplace industrial objects. Tuned into kinetic and acoustic detail, his obsessive displays of collected materials unlock emotional potential in otherwise banal and chaotic gestures. In his work static volume permeates a space, yielding reductive clocklike operas of the everyday.

For the duration of the show, the gallery’s project room on the 6th floor will also feature four mechanical works by the artist and a video.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/A856-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A856-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A856-170" width="170" />
  <Karma>4.02439</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:30:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746908</Latitude>
  <Longitude>-74.006225</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/A8A7" href="http://www.nyartbeat.com/event/2012/A8A7">
  <Name>Holly Andres &quot;The Fall of Spring Hill&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/5C8E0872">
    <Name>Robert Mann Gallery</Name>
    <Type>Gallery</Type>
    <Address>210 11th Ave, 10th Fl., New York, NY 10001</Address>
    <Phone>212-989-7600</Phone>
    <Fax>212-989-2947</Fax>
    <Access>Between W 24th and W 25th Street. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>00:00:00</OpeningHour>
    <ClosingHour>00:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Following the outstanding success of her 2008 debut at Robert Mann Gallery, Holly Andres returns with a new series: The Fall of Spring Hill. With her trademark chromatic brilliance, Andres's large-scale photographs delve into dramatic narratives. Melodrama is her métier. Looking back to another time, that of the artist's childhood, in recent images Andres has worked through a double process of identification: on the one hand with the children of her scenarios — themselves informed by her personal memories — and on the other with the young mothers and women who now represent her own peer group.

Through the use of symbolically charged spaces and by playing on the potential multiple meanings of everyday words, Andres's latest series plies a singular incident. Adopting the formal language of cinema, The Fall of Spring Hill unfolds in parallel narratives that quickly converge. The setting is a summer church camp, where a group of children play on an old wooden structure, while a group of young mothers prepare a spread of food. An accident interrupts the idyll, leading the women to take up arms and seek retribution.

Here again Andres is concerned with the formal strategies of advancing a narrative via still images and the various levels of signification that can be called upon indirectly to lend the story its interest, as well as the status of female subjectivity both in the past and the present. Andres's eye for detail and the perfect outfitting of a scene lend locations, props and costume an apparent hyper-significance. A shattered coffee cup and a luminous bowl of red punch are more than they initially seem. Childhood innocence has been lost. A group of women are galvanized. It remains, apparently, a world without adult male figures. Alternating between humor and drama, The Fall of Spring Hill has the ring of the familiar becoming extraordinary. Drawing upon both personal and collective mythologies, Andres has developed a distinctive photographic language for her spectacular narratives.

The Fall of Spring Hill is Holly Andres's second solo exhibition at Robert Mann Gallery. The series featured in her previous exhibition, Sparrow Lane, was reviewed in Art in America, artforum.com, ARTnews, Exit Magazine, and Time Out New York, among others. Beyond New York, she has had solo exhibitions in San Francisco, Los Angeles, Portland, Oregon and Istanbul, Turkey. Andres received her MFA from Portland State University. She lives and works in Portland, Oregon.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/A8A7-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A8A7-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A8A7-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749922</Latitude>
  <Longitude>-74.005956</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/A954" href="http://www.nyartbeat.com/event/2012/A954">
  <Name>&quot;Object Fictions&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/145CEA21">
    <Name>James Cohan Gallery</Name>
    <Type>Gallery</Type>
    <Address>533 W 26th St., New York, NY 10001</Address>
    <Phone>212-714-9500</Phone>
    <Fax>212-714-9510</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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>Misc.: Media Arts</Media>
  <Description><![CDATA[“Fiction reveals truth that reality obscures.”	– Ralph Waldo Emerson

James Cohan Gallery presents &quot;Object Fictions&quot;, a group exhibition curated by Jessica Lin Cox and Elyse Goldberg.

&quot;Object Fictions&quot; assembles a diverse group of artists whose works investigate notions of perception, in its many definitions. Through a variety of media and processes, these artists explore the potential of ordinary objects, historical events, invented narratives and in some cases even other artworks, to expose reality through the lens of fiction. Through sustained looking, the works in this exhibition challenge us to consider what constitutes an object, an image, and in the broadest sense, what constitutes truth.

In her exquisite paintings on raw linen, such as Chopped Leek (2011), Helene Appel focuses her minimalist version of trompe l’oeil on often overlooked common objects, elevating the ordinary to the extraordinary. In a recent essay on Appel, Anna-Catharina Gebbers states: “Her subjects have already been accessories to the performances of the everyday; the chopping of onions, the sweeping up of crumbs. Now, placed on the canvas, the things can act to reveal themselves.” In Appel’s work, it is the careful, painstaking process of crafting the fiction of the object which reveals the intricacies and depth of dimension contained within the object itself. 

Kaz Oshiro and Alison Elizabeth Taylor also employ the ideas and methods of trompe l’oeil in innovative ways. In her recent body of work, Taylor makes paradoxical use of fine materials to carefully reproduce vignettes from the disintegrating foreclosed homes found in her home state of Nevada. The marquetry floor piece she created for this exhibition, Armstrong Congoleum (2011), suggests the illusion of layers of vinyl flooring peeling back in disrepair yet is in fact meticulously composed entirely of wood veneer. Similarly, Oshiro’s Untitled Painting, Upholstery (black / diamond with vertical trim, black and silver duct tape) (2011) might first present itself as a vintage car seat cushion, complete with an improvised repaired edge after years of use. Yet upon closer inspection, the object subverts the viewer’s expectations with the discovery that it is in fact a painting. As Christina Valentine has observed of Oshiro’s work, “The idea of the doppelganger, a ghostly double that haunts the physical object, serves as an easy metaphor to define the semiotic theft and switching of signs.”

This moment of subversion and the sudden shift in perception is an important conceit for many works in the exhibition. Patricia Dauder’s 16mm film, March 5th, 1979 (2011), portrays luminous phenomena in the Canary Islands long-rumored to be extraterrestrial in origin until they were recently revealed to be the result of ballistic missiles launched from US Navy submarines. Noriko Furunishi creates mysterious vertical landscapes recalling Chinese and Japanese traditional hanging scrolls, which upon further examination are actually collaged images taken from multiple points of view.

Matt Johnson and Robert Gober are renowned for creating works that thwart our expectations of the objects they appear to resemble. Gober’s X Playpen (1987) references a familiar domestic object known to promise security, but has instead been drastically changed to amplify latent anxieties about childhood and the home. Johnson’s Mother and Child (2011) wryly plays with the sanctity of representing these revered religious figures in art history, transforming Mary and the infant Jesus into a duct-tape sculpture cast in stainless steel.

Appropriation, assumed authorship and invented narrative are the subject of selected works by Harrell Fletcher, Louise Lawler, Trevor Paglen, and the International Necronautical Society. Fletcher’s video, Robert Smithson: The Hotel Palenque (2011), is a video-based appropriation of Smithson’s often referenced lecture from 1969, which Fletcher filmed from the pages of Parkett magazine where the text of the lecture was first reproduced. Also on display is an “authorized copy” of Calling All Agents: Transmission, Death, Technology, General Secretary’s Report to the International Necronautical Society (2011), a document of the fictive society founded by Tom McCarthy in 1999. Though operating as a fiction, the International Necronautical Society nevertheless creates a space for discourse and interventions in art and culture through publications, lectures and other public forums.

[Image: Helene Appel &quot;Chopped Leek&quot; (2011) oil on linen 20 ½ x 13 ½ in. Courtesy of the artist and The Approach, London]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/A954-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A954-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/A954-170" width="170" />
  <Karma>3.9</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-06</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-06" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.75</Latitude>
  <Longitude>-74.003711</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/AA5A" href="http://www.nyartbeat.com/event/2012/AA5A">
  <Name>&quot;Underground: Russian Photography 1970s-1980s&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/9E0CA4DF">
    <Name>Nailya Alexander Gallery</Name>
    <Type>Gallery</Type>
    <Address>41 E 57th St., Suite 704, New York, NY 10022</Address>
    <Phone>212-315-2211</Phone>
    <Fax>212-315-2220</Fax>
    <Access>Between Park and Madison Aves. Subway: 4/5/6 to 59th Street/ Lexington Avenue</Access>
    <Area areaId="midtown">Midtown</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: Photography</Media>
  <Description><![CDATA[During the Khrushchev’s cultural thaw, nonconformist art and literary movements, involving such figures and activities as Alexander Solzhenitsyn, Josef Brodsky and samizdat, had a great impact on the evolution of Russian photography in the 1970s, and laid the foundation for a new generation of photographers during glasnost and perestroika in the 1980s. Photographers in the exhibition challenged the government-prescribed optimistic style of socialist realism by photographing forbidden topics, and like other unofficial artists, they risked personal safety in pursuit for individual expression and freedom. In the 1970s, Boris Mikhailov, a pioneer of Russian conceptual photography, used the medium to reflect skepticism about both approved photography and the false realities it presented. By hand-coloring black-and-white prints in the Sots Art series, Mikhailov skillfully exploited the well-known inventory of socialist realist clichés. In 1971 Boris Smelov’s exhibition was cancelled due to censorship and accusation over the mystical and obscure quality of his cityscapes. During the pompous climate of the Brezhnev era of stagnation, Yuri Rybchinsky photographed with gritty realism a forced labor colony for young people (1978) exposing the painful aspects of its society. Nikolai Bakharev’s posed group portraits of families, friends or lovers, most of them barely dressed and taken either at a park picnic or at apartments, exploring the underlying morals of a Soviet province, while Vladimir Kuprianov took anonymous portraits from the provinces and printed them on crumpled paper in his “Mid-Russian Landscape” series (1988).

More generally, Alexander Lapin and Gennady Bodrov documented the deterioration of the Soviet system, poverty, and alienation. Alexey Titarenko’s photomontages from “Nomenklatura of Signs” (1986-1989) critiqued the Communist regime as an oppressive system that converted citizens into mere signs. Using his body as model, Andrey Chezhin’s “Black Square” series (1988) is both a self-portrait and homage to Malevich. By contrast, Igor Moukhin chose the emerging generation of Moskovites as his subject in his famous “Young People” (1985-1989) series. Taken together, the photographs in the exhibition chronicle an exciting time of change and signaled the end of the Soviet empire.

[Image: Alexey Titarenko &quot;Electrification&quot; from &quot;Nomenclature of Signs&quot; series (1986)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/AA5A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/AA5A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/AA5A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-25</DateStart>
  <DateEnd>2012-03-24</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>44</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.762321</Latitude>
  <Longitude>-73.972111</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/AB44" href="http://www.nyartbeat.com/event/2012/AB44">
  <Name>James Croak &quot;Chandelier Mistaken for God&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/BB53F343">
    <Name>Stux Gallery</Name>
    <Type>Gallery</Type>
    <Address>530 W 25th St., New York, NY 10011</Address>
    <Phone>212-352-1600</Phone>
    <Fax>212-352-0302</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[In Chandelier Mistaken for God, a store-bought chandelier is discovered by a boy who appears to have just finished swimming on a warm summer day. The boy is startled, empowered, and utterly absorbed by the light from the interlacing flock of bulbs and crystals, as if he is experiencing the same exhilarating, inexplicable excitement of someone encountering an angel's halo, a golden religious icon, or the glory of Aurora Borealis. It is a spontaneous, subliminal and physical experience of absolute truth that cannot be controlled or explained. However, the universal tendency to associate light with the divine is purified and replicated here with, jarringly, an almost Duchampian chandelier: an overtly ornate, artificial living room staple, designed to tame and edit the light which is deem to be holy. 

A raw dirt drawing, Repelling Foreign Invaders, complements the gleaming installation. Inspired by Francisco Goya's Disasters of War series, Croak creates an ominous, violent, eerie and oddly peaceful portrait of the war in Afghanistan. Unlike Goya's grotesque and nightmarish visions, Croak's representation of war is quiet and meditative. Soldiers sit calmly next to an unidentifiable broken machine, while undisturbed, unmistakably Afghan mountain ranges loom in the background. The composition is stable and balanced as the prolonged war has comfortably integrated into Afghanistan's identity. &quot;Repelling foreign invaders&quot;, or war in general, is now a permanent state instead of an emergency national security response. The same material used by God to create the Afghan landscape--dirt--is also used to create the drawing itself, erasing the boundary between reality and the aesthetic realm and allowing the subject to literally present itself in the drawing. This way, Croak's ideas of war are not only expressed as artistic, abstract concepts, but also a living, breathing manifestation, molded with dirt just like Adam and Eve.     ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/AB44-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/AB44-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/AB44-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749336</Latitude>
  <Longitude>-74.004122</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/ABE6" href="http://www.nyartbeat.com/event/2012/ABE6">
  <Name>&quot;My Hero&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/307B13A0">
    <Name>Elisa Contemporary Art</Name>
    <Type>Gallery</Type>
    <Address>5622 Mosholu Avenue, Riverdale, NY 10471</Address>
    <Phone>212-729-4974</Phone>
    <Fax></Fax>
    <Access>Corner of Liebing Ave.  Subway: 1 or 9 to last stop.</Access>
    <Area areaId="harlem_bronx">Harlem, Bronx</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="1" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Prints</Media>
  <Media>2D: Other</Media>
  <Description><![CDATA[Elisa Contemporary Art presents My Hero, a new art exhibit focusing on Superheroes in today’s contemporary art. 

From the days of Greek and Roman Gods and Goddess through today’s X-Men, Dynamic Duos, Fantastic Four and many others, we are captivated by the Superhero (male and female). Is it their superhuman strength and power? Or their seeming selflessness to put the greater needs of others ahead of their own wants and desires? Or the fact that they may embody and magnify a single aspect of the human potential in each of us? They captivate, engage and inspire us in print, on the big screen, under the Broadway lights… and now in Contemporary Art.

In the latest Elisa Contemporary Art exhibit, we see the influences of Pop Art from the 1960’s and explore how five contemporary artists bring modern heroes to life in a whole new way. You’ll see Superheroes including Superman, Wonder Woman and Captain America and meet some new characters.

We’re featuring the undulating, architectural paintings of (New Orleans born and now California) Artist Don Morris whose series “Our Heroes” was inspired by the Pop Art of the 60’s. Using comic books as his medium, Don creates canvases which at a distant appear to be an interplay of colors and textures, but upon closer examination come to life with comic book superheroes who fly, struggle, and climb before us in small fragments and vignettes. Words bubble from the comic book text and are clearly visible throughout the pieces, so the viewer can read the stories of our action heroes.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/ABE6-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/ABE6-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/ABE6-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-27</DateStart>
  <DateEnd>2012-03-31</DateEnd>
  <ScheduleNote>A Valentine’s Day Toast to your Favorite Hero on Saturday, February 11th from 5-7pm.</ScheduleNote>
 <Party type="1" date="2012-01-28" start="16:00:00" end="18:00:00">Opening Reception</Party>
 <DaysBeforeEnd>51</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.90415</Latitude>
  <Longitude>-73.902658</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/ABED" href="http://www.nyartbeat.com/event/2012/ABED">
  <Name>Glenn Goldberg &quot;elixirs, tales and remedies&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/2846B77F">
    <Name>Jason McCoy, Inc. (Midtown)</Name>
    <Type>Gallery</Type>
    <Address>41 E 57th St., New York, NY 10022</Address>
    <Phone>212-319-1996</Phone>
    <Fax>212-319-4799</Fax>
    <Access>Corner of Madison Ave. Subway: N/R/W to 5th Avenue or 4/5/6 to 59th Street or E/V to 5th Avenue/53rd Street</Access>
    <Area areaId="midtown">Midtown</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[The exhibition features a group of recent paintings by the New York based artist Glenn Goldberg. Goldberg’s compositions  navigate between the abstract and  referential. They manifest as dreamscapes and otherworldly spheres, where explorations of the mythic are finely balanced through geometric and organic concerns.

At first glance, Goldberg’s shapes seem graphic and as clearly delineated as cut-outs. It is upon closer inspection however, that the gesture of a free hand can be traced and the visual vocabulary appears increasingly natural. Goldberg’s formations evoke cosmic constellations, solar systems, plant forms, and labyrinthine environments - they certainly always tell of lands far away. Meanwhile, rows made of miniature dots characterize each shape and tie the elements together like a stitched rhythmic code. The viewer can choose to focus on the overall pattern or to observe the relationships between shapes. It is this inherent dialogue between microscopic and macroscopic realities that provides Goldberg’s paintings with a unique sense of dynamism. Goldberg’s inspiration and interests are eclectic. A hint of craft, Tantric art, Persian miniatures, Turkish tile patterns, Shaker furniture, African rugs or the works of Richard Pousette-Dart, for example, find some resonance here. However, it is music that has had the most significant impact. Goldberg’s compositions are rhythmic in that they counter-balance structure, geometry and symmetry, with the freedom of the imagination. 

[Image: Glenn Goldberg &quot;Love Letter (1)&quot; (2010) acrylic, ink and gesso on canvas 18 x 30 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/ABED-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/ABED-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/ABED-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-24</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-19" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>15</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.762294</Latitude>
  <Longitude>-73.972322</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/AC03" href="http://www.nyartbeat.com/event/2012/AC03">
  <Name>Kunié Sugiura &quot;Photographic Works from the 1970s and Now&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/E0AA7AD7">
    <Name>Leslie Tonkonow Artworks + Projects</Name>
    <Type>Gallery</Type>
    <Address>535 W 22nd St., 6 Fl., New York, NY 10011</Address>
    <Phone>212-255-8450</Phone>
    <Fax>212-414-8744</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street or A/C/E to 14th Street or L to 8th Avenue.</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</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>2D: Other</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[The exhibition centers on multi-panel works from the late 1970s, constructed of monochromatic abstract paintings and photographs printed on canvas, and a selection of the artist’s recent works, in which she revisits the themes of her earlier “photo-canvases” through the prism of more than three decades and a revolution in digital imaging.

For more than forty years, Kunié Sugiura has investigated the various uses and manifestations of photography, producing a large and varied body of work that includes unique color abstractions from the mid-1960s, photographic works on canvas from the 1970s, and life-sized depictions of people, animals, fish, botanical specimens and other living things made from the early 1980s to the present using the photogram process.

This exhibition, Sugiura’s sixth one-person show at the gallery, will also include a series of collages in which she applied photographs, paint, and blank exposed photographic paper to large sheets of etching paper. Exhibited here for the first time, they were created in dialogue with the larger canvas constructions between 1977 and 1980.

Like other notable Japanese women artists who emerged in the postwar years, Sugiura went West to fulfill her artistic ambitions. Born in Nagoya in 1942 and raised in Tokyo by a single mother, she arrived in the United States at the age of 20. With few personal connections and speaking little English, she enrolled at the School of the Art Institute of Chicago where the Modernist legacy of the New Bauhaus instilled in her a lifelong commitment to invention and experimentation. After graduating in 1967, she moved to New York and immediately began to show conceptual photographic works in galleries and museum exhibitions including the Whitney Museum’s 1972 Annual Exhibition of Contemporary Painting, curated by Marcia Tucker

In the catalogue accompanying this exhibition, Sugiura notes that “in the 1970s photography was still considered a marginal artistic activity.” Eschewing traditional photographic prints on paper, she experimented by brushing emulsion on to various surfaces, eventually choosing canvas which gave the photographic image &quot;the potential to be as challenging as painting – particularly on a large scale.&quot;

The earliest canvases featured Sugiura's own close-up photographs of patterns from nature – tree bark, pebbles, leaves, rocks – and a particularly extreme series of erotic images, enlarged to a monumental scale. Having drawn and painted since childhood, she freely applied graphite and acrylic paint to these works, eventually “almost disregarding the photos underneath … One day I put a painting and photo-canvas next to each other and liked them better together than as separate works … presenting the photograph as a parallel medium, produced something more radical or original.”

In 1980, while searching for a way to make more dynamic drawings, Sugiura adopted the classic black-and-white photogram technique which she has used ever since. Expanding its technical capabilities to create painterly works with increased tonal variations, deep illusionistic spaces, and saturated colors, Sugiura's photograms evoke traditional Japanese art forms such as Ikebana and Sumi-e painting, while more directly evincing the synthesis of East and West that has always informed her aesthetic.

In 2008, inspired by a growing need to contend with rapidly changing technologies and the image-explosion of the virtual world, Sugiura, for the first time in almost thirty years, used her camera to record real places, creating works on canvas that contrast her painterly hand with the cool affect of black &amp; white digital printing. She writes:

In Asian art there has always been a co-existence of the real and the abstract … New expressions often come from crossing mediums and technologies … I can accept photography and painting as both real and abstract – completing one vision.

Works by Kunié Sugiura have been exhibited at major museums throughout Japan, Europe, and the United States and are included in the collections of The Museum of Modern Art, New York; the Museum of Fine Arts, Houston; the Museum of Fine Arts, Boston; the Tokyo Metropolitan Museum of Photography; the National Museum of Modern Art, Tokyo, among many others.

This exhibition is accompanied by a 32-page catalogue with twenty-four illustrations in color and black and white, and a conversation with the artist.

[Image: Kunié Sugiura &quot;Yellow Floor&quot; (1977) Photographic emulsion, acrylic on canvas, 36 x 50 in. ]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/AC03-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/AC03-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/AC03-170" width="170" />
  <Karma>6.03658</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747453</Latitude>
  <Longitude>-74.005631</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/AC1E" href="http://www.nyartbeat.com/event/2012/AC1E">
  <Name>Myong Hi Kim &quot;Borrowed Landscape&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/684EC86E">
    <Name>Art Projects International </Name>
    <Type>Gallery</Type>
    <Address>434 Greenwich St., New York, NY 10013</Address>
    <Phone>212-343-2599</Phone>
    <Fax></Fax>
    <Access>Corner of Vestry Sts. Subway: 1/9 to Canal Street</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Other times by appointment</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Myong Hi Kim’s oil pastel on chalkboard landscapes may depict children or empty sky-bound vistas or sunlit water and leaves, but nothing in Kim’s work is as it seems; she explains, “... the vision that I present is that of apparition rather than appearance.”

Since 1990, one of Kim’s studios has been in an abandoned schoolhouse in rural Korea. She also has a studio in New York and says, “... the difference is between city life and rural life, not between the United States and Korea.” In the school, the original chalkboards first served to block the bitter cold; later, they became the grounds for Kim’s signature works.

Kim had a peripatetic childhood and continues to travel to create. The black road of “Navajo Route” leads to New Mexico and references the Navajo experience and in many ways Kim’s own experiences. Kim’s landscapes are universal places set in a universal time. It is more than a metaphor to say the light of the historical past is with us now; we live in a time when we eagerly discuss starlight that has reached us, just today, from billions of years ago.

Through her careful rendering of light effects, Kim shares her understanding that events are never discrete and are of multiple spaces and times. In “Borrowed Landscape” a pond flickers in sunlight. The affect of the sun is visible; it sets the leaves across the pond alight, but the sun itself is not visible in the sky. Kim suggests that the scene as first viewed by the artist was also an apparition, a trick of the light.

MYONG HI KIM was born in Seoul, Korea. She lives and works in New York and an abandoned schoolhouse in Naep’yong-ni, a tiny mountain village in Kangwon Province, Korea. She graduated from Seoul National University and studied at Pratt Institute, New York.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/AC1E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/AC1E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/AC1E-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.722611</Latitude>
  <Longitude>-74.009864</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/AC65" href="http://www.nyartbeat.com/event/2012/AC65">
  <Name>&quot;Fractal Unity&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/E18EBCA3">
    <Name>Crossing Art</Name>
    <Type>Gallery</Type>
    <Address>136-20 38th Ave., Fl. 4, Flushing, NY 11354  </Address>
    <Phone>212-359-4333</Phone>
    <Fax>212-359-4321</Fax>
    <Access>Between Main Street and 39th Ave.  Subway: 7 to Main Street/ Flushing</Access>
    <Area areaId="queens">Queens</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[A fractal is a geometric, mathmatical phenomenom that when broken down, each separate part may be analogous to the whole. They are continuous, but not differential.  These structures can appear to be organic growth from inorganic media.  And ultimately - Order is found within Chaos.
 
Memory, nature and experience - these substances of our lives can grow not only by accretion but by division and fragmentation as well, creating an organic complexity that belies a unifying order.     
 
This exhibition brings together the works of three multi-media artists who each are seeking to create their own unifying forms out of the chaos of life. Here we see this &quot;growth by division and fragmentation&quot; illustrated in the installations, sculptures, paintings and drawings.  Often utilizing the detritus of paper, tape, rope, paint, wire in their work - Order is broken down and reformed again, until in the end we arrive at a kind of Fractal Unity of form and meaning. 

Hyungsub Shin’s work is motivated by the nature of artificiality where he searches for the place where nature and culture coincide.  The subject matter of his abstract sculptures and paintings are realized in the forms of a &quot;rhizome&quot; - a thick underground horizontal stem that produces roots and has shoots that develop into new plants. The rhizome symbolizes life in continual flux, expansion by division and fragmentation, and identity as a social relationship.  
 
Hyungsub Shin was born in Incheon, Korea. He received his BFA from Hong-Ik University, Seoul, Koreaand his MFA from the Schoolof Visual Arts, New York, NY. Shin has shown extensively in solo and group exhibitions internationally including Socrates Sculpture Park, NY, Jamaica Center for Arts and Learning, NY, Alpan Gallery and DEAN PROJECT. Hyungsub Shin currently lives and works in New York, NY.
 
Hong Seon Jang is an installation artist currently living and working in New York City. His work explores the recognition of surroundings and reflects physical fragility in daily life by transforming everyday objects into new forms that embody various physical and systematical forces in nature. In giving everyday materials new contexts and aesthetic possibilities with subtle reintroduction, he achieves to displace them from their original function to challenge the mundane and the embedded and preconceived ideas. 

Hong Seon Jang received his BFA from Dan Kook University, South Korea and earned his MFA in Imaging Art at Rochester Institute of Technology, Rochester, NY. His awards and residencies include: Djerassi, CA, Atlantic Center for the Arts, FL, Newark Museum, NJ, Lower East Side Print Shop Special Editions Residency in NYC, Elizabeth Foundation for the Arts in NYC, Painting Space 122 in NYC, Sculpture Space, NY, Bemis Art, NE, Abron Arts Center at Henry Street Settlement in NYC, The Triangle Artists’ Workshop Program in NYC, and Urban Artist Initiative Fellowship. He has been widely exhibited in solo and group exhibitions including Smack Mellon, the Donnell Building of the New York Public Library, McColl Center for Visual Art, Charlotte, NC, The Soap Factory, Minneapolis, The Islip Art Museum, East Islip, NY, MN, Arario Gallery, NYC, Artspace, New Haven, CT, Rush Arts Gallery, NYC, Hangaram Art Museum, Seoul, South Korea, and PS122 Gallery, NYC.
 
Buhm Hong, an installation and video artist, composes visual narratives through his video presentations by creating digital composites of seemingly disparate elements that investigate ways in which physical environments inform and influence the construction of illusion, memory and, ultimately, the Self.  Furthermore, by taking these disjunctive video composites  and translating them into three dimensional sculptures that appear like real illusions, the artist seeks to awaken the viewer from what the artist calls a &quot;perceptual slumber.&quot;
 
Hong received his BFA in Industrial Design from the Hong Ik University in Seoul, South Korea, an MFA in computer art photography, video and related media from the School of Visual Art in New York. He has shown his work in such venues as the Digital Salon and the SVA East Gallery, both in New York. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/AC65-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/AC65-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/AC65-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-14</DateStart>
  <DateEnd>2012-02-14</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-14" start="17:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>5</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.760792</Latitude>
  <Longitude>-73.830325</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/ACCD" href="http://www.nyartbeat.com/event/2012/ACCD">
  <Name>&quot;Material Magic&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/3E7FD89E">
    <Name>Visual Arts Gallery</Name>
    <Type>Gallery</Type>
    <Address>601 W 26th St.,15th Fl, New York, NY 10010</Address>
    <Phone>212-592-2145</Phone>
    <Fax></Fax>
    <Access>Between 11th and 12th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[An exhibition of work presented by the BFA Fine Arts Department. Curated by Department Chair Suzanne Anker and faculty member Gunars Prande. ]]></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>2012-02-03</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751008</Latitude>
  <Longitude>-74.005783</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/AD59" href="http://www.nyartbeat.com/event/2012/AD59">
  <Name>Mary Corse &quot;New Work&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/5569D53D">
    <Name>Lehmann Maupin (540 W 26th Street)</Name>
    <Type>Gallery</Type>
    <Address>540 W 26th St., New York, NY 10001</Address>
    <Phone>212-255-2923</Phone>
    <Fax>212-255-2924</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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>Open mondays by appointment only.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Having first gained recognition in the 1960s Southern California art scene, working alongside the generation of 'Light and Space' artists, Mary Corse continues to be a prominent and influential figure today. Corse is best known for her exploration of radiant and interactive surfaces and her innovative technique of painting. For her inaugural exhibition at Lehmann Maupin, Mary Corse will exhibit five new paintings. In Corse's work, three outstanding themes are most conspicuous: perception, time, and inner dimensions.

Because Mary Corse's works change before our eyes with the slightest shift in viewing position or ambient light, in situ they have no fixed objective appearance independent of a dynamic individual perception. The works therefore do not depict perception, but reveal the nature and operation of the perceptive act in progress. They enact rather than represent our experience of reality. Since this dynamic quality reveals itself in time as the light changes or as one traverses the field of view, the work also poses a temporal dynamic wholly contrived by the artist. A vision of adjacent works in the gallery space compounds this effect. Since, traditionally, paintings are “frozen” with respect to time while real time never stops, this dynamic addresses the nature of realism in a more fundamental way. Even though the artist employs a two-dimensional surface, one's changing perception of that surface constantly yields multiple inner dimensions in dynamic tension with each other. Since these tensions most often may be grouped under the general categories of Minimalist flatness, and painterly abstraction, the works implicitly subsume and transcend two earlier art historical epochs, Abstract Expressionism and Minimalism. The works' integration of these three themes both expresses and renders tangible the perceptive faculty.

Born in Berkeley, CA in 1945, Mary Corse received her B.F.A. from the University of California in 1963, and her M.F.A. from the Chouinard Art Institute in 1968.

Lehmann Maupin Gallery is presents Mary Corse's inaugural exhibition at Lehmann Maupin Gallery, entitled &quot;New Work&quot;.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/AD59-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/AD59-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/AD59-170" width="170" />
  <Karma>2.47655</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750039</Latitude>
  <Longitude>-74.003931</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/AD80" href="http://www.nyartbeat.com/event/2012/AD80">
  <Name>Joseph Arthur &quot;New Drawings&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/EF649842">
    <Name>Able Fine Art NY Gallery</Name>
    <Type>Gallery</Type>
    <Address>511 West 25th St., Suite 507, New York, NY 10001</Address>
    <Phone>212-675-3057</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/AD80-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/AD80-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/AD80-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-23</DateStart>
  <DateEnd>2012-03-13</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-23" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>33</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749322</Latitude>
  <Longitude>-74.003678</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/AE08" href="http://www.nyartbeat.com/event/2012/AE08">
  <Name>Cassius Fouler &quot;Unpaid Dues&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/2B321AF1">
    <Name>Orchard Windows Gallery</Name>
    <Type>Gallery</Type>
    <Address>37 Orchard St., New York, NY 10002</Address>
    <Phone>917-600-0807</Phone>
    <Fax></Fax>
    <Access>Between Hester and Canal Sts.  Subway: F to East Broadway or B/D to Grand Street.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>21:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Illustration</Media>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[Ketamine, dust, and Evan Williams are the Father, Son, Holy Spirit in the world that Cassius Fouler paints. A failed attempt at self-deprecating humor and outdated hood-rat etymology, Fouler's work has been mostly swept under the rug due to his poor public relations and heroin addiction. Despite initial apprehension Orchard Windows Gallery presents &quot;Unpaid Dues&quot; a petite collection of artworks by CASSIUS FOULER.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/AE08-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/AE08-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/AE08-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</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="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>1</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.715867</Latitude>
  <Longitude>-73.991578</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/B08B" href="http://www.nyartbeat.com/event/2012/B08B">
  <Name>Garrett Pruter &quot;Mixed Signals&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/2F1BADDF">
    <Name>Charles Bank Gallery</Name>
    <Type>Gallery</Type>
    <Address>196 Bowery, New York, NY 10012</Address>
    <Phone>212-219-4095</Phone>
    <Fax></Fax>
    <Access>Between Prince and Spring Sts.  Subway: F/V to 2nd Avenue or 4 to Spring Street.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Charles Bank Gallery presents its first solo exhibition with Garrett Pruter. A graduate of Parsons School of Design, Pruter presents a body of work that explores the frailty of memory in his exhibition, &quot;Mixed Signals.&quot;

Using discarded photos from junk stores, estate sales, and old magazines, Pruter enlarges found images and then slices and reassembles the fragments to create new imagery that blurs the line between what is real and what is imagined.

These altered images fuse together various people, places, and periods of time to engage viewers in a dialogue that connects past and present.  Through the physical alteration of found photographs, the passage of time is distilled and abstracted into geometric compositions of light, color, and void. With context stripped and reconfigured, an alternative universe emerges where multiple perspectives collide and fact becomes diluted in ambiguity.

For this new body of work, Pruter introduces his recent exploration of multimedia. Drawing on the walls with fractured reflections, the projector and mirror installation continues with the same visual language used in his works on paper.  The multimedia installation contains found 35mm slides that are projected onto curved mirror tiles, fragmenting the images into myriad pieces and creating complex compositions out of intimate travel photographs and family portraits.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B08B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B08B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B08B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-14</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>34</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.721219</Latitude>
  <Longitude>-73.993861</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/B2B4" href="http://www.nyartbeat.com/event/2012/B2B4">
  <Name>Anthony Caro &quot;New Small Bronzes&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/CF258D43">
    <Name>Mitchell-Innes &amp; Nash (534 W 26th St.)</Name>
    <Type>Gallery</Type>
    <Address>534 W 26th St., New York, NY 10001</Address>
    <Phone>212-744-7400</Phone>
    <Fax>212-74407401</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[[Image: Anthony Caro &quot;Blossom&quot; (2012) Bronze case and welded 5-7/8 x 12-3/8 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B2B4-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B2B4-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B2B4-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-03-01</DateStart>
  <DateEnd>2012-04-05</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>56</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749997</Latitude>
  <Longitude>-74.003789</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/B32C" href="http://www.nyartbeat.com/event/2012/B32C">
  <Name>&quot;20th Anniversary&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/FB7D5F99">
    <Name>Skoto Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., 5 Fl., New York, NY 10011</Address>
    <Phone>212-352-8058</Phone>
    <Fax>212-352-8079</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street, A/C/E to 14th Street, L to 8th Avenue.</Access>
    <Area areaId="chelsea_20">Chelsea 20th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Skoto Gallery at 20
by Geoffrey Jacques
 
It is tempting to talk about Skoto Gallery as a secret treasure of the New York art scene; but doing so brings up a lot of contradictory data. For instance, how does a “secret” survive two decades in a historically tough scene made even tougher by the cultural and economic head winds that have buffeted art, the New York art world, and the world in general in the last few years? To say the quality of the work shown at Skoto Gallery during these last twenty years is responsible for its success would be one obvious truth. There is, however, more to it than that. Skoto Gallery performs a vital intervention into the very idea of contemporary art.
 
Twenty years ago this seemed like just another gallery starting up in New York City’s Soho during that neighborhood’s historical heyday as the center of the art world. This was a time of sharp public protests and protest-style exhibitions trying to crack an art scene whose racial and gender homogeneity was only slightly masked by an essentially Eurocentric ethnic plurality. It was the era of a multiculturalism that seemed like it was always emerging, yet never quite arriving. The Museum of Modern Art had recently mounted a highly-touted exhibition on “primitivism” —still thought of, as late as the mid-1980s, as a polite word — and modern art. African art was still thought of, by a wide section of the art public and by more than a few specialists, as an art without artists. That is, one had the objects, but usually these objects had no individual names attached to them. The sources of these objects were often ascribed as tribal or regional, but were rarely ascribed to an individual artist. Of course, Africans might have had some influence on the origins of modern art —this was, after all, MOMA’s point — but none created art worth thinking about in our real-time world. Few people in New York had ever heard of a contemporary African artist making contemporary art. Meanwhile, the conversation concerning contemporary art as such focused almost exclusively on European or Eurocentric trends, individuals and individualists. Even the few African Americans whose names the official art world admitted to knowing, such as Romare Bearden and Jacob Lawrence, were talked about, when considered at all, not as artists, exactly, but as relics or representatives.
 
This was the art world Skoto Gallery found itself in, and its own intervention into the conversation started with a bang. To open a gallery largely devoted to contemporary African art was one thing, and a pretty big thing at that; but to open the gallery with an exhibition curated by Ornette Coleman was another thing altogether. Soon enough, word got around town that something different was happening down on Prince Street. So it was. You walked in, and a whole new world opened up. It wasn’t just Africans who showed there, as remarkable as that might have been; sometimes Skoto Gallery would come up with ingenious pairings. I remember being so moved by a 1995 exhibition of works by two sculptors that I had to write about them. The pairing was, at first glance, audacious: Tom Otterness, from Kansas, who lived in New York; and Bright Bimpong, from Ghana, who was, at the time, studying in New Jersey. It was the kind of beautiful exhibition we’re now used to seeing at Skoto Gallery. On another occasion, I spent several congenial hours surrounded by the transcendent works of the category-defying El Anatsui, who was born in Ghana but who made his reputation in Nigeria. Here was an accomplished artist who’d been working for decades. I’d never heard of him. This is often the case with the artists who choose Skoto Gallery as an exhibition venue, and it is among the qualities that continue to make this gallery a unique and valuable part of New York’s art world. This is one of the rare galleries in that world where it’s still possible to get the news about art. One can hardly think of a bigger accomplishment.
 
Geoffrey Jacques is a poet and critic. He is the author of the poetry collection Just for a Thrill (2005) and A Change in the Weather: Modernist Imagination, African American American Imaginary (2009), a book of criticism.
 http://www.geoffreyjacques.com

[Image: Inaugural exhibition, curated by Ornette Coleman at Skoto Gallery former 25 Prince Street location, February 7th, 1992]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B32C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B32C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B32C-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="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746167</Latitude>
  <Longitude>-74.0062</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/B36E" href="http://www.nyartbeat.com/event/2012/B36E">
  <Name>Glenda Leoìn &quot;Listening to Silence&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/CE0D27DC">
    <Name>Magnan Metz Gallery</Name>
    <Type>Gallery</Type>
    <Address>521 W 26th St.,  New York, NY 10001 </Address>
    <Phone>212-244-2344</Phone>
    <Fax>212-244-7544</Fax>
    <Access>Between 10th and 11th Aves. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[Magnan Metz Gallery presents &quot;Listening to Silence&quot;, the first U.S. solo exhibition for Cuban artist, Glenda León.

True listening—that in which we empty ourselves of thought and ego, to let in the word and the presence of another entirely, is becoming more and more rare. In a world filled with haste, stress, and an increasing disconnect between human and nature- a sense of blindness and deafness is building greater with each day. To listen totally and completely is to leave behind our inner noise, brought on by desires, preoccupations, fears and frustrations that too often invade our minds. It is a deeper way to approach and understand the other, the world, and ultimately ourselves. In Listening to Silence, the artist tries to influence the acts of looking and listening from a new point of view: seeing the sounds, hearing the images.
 
León’s artwork spans from drawing to video art, including installation, objects and photographs.  She is interested in the interstices between sound and silence, the visible and invisible, the ephemeral and eternal - visual poetry.  The focal piece in the show, Objeto Mágico Encontrado #5 (Magical Found Object) presents a broken Baby Grand piano resting on the ground, missing one leg, with flowers growing out of its interior.  The work exemplifies the artist’s optimism: the piano in ruins brings forth flowers, a metaphor of music’s power to continue to blossom in ones soul. Escuchando las estrellas/Listening to Stars, a sound installation comprised of a music box and video projection, in which the stars are musical notes, symbolizes an attempt to increase Man’s connection with Nature and the Cosmos.  It is a reminder that although these things are far away and unattainable, neither should we forget that they are a part of our being. 
 
Glenda León (Havana 1976) graduated from the Academy of Superior Art and New Medias, Cologne, Germany in 2007.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B36E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B36E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B36E-170" width="170" />
  <Karma>1.0061</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750028</Latitude>
  <Longitude>-74.003458</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/B37D" href="http://www.nyartbeat.com/event/2012/B37D">
  <Name>&quot;Special Blend&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8A45F294">
    <Name>The Journal Gallery</Name>
    <Type>Gallery</Type>
    <Address>168 N 1st St., Brooklyn, NY 11211</Address>
    <Phone>718-218-7148</Phone>
    <Fax></Fax>
    <Access>Between Driggs Ave. and Bedford Ave.  Subway: L to Bedford Avenue</Access>
    <Area areaId="williamsburg">Williamsburg</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="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Presented as a melange, this exhibition has an earthy flavor with a clean finish. Balanced and light-bodied, it combines honey sweetness with a hint of citrus for a smooth-looking exhibition—perfect for viewing all day. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B37D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B37D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B37D-170" width="170" />
  <Karma>1.44608</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-13" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.714697</Latitude>
  <Longitude>-73.960542</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/B3C1" href="http://www.nyartbeat.com/event/2012/B3C1">
  <Name>Michael Minelli Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/B5BC9B89">
    <Name>CUE Art Foundation</Name>
    <Type>Gallery</Type>
    <Address>511 W 25th St., New York, NY 10001</Address>
    <Phone>212-206-3583</Phone>
    <Fax>212-206-0321</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[When I started making work in the 1980's, Richard Gere was rumored to have been compromised by a gerbil (or vice versa), actor/President Ronald Reagan was in office and the internet was in its infancy. Twenty plus years later, the politics between fantasy and spectacular culture are still in play, but now the landscape of how one speaks and the audience(s) to whom one is speaking lend a whole new level of feedback to the mix.

Whether speaking directly to the camera, modeling raw plasticine or rolling paper into vacant microphone stands, my work is an investigation of what it means to understand something through the process of making it. I've always seen that activity as an open proposal; one where a direct engagement with materials is an opportunity to challenge notions of mastery, totality or spectacle by resisting their implications with respect to agency. Few of us as artists can fully anticipate the conditions under which a work may be seen or understood, but we can approach that making with an awareness that such a moment will come.

The works in this exhibition offer me an opportunity to explore how meaning is informed through labor, memory, narrative and material content; all constituent parts that make up America's matrix of pleasure and conspicuous consumption. My practice is an attempt at shaping the shit that passes through our homes and through our heads into a response.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B3C1-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B3C1-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B3C1-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749028</Latitude>
  <Longitude>-74.003453</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/B3FC" href="http://www.nyartbeat.com/event/2012/B3FC">
  <Name>&quot;Bauer. Croxson. Lichty. Wood.&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/10FFBAD5">
    <Name>Foxy Production</Name>
    <Type>Gallery</Type>
    <Address>623 W 27th St., New York, NY 10001</Address>
    <Phone>212-239-2758</Phone>
    <Fax>212-239-2759</Fax>
    <Access>Between 11th and 12th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[This group exhibition balances the elaborate, enigmatic paintings of Michael Bauer and Joel Croxson, with the hypnotic, streamlined sculptures of Stephen Lichty and Sarah E. Wood. With intriguing shapes and materials, and odd juxtapositions and references, the works defy, in varying ways, the empty signs of contemporary abstraction. Echoing, perhaps, the response of the New Realists to Abstract Expressionism, the artists here generate unexpected experiences for the viewer by inflecting abstraction with poetic and figurative notes.

Michael Bauer’s paintings display marks and icons, floating upon a flat field, that come together as spectral portraits whose roots may lay somewhere in Renaissance or Modernist portraiture. His paintings unleash an array of references that modulate from the unknown and nightmarish, to the recognizable and charming.

Joel Croxson’s meticulous, energized paintings mix patterning, lines, and shapes with fields of color. Conjuring almost, but not quite definable images and actions, they possess the visual logic of a dream: With no easily identifiable reason or direction, they make sense in the moment and then change course. Thwarting literal readings, they open doors to subjective spaces.

Stephen Lichty’s sculptures suspend familiar materials in exquisite, sculptural animation. He contours ribbons using armatures, creating relationships between elements that have a powerful and poetic sense of movement. Held in a fine balance between figure and ground, the works traverse the fault-line between representation and abstraction.

Sarah E. Woods’ elegant, sculptural constructions inject everyday materials with a stark and affective lyricism. Her wall-based work, Untitled (Broken Lines), made from wood, steel, and string, is reminiscent of a waterfall or, perhaps, the digital version of one. The theatricality of its simulated movement is matched by its pared-down gracefulness.

Michael Bauer (Erkelenz, Germany, 1973) lives and works in New York. He studied at the Foundation of BROTHERSLASHER, Cologne, with Tim Berresheim and at the Hochschule fur Bildende Kunst Braunschweig, Germany. Exhibitions include: Lisa Cooley, New York (solo)(upcoming 2012); Peter Kilchmann, Zurich (solo); Saatchi Gallery, London; Galerie Chez Valentin, Paris; Norma Mangione Gallery, Turin (solo); Villa Merkel, Esslingen am Neckar, Germany (solo)(all 2011); Linn Luhn, Cologne (two person); Marquis Dance Hall, Istanbul, Turkey (two person)(both 2010); Kunsthaus Baselland, Basel (solo); HOTEL, London (solo); Artleib, Dusseldorf, Germany (two person)(all 2009); Sammlung Südhausbau, Munich (2008); Lehmann Maupin, New York; Timothy Taylor Gallery, London, curated by Emma Dexter; Jack Hanley, San Francisco (solo); Kunstverein, Bonn, Germany (solo); Stadtische Galerie, Delmenhorst, Germany (solo)(all 2007); Städtische Galerie, Wolfsburg (2001); Kunstverein Braunschweig (2000); and Kunsthalle Recklinghausen (1999). His curatorial series The Keno Twins (1-5) was presented across Germany and Italy (2008-2011).

Joel Croxson (1978, Bristol, UK) lives and works in London. He holds a BFA from the University of the West of England, Bristol, and a Post-graduate Diploma Fine Art from the Royal Academy, London. Exhibitions include: Frieze Frame, Frieze Art Fair (solo)(2011); Rob Tufnell Gallery, London (solo)(2011); Dicksmith Gallery, London (solo)(2009); 319 Portobello Road, London; Atelierhaus Mengerzeile, Berlin (both 2007); Bristol City Crypt, Bristol; Three Colts Gallery, London; v22/On, Ashwin Street Gallery, London (all 2006); One in the Other, London (solo)(2005); Summer Exhibition, Royal Academy, London (2003); and Spike Island, Bristol (2001).

Stephen Lichty (Kansas City, MO, 1983) lives and works in Brooklyn, New York. He holds a BSc from the Department of Culture and Communications at NYU. Exhibitions include: Frutta, Rome (2012); The Barber Shop, Lisbon (2011); and School of Development, Berlin (2010). Performances include: Ribbon dance in a thunderstorm at sunset, Socrates Sculpture Park, New York (2011). Publications include: Special Effects, Advances in Neurology, re-release with Neil Marcus and Publication Studio (2011); and Alexander, Bell, Cooper, McCracken, Valentine (1971), re-release with Publication Studio (2010).

Sarah E. Wood (Beckley, WV, 1976) lives and works in Brooklyn, New York. She holds a BFA from The Maryland Institute, College of Art, and an MFA from Rutgers University. Exhibitions include: Grimm, Amsterdam; Francois Ghebaly Gallery, Los Angeles (both 2011); Kate Werble (solo)(2010); Carnegie Mellon University, Pittsburgh; PS122, New York (solo)(both 2008); and Art in General, New York (2004).]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B3FC-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B3FC-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B3FC-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751811</Latitude>
  <Longitude>-74.005769</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/B405" href="http://www.nyartbeat.com/event/2012/B405">
  <Name>Malcolm Morley &quot;Another Way to Make an Image, Monotypes&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/685D94A8">
    <Name>Sue Scott Gallery</Name>
    <Type>Gallery</Type>
    <Address>1 Rivington St., New York, NY 10002</Address>
    <Phone>212.358.8767</Phone>
    <Fax>212.358.8785</Fax>
    <Access>Corner of Bowery.  Subway: F to 2nd Avenue</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Prints</Media>
  <Description><![CDATA[Since 2006, Malcolm Morley has made over twenty-five monotypes and monoprints with One Eye Pug/Sue Scott Gallery. Despite being an accomplished printmaker who had made numerous other types of prints, this body of work was Morley’s first foray into the monotype medium. 

Morley uses the monotype medium not as a staid or simplistic process of transference, but rather as an investigation of how the pressure of a press affects imagery. In each monotype, Morley pushed experimentation, never using the exact same technique twice. In Rushing to Miami, 2006, printed with master printer Kathy Caraccio, he used Mylar as the plate on which to paint the exotic and colorful kites floating above a tropical setting. The Mylar caused the watercolor to pool in areas resulting in porcelain like quality that he could not have achieved on the more porous surface of paper. After going through the press, the full, colorful image was transferred to the paper while simultaneously staining the Mylar, resulting in a ghost image on the plate that did not appear on the paper. Not for the last time, the artist blurred the line between print and original.

Working with master printer Maurice Sanchez, Morley also experimented with a hydraulic press. In a progression entitled Abandon Ship, 2008, Sanchez took the plate through the press nine times, with each resulting image a lighter version of the previous one. As noted by Nancy Princenthal in her catalogue essay, Sanchez says, “if making a print is like making a movie – you do it in parts, and assemble it, and there is a great deal of editing – making a monoprint is like improvisational theatre:  you live and die on the spot.” However, with Abandon Ship, Morley made a drawing outlining the images in black and Sanchez ran a single lithograph over each monotype, again questioning definitions. Technically, a monoprint begins with a printed matrix off which the image is built – Morley reverses the process, by “drawing” on top of the image. 

Much of Morley’s work is autobiographical. For example, Red Shoes with Palette, 2007 came out of his time spent volunteering at a local Boys and Girls Club. Morley instructed his students to draw a favorite item, like their tennis shoes, and felt he should do the same. Here the artist juxtaposes a messy, well-used watercolor palette next to the shoes, a reminder of the artifice of the image.

Born in London in 1931, Malcolm Morley studied at the Camberwell School of Arts and Crafts and the Royal College of Art. In 1958 he moved to the United States and in 1984 he was awarded the inaugural Turner Prize for British artists. He is a member of the American Academy of Arts and Letters, American Academy of Arts and Sciences and a recipient of the Skowhegan School of Painting and Sculpture Painting Award in 1992. Morley first achieved widespread recognition in the 1960s for his super-realist paintings and again in the eighties for his masterful Neo-Expressionist works.

[Image: Malcolm Morley &quot;Holiday Beach with Beach Ball&quot; (2008) Monotype 17-3/4 x 23-3/4 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B405-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B405-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B405-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-11</DateStart>
  <DateEnd>2012-02-19</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-11" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>10</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.721467</Latitude>
  <Longitude>-73.993383</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/B5F1" href="http://www.nyartbeat.com/event/2012/B5F1">
  <Name>Harriet Leonard &quot;Selections&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/319426A8">
    <Name>Atlantic Gallery</Name>
    <Type>Gallery</Type>
    <Address>135 W 29th St., Suite 601,  New York, NY 10001</Address>
    <Phone>212-219-3183</Phone>
    <Fax></Fax>
    <Access>Between 6th and 7th Ave. Subway: N/R to 28th Street, 1/2/3 to 34th Street or F to 34th Street</Access>
    <Area areaId="chelsea_east">East Chelsea</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B5F1-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B5F1-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B5F1-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-31</DateStart>
  <DateEnd>2012-02-24</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>15</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747333</Latitude>
  <Longitude>-73.991066</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/B6EE" href="http://www.nyartbeat.com/event/2012/B6EE">
  <Name>Marshall Weber &quot;Awedience&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/92656C5D">
    <Name>Munch Gallery</Name>
    <Type>Gallery</Type>
    <Address>245 Broome St., New York, NY 10002</Address>
    <Phone>212-228-1600</Phone>
    <Fax></Fax>
    <Access>Between Broome and Grand Sts., Subway: F to East Broadway or F/M/J/Z to Delancey Street.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 13:00, sundays closinghour 18:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Munch Gallery presents ‘Awedience’, a solo show by Marshall Weber. 'Awedience' is a series of life-size photo-installations about being an audience member. Each piece in the show is titled with a song title from a pop rock song, so there is a predetermined soundtrack for the show. There will be guidebooks In the gallery that have source photographs of the installation pieces and the source and lyrics from each song lending their titles, so there is a pop culture back-story to each piece.

It’s a romantic restructuring of the gallery exhibit as an LP vinyl record concept album.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B6EE-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B6EE-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B6EE-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-16</DateStart>
  <DateEnd>2012-03-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-16" start="19:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>31</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.717833</Latitude>
  <Longitude>-73.989778</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/B724" href="http://www.nyartbeat.com/event/2012/B724">
  <Name>&quot;Rather Unique&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/0C30A694">
    <Name>Woodward Gallery</Name>
    <Type>Gallery</Type>
    <Address>133 Eldridge St., New York, NY 10002</Address>
    <Phone>212-966-3411</Phone>
    <Fax>212-966-3491</Fax>
    <Access>Between Delancey and Broome St.. Subway: J/M/Z to Essex Street, S/D/Q to Grand Street or J/M to Bowery Street.</Access>
    <Area areaId="lower_east_side">Lower East Side</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="0" hol="0" />
    <ScheduleDetails>sundays openinghour 12:00, sundays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[New for 2012, Woodward Gallery invites Harlem-based street Artist Royce Bannon as their first-ever guest curator for an exhibition with rather unique art.

While how they each create differs, they are commonly driven to share art with their peers without-constraints. This public focus has afforded the group to experiment and redefine their creativity with instant feedback and inspiration from colleagues.
Bannon selected these few for their resolve and commitment. They have worked obsessively over the years to get their public art recognized.

Each one of them has a rather unique style that I really can’t compare to any one else’s. If I mention a   Darkcloud, a Matt Siren, or a Cope2 you know exactly what I’m talking about- even if you’re not into the   scene- you can see their (iconic) images in your head… Everyone does wheat paste, and stickers, or (tag)   throw ups, but this group of artists…make what they do really pop.
Woodward Gallery acknowledges these most contemporary of artists and their contribution to the 
new world of art.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B724-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B724-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B724-170" width="170" />
  <Karma>0.957447</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-07</DateStart>
  <DateEnd>2012-02-19</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-07" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>10</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.718753</Latitude>
  <Longitude>-73.991533</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/B73A" href="http://www.nyartbeat.com/event/2012/B73A">
  <Name>Bruce Gagnier &quot;Moses Striking the Rock: A Commission&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/CA84DB52">
    <Name>Lori Bookstein Fine Art</Name>
    <Type>Gallery</Type>
    <Address>138 10th Ave., New York, NY 10011 </Address>
    <Phone>212-750-0949</Phone>
    <Fax>212-750-0947</Fax>
    <Access>Between 18th and 19th Sts.  Subway: L or A/C/E to 14th Street/ 8th Avenue </Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</Area>
    <OpeningHour>10:30:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Lori Bookstein Fine Art presents a fountain commission by Bruce Gagnier. The life-size bronze depicts the Old Testament scene in Numbers 20:11: &quot;And Moses lifted up his hand, and smote the rock with his rod twice: and water came forth abundantly, and the congregation drank, and their cattle.&quot; The newly-completed Moses Striking the Rock will be on view through February 18 before going to its permanent home, a private residence on the Long Island Sound.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B73A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B73A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B73A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-31" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.744903</Latitude>
  <Longitude>-74.005998</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/B80B" href="http://www.nyartbeat.com/event/2012/B80B">
  <Name>Geraldo Perez &quot;Sketch Book Paintings&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/CCE3481F">
    <Name>Blue Mountain Gallery</Name>
    <Type>Gallery</Type>
    <Address>530 W 25th St., New York, NY 10001</Address>
    <Phone>646-486-4730</Phone>
    <Fax>646-486-4345</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[The exhibition is entitled “Sketch Book Paintings.” The work draws from various sketch books, including his “on roll sketch book,” which is 110 yards long by 42 inches. Selections from the on roll sketch book will be displayed on a screen. Also included in the show will be his “phone book sketch books” and visitors will are invited to look through these intimate “sketch books.”

The essence of the work is conceived before the physical act of creating begins, but it develops and evolves, as we all must in our lives. The evolution never really ends for Perez. He describes his quest to “keep discovering and finding—because it’s all there/here.” He never ceases to discover for disparate pieces—to see them, and to make the connections. The discovery means letting the creative spirit guide his hand. “Letting go is always the tricky part, for me at least- it is always an experiment in faith.”

“Life is not all that we see and not all that we don’t see.”

“Sometimes when I am cleaning my brush and am painting,” he says, “I play around and these beautiful things appear.” It just comes out, as if his brush is a link to the universe. But Perez never really considers a piece &quot;finished.” “I stop… and sometimes go back.&quot; And stopped, the piece is a moment in time and space.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B80B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B80B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B80B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-28</DateStart>
  <DateEnd>2012-03-24</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-03-01" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>44</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749267</Latitude>
  <Longitude>-74.004028</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/B86A" href="http://www.nyartbeat.com/event/2012/B86A">
  <Name>Valerie Hird &quot;The Fifth Day&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/91617DD8">
    <Name>Nohra Haime Gallery</Name>
    <Type>Gallery</Type>
    <Address>730 5th Ave., New York, NY 10019</Address>
    <Phone>212-888-3550</Phone>
    <Fax>212-888-7869</Fax>
    <Access>Between 56th and 57th Sts. Subway: 4/5/6 or N/R/W to 59th Street</Access>
    <Area areaId="midtown">Midtown</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="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Monday by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Hird explores her personal take on the creation myth focusing on the cosmic moment before the birth of man. In a bow to Genesis, she has paused the six-day origin myth to reflect on what the natural systems in all their promise of new wonder would look like. After years of working on projects in the political cauldron of the Middle East-- in the midst of cultural clashes, religious conflict, and endless rhetoric-- she felt overwhelmed and haunted. Lacking any belief system that made sense, she returned to the United States to create her own 'myth' and has dedicated the last two years to the re-enchantment of her own inner world.
 
Hird has taken the vast panoply of cultural imagery found in many different (and often competing) creation myths and has integrated them; interweaving their iconic patterns into an inseparable whole. She began with four elements-- earth, sky, water and wind -- with each making reference to the other. Painting in a seductively ritualized manner, Hird created her personal mythology; a complex world based on integrated systems. The collective result of which is an intricate landscape of symbols and experiences that is both appealing and seductive. It leaves behind verbiage and travels toward an intoxicating world of unspoken but deeply-felt mythology.

[Image: Valerie Hird &quot;The Fifth Day&quot; (2010-11) oil on gessoed BFK paper]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B86A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B86A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B86A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-18</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-17" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.762694</Latitude>
  <Longitude>-73.974364</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/B929" href="http://www.nyartbeat.com/event/2012/B929">
  <Name>&quot;MIE: a portrait by 35 artists&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/E6D478AE">
    <Name>Freight and Volume</Name>
    <Type>Gallery</Type>
    <Address>530 W 24th St., New York, NY 10011</Address>
    <Phone>212-989-8700</Phone>
    <Fax>212-989-8708</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_24">Chelsea 24th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Open by appointment also.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Long a muse and subject of many contemporary masters in the art world, curator/model Mie Iwatsuki joins forces with gallerist/curator/artist Nick Lawrence, of Freight+Volume, to create a very special, intimate portrait show, aptly titled MIE: A Portrait By 35 Artists. Drawing on the ancient tradition of portraiture, but bringing the medium into a contemporary discourse, this show of multiple interpretations of one subject—MIE—promises to be rich and provocative in its variety, insightful and illuminating in its focus. MIE features 35 contemporary prominent and emerging artists, working in every medium—painting, drawing, video, sculpture and performance—who have achieved a unique voice in the realm of portraiture.

The contemporary discourse on the portrait is one of the most challenging to clarify because of its wide use and traditional importance throughout art history. For thousands of years we have sought to unveil the human condition by producing portraits of individuals which transcend particular moments of time, culture, and social circumstances. Idiosyncratic Greek and Roman portrait busts, masterpieces like the all-encompassing Mona Lisa by Da Vinci, Caravaggio’s stunning David, the haunting Las Meninas by Velásquez, Holbein’s quirky The Ambassadors, Madam X’s mysterious visage by Sargent, Andy Warhol, the psychological study by Alice Neel, and microscopically-detailed Benefits Supervisor Sleeping by Lucien Freud are just a few examples of portraits that have weathered the ages and whose stories are still analyzed today.

As a medium, the portrait has always been a revelation—both a dissection of its subject as well as an abstraction. We are not just looking into the soul of another person as much as looking into our own souls when we view a portrait: indeed, the art form is similar to a mirror. The moment in time in the life of one person is not only frozen by the artist and his or her subject, but also by the viewer when engaged by the work of art in front of them. When we encounter such great works either in gallery, museum or private settings, we become a part of the painting; a triangular relationship is created between the subject, the artist, and the viewer.

The subject recorded in a portrait does not speak directly to the viewer, but its voice emanates through the filter of the regional, social, and cultural circumstances in which the portrait is created. It is further shaped by the technique of the artist and the unique interaction that takes place between the artist and the model throughout the painting process; this can include things as subtle as the time of day that the model sits, or the banter between them for the hours of company they keep. We don’t see the subject of a portrait as just another person; we encounter ourselves, reflected back, as we construct a relationship with the subject and the artist who recorded him or her.

Considering the complex conditions that surround the creation of a portrait, what could we learn if we add the third voice of the model as a sort of mediator between the artist and viewer? The model has an advantageous position to observe the artist’s creative process. By describing the conditions of the work’s creation, the model can enrich the viewer’s experience by giving them access to the artist and steering their interpretations more closely towards the artist’s intentions.

Model and curator, Mie Iwatsuki has also written on the entire range of her experience as the subject for each of the artists’ works– the &quot;Model's Voice.&quot; Her objective has been to work as closely as possible with the artist in the creation of each piece. She has made herself available to the artists for as long as necessary and has interpreted the personal stories and processes behind the works in order to share their experience and intentions as much as possible. Her observations, anecdotes, and criticisms will add a third dimension to the exhibition in lieu of the traditional gaze between artist and viewer. Her text will also be included in the catalogue, in addition to essays by John Yau, Peter Frank, Anthony Haden-Guest and Nick Lawrence.

A portion of the proceeds from the exhibition and catalogue sales will benefit the Japan Earthquake Relief Fund.

[Image: Alex Katz &quot;Mie&quot; (2010) oil on linen, 60 x 84 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B929-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B929-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B929-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-21</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-21" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748433</Latitude>
  <Longitude>-74.004847</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/B943" href="http://www.nyartbeat.com/event/2012/B943">
  <Name>Group show &quot;Simultaneity&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/39060712">
    <Name>Blackston</Name>
    <Type>Gallery</Type>
    <Address>29C Ludlow St., New York, NY 10002</Address>
    <Phone>212-695-8201</Phone>
    <Fax>212-695-8202</Fax>
    <Access>Between Hester and Canal Sts.  Subway: F to East Broadway, B/D to Grand Street.</Access>
    <Area areaId="lower_east_side">Lower East Side</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>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Blackston presents Simultaneity, a group show featuring works by Brooklyn-based artists Ryan DaWalt, Rachel Howe, Shawn Kuruneru, Jeffrey Scott Mathews and Meghan Petras.  A reception will be held for the artists on Sunday, January 8th from 6 to 8 p.m.
 
Simultaneity addresses a current zeitgeist of pattern, motif and process in the separate studio practices of five young New York artists.  The title of the exhibition references artists Robert and Sonia Delaunay's early Twentieth Century movement, which, in both paintings and textile works, heralded the interplay of divergent color, lines and abstract forms in a single frame of reference.
 
Ryan DaWalt's steel geometric shapes on linen develop a unique color system across the plane. Using handmade pigments containing iron and steel particulates that are applied to linen backed by a magnetic field, the artist creates forms that are repeated and altered across the body of his work, resulting in a distinct color play that references formal art-making in addition to textile patterns.   
 
Rachel Howe's paper works are made with woven, hand-dyed cut strips of paper.  Concerned with both process and psychological elements of visual expression, Howe frequently incorporates symbols and patterns from ancient, occult and craft traditions.
 
Shawn Kuruneru employs rigorous application of miniscule ink marks over canvas and panel surfaces to create highly detailed minimalist work.  The undulation and accumulation of these marks develop compelling visual connections and perspective shifts, as well as altering the texture and tone of each surface.  The artist's sculptural piece in the exhibition incorporates elements of his mark-making across three dimensional space.
                 
Using bold abstract gestures, Jeffrey Scott Mathews applies a liquid form of the heavy metal bismuth to linen canvases painted with symmetrical underpinnings.  The concurrence of these pronounced metallic applications (out of which crystals grow) with a modulated background evinces a paradoxical relationship.  Mathews also works with textiles in forming large canvas wall hangings replete with recurring angular components.
 
Meghan Petras applies fabric paint to canvas, then cuts, reassembles and sews the pieces into a whole canvas that is stretched across a painting frame.  The results are bold and vital abstract paintings.  The artist's repeated gestural symbols and unique visual vocabulary reference Modernist traditions and equally the role of traditional craft disciplines in art-making. 
 
Employing concurrent use of textile, formal and alchemic traditions and newly developed processes, the works in this exhibition all embody the dynamic potential of relational exploration via color (or lack thereof), mark, material and form.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B943-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B943-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B943-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-08</DateStart>
  <DateEnd>2012-02-19</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-08" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>10</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.715642</Latitude>
  <Longitude>-73.990825</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/B954" href="http://www.nyartbeat.com/event/2012/B954">
  <Name>Hirosuke Kitamura &quot;Hidra&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/1302EAE8">
    <Name>1500 Gallery</Name>
    <Type>Gallery</Type>
    <Address>511 W 25th St., #607, New York, NY 10001</Address>
    <Phone>917-362-0770</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Aves.  Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</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[The title Hidra is in Brazilian portuguese and refers to the many-headed Lernaean Hydra of Greek mythology.  These works were for the most part made in bregas (inexpensive brothels) in Salvador da Bahia (Brazil), where Hirosuke, or &quot;Oske&quot; as he is known, has been making photographs regularly for over ten years.

In the words of Miguel Rio Branco: &quot;Something quietly emerges at every moment throughout these images: ghosts halfway between sex and death; fragments of seduction that wander in-between lost worlds.  Sexuality is something transparent, smoky and elusive under our fingertips.  But how does one define sexuality in a place where the body is everything - not only material but also consumable? And here sexuality becomes all but ghostly, the way it has always been in Japanese tales: from another world, but yet somwhere here near us. These images supercede the passage of time, reaching beyond notions specific to any particular time or era.

The interesting thing in the creative process - in the artistic process - resides in the reaffirmation of the artist's individuality. This is increasingly difficult in a world dominated by advertising, publicity and marketing.  It is progressively more rare to see true creativity in an artist's work. Everything is business; nothing is personal. In these [Kitamura's] images, on the contrary, it's all personal, lived and felt. Everything is personal. This constitutes an important departure from what we typically see today, where the photographic image is becoming technically more distant from what was photographed.

In art, what counts is the soul and not the theme. Here [in Kitamura's work] the themes are diluted and mixed. Here we do not get stuck anywhere, nor to a specific moment in time; we move on to another phase. A phase that brings us to another space, another world, a limbo.  Here, what appear as skin, fingers, breasts, sexes, and clothes are tranformed into masks, gifts, lights and Bahia sweat by this Japanese artist who one day came to Salvador.&quot;]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B954-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B954-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B954-170" width="170" />
  <Karma>0.849901</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-01</DateStart>
  <DateEnd>2012-04-28</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-01" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>79</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749322</Latitude>
  <Longitude>-74.003678</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/B978" href="http://www.nyartbeat.com/event/2012/B978">
  <Name>Kevin Lips and Mason Saltarrelli Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/6D0B4161">
    <Name>Interstate Projects</Name>
    <Type>Gallery</Type>
    <Address>56 Bogart St., Brooklyn, NY 11206</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between Grattan St and Harrison Pl., Subway: L to Morgan Avenue.</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="1" fri="1" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Both artist's source their work from the found, either in materials, shapes, or forms. Through this process they both create narrative triggers that remain undetermined by the artist and the naturalistic abstract forms of both artist's works.

Kevin Lips' sculptures are amorphous shapes that interact with each other and build off themselves. Trained classically as a potter and ceramicist, he takes everyday materials and hardware store basics and combines them to form surfaces and textures that bind and condense into outer shells and surfaces. This ever evolving series of simple but universal forms are now focusing on textiles. By combining strips of various colors, textures and densities of basic materials, Lips sculptures become off the wall three dimensional paintings. These new works are not about painting though, or any emulation of but more about the idea of form, color, space and materiality.

Mason Saltarrelli's work is an open-ended narrative that he creates by using a mixture of images that are found and imagined. Over time he has developed a cast of characters, some recognizable, some not, who invite the viewer to map for themselves new relationships and interactions. Identifiable borrowings, such as the Hopi figure of Kachina or specific Catholic saints with their attributes, are removed from their original context not to negate or deny their stories, but to add to them. Saltarrelli is inspired by the manners and functions of the fable or folk-tale and by jazz, whose improvisational template he applies in his own process. The intention is to invite anyone looking at the images to open a stream of consciousness that runs in parallel to his own.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B978-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B978-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B978-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.705575</Latitude>
  <Longitude>-73.933216</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/BA55" href="http://www.nyartbeat.com/event/2012/BA55">
  <Name>Terry Winters &quot;Cricket Music, Tessellation Figures, &amp; Notebook&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/FA740834">
    <Name>Matthew Marks Gallery 522 W 22nd St.</Name>
    <Type>Gallery</Type>
    <Address>522 W 22nd St., New York, NY, 10011</Address>
    <Phone>212-243-0200</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Avenue. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Matthew Marks announces, Terry Winters: Cricket Music, Tessellation Figures, &amp; Notebook. The exhibition consists of 11 large-scale vibrantly colored recent paintings. Winters depicts forms inspired by mathematical concepts like tessellations and knot theory, as well as shapes from the natural and scientific worlds in these new canvases. His kaleidoscopic compositions of overlapping grids and patterns create complex pictorial spaces, and his use of transparent pigments allows the viewer to see, as the artist has said, “all the events that went into the making of the painting.” The title Tessellation Figures refers to the process of creating a two-dimensional plane through the repetition of a geometric shape. 

Notebook, 2003-2011, will be on view in the gallery at 502 West 22nd Street for the first time in this country. These striking collages of found images layered on top of one another reveal the lasting tension between abstraction and representation in Winters’ work and are the source for many of his images in recent years. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/BA55-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BA55-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BA55-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-04</DateStart>
  <DateEnd>2012-04-14</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-03" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>65</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747286</Latitude>
  <Longitude>-74.005311</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/BB00" href="http://www.nyartbeat.com/event/2012/BB00">
  <Name>&quot;Fifteen Contemporary Artists Represented by Spanierman Gallery&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/A50433E2">
    <Name>Spanierman Modern</Name>
    <Type>Gallery</Type>
    <Address>53 E 58th St., New York, NY 10022</Address>
    <Phone>212-832-1400</Phone>
    <Fax>212-588-9505</Fax>
    <Access>Between Park Ave. and Madison Ave.  Subway: F to 57th Street, 4/5/6/N/R/W to 59th Street/Lexington Avenue or E/V to 5th Avenue/ 53rd Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>09:30:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="0" 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[[Image: Frank Wimberley &quot;Flutter&quot; (2008) acrylic on canvas 48 x 48 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/BB00-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BB00-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BB00-170" width="170" />
  <Karma>1.44608</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.762849</Latitude>
  <Longitude>-73.971239</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/BB97" href="http://www.nyartbeat.com/event/2012/BB97">
  <Name>Ross Knight &quot;Situations&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/FEF55C3A">
    <Name>Team Galllery (47 Wooster Street)</Name>
    <Type>Gallery</Type>
    <Address>47 Wooster St., New York, NY 10013</Address>
    <Phone>212-279-9219</Phone>
    <Fax></Fax>
    <Access>Between Grand and Broome Sts. Subway: C/E to Canal Street</Access>
    <Area areaId="soho">Soho</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Five new sculptures make up Ross Knight’s sixth solo exhibition at Team Gallery. The works are traditional sculpture of human scale and consideration. For these idiosyncratic hand-made constructions, Knight misuses utilitarian materials, stripping them of their ordinary functions and marrying disparate elements in sophisticated singular structures. Neither formalist nor minimalist, though taking much from both schools, the pieces hinge on visual relationships formed when re-contextualized materials are shaped to touch one another in specific and suggestive ways.

The centerpiece of the show is a massive construction of steel and plastic, an outdoor work grandly housed in the gallery. Part is a cantilevered structure with the protruding consoles of a conveyor belt that stop short in space and an exaggerated steel elevation embellished with matte magenta paint; the entirety then suction-wrapped in opaque white plastic. With industrial coloring and packaging, Part seems vaguely functional, an object fluctuating constantly between its own installation and de-installation, like commercial units dissasembled and packed for shipment, or for disposal, or prefab architectural modules caught in mid-construction, on the sublime verge of realization.

Skin to weight is a formal structure of two circular steel weights connected by a tall iron rod upon which sits the rolled skin of half a cow. The slender pedestal resembles a spine held between discs supporting some core cavity of a body. The bleached rawhide, diaphanous and delicate, methodically curls into itself, skin embracing skin, with evocative tactility and meticulous balance.

In Cord, iron shafts hang from a wooden sawhorse fastened to an oversize block of plastic. Held together with string like a crude scale, spindly steel legs support suspended weights, both burden and value. While Part and Skin to weight consider the armature of skin — plastic or real, structure-revealing and structure-housing — both Cord and Skin to weight turn on oddly balanced relationships of volume and pressure. 

Knight’s particular exploitation of materials also consistently relies upon sexual innuendo which is both sly and tremulous, in his push-and-pull and pole-and-hole configurations. Additionally, though Knight’s structures have many embedded lines of reference — the metal assemblages of Anthony Caro, the intersecting geometries of David Smith, the collaged installations of Kurt Schwitters, the corporeal erections of Matthew Barney, the ambiguous furniture of Franz West, and the wrapped objects of Christo come to mind with these pieces — the vocabulary of forms, and the unexpected ways in which elements encounter one another, is Knight’s own distinct signature.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/BB97-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BB97-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BB97-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.722667</Latitude>
  <Longitude>-74.002611</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/BBD4" href="http://www.nyartbeat.com/event/2012/BBD4">
  <Name>&quot;The Space In-Between&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/61F8CCD4">
    <Name>envoy enterprises</Name>
    <Type>Gallery</Type>
    <Address>131 Chrystie St., New York, NY, 10002</Address>
    <Phone>212-226-4555</Phone>
    <Fax></Fax>
    <Access>Between Delancey and Broome St. Subway: J/M/Z to Bowery or B/D/F/Q to Grand Street</Access>
    <Area areaId="lower_east_side">Lower East Side</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>Misc.: Media Arts</Media>
  <Description><![CDATA[In &quot;The Space In-Between&quot;, artist and musician Matt Sims collides concepts as diverse as Quantum Mechanics, temporal consciousness and Taxi Cab drivers. Illuminating both the many universes of existence and the many states of self awareness...This multimedia exhibition itself is comprised of a variety of different earthly perspectives, including that of runners, cab drivers, and lucid dreamers, amongst others. These perspectives generate an inclusive worldview that illuminate a variety of alternate states of being...The Space In-Between, as a whole, is Sim's attempt to illustrate the constant link between the internal and external states of the universe we try to make sense of on a daily basis. Sims renders the contours of our awareness with a sensibility that is equal parts mundane and esoteric, physical and metaphysical, scientific and otherworldly.

Matt Sims, also known as Mt. Sims, is a Berlin-based established electronic-musician with releases spanning as far back as 2002 with his first album &quot;Ultrasex&quot; on International DJ Gigolo, up to his most recent collaboration with The Knife and Planningtorock on the Darwinian opera &quot;Tomorrow, In A Year.&quot; Having recently retired his Mt. Sims moniker in late 2010, he is currently working on his latest musical project, CEL.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/BBD4-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BBD4-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BBD4-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-26</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>17</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.719269</Latitude>
  <Longitude>-73.993169</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/BC5C" href="http://www.nyartbeat.com/event/2012/BC5C">
  <Name>Gerri Davis &quot;Iteration&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/EF870F67">
    <Name>Bridge Gallery</Name>
    <Type>Gallery</Type>
    <Address>98 Orchard St., New York, NY 10002</Address>
    <Phone>212-674-6320</Phone>
    <Fax></Fax>
    <Access>Between Delancey and Broome Sts. Subway: J/M/Z/F to Delancey Street.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>saturdays openinghour 12:00, saturdays closinghour 18:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Who has the balls to tackle Picasso and Matisse head-on?
Wielding her fervid palette artist Gerri Davis sets the old guys on fire against a backdrop of other seminal, temporal works.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/BC5C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BC5C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BC5C-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-15</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>35</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.718453</Latitude>
  <Longitude>-73.989869</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/BC7A" href="http://www.nyartbeat.com/event/2012/BC7A">
  <Name>&quot;Opulent Vision&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8F7F43F4">
    <Name>fordPROJECT</Name>
    <Type>Gallery</Type>
    <Address>57 W 57th St., Penthouse Fl.19 &amp; 20, New York, NY 10019 </Address>
    <Phone>212-219-6557</Phone>
    <Fax></Fax>
    <Access>Between 5th and 6th Aves. Subway: F to 57th Street or N/Q/R to 59th Street.</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[“Opulent Vision” includes a collection of works that highlight many parallels of the contemporary cultural landscape.  Spanning across disciplines from painting to sculpture to conceptual works on paper, the exhibition provides a look at a selection of fordPROJECT's inaugural roster of artists, with the debut of new voices. “Opulent Vision” presents unique perspectives that reflect historical ceremonies, mythical lands, and unique architectural environments.  The exhibition will fill the gallery’s penthouse space with vivid colors, rich wallpaper, paintings of inspired interiors, and a site-specific installation. 

Also on view is the video program “What One Sees Is Not Seen,” curated by Alfredo Hertzog. In the presentation, Hertzog brings together a selection of videos to exemplify the ways in which contemporary artists approach various forms of presentation.  Works range from the dream-like imagery of Pipilotti Rist, to the politically fueled films of Mateo Maté and Hans Op de Beeck.  Other artists include Mauricio Alejo, Adriana Bustos, Cabello/Carcelle, Filipa César, Goldiechiari, Cao Guimarães, Kaoru Katayama, Jorge Macchi, Antoni Muntadas, and Kamen Stoyanov.

The opening of “Opulent Vision” also marks the second installment of the ongoing collaboration between fordPROJECT and BLACKLOTS.  A selection of artworks from BLACKLOTS’ inventory will be on view to enhance and complement fordPROJECT’s exhibition program.

[Image: Kristen Schiele &quot;Cabin Yule-Tide&quot; (2011) oil on canvas 48 x 46 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/BC7A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BC7A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BC7A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-17</DateStart>
  <DateEnd>2012-02-24</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>15</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.7638</Latitude>
  <Longitude>-73.975564</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/BCB4" href="http://www.nyartbeat.com/event/2012/BCB4">
  <Name>Marsha Pels &quot;Detroit Redux&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/7B2FB6F2">
    <Name>Schroeder Romero &amp; Shredder</Name>
    <Type>Gallery</Type>
    <Address>531 W 26th St., New York, NY 10001</Address>
    <Phone>212-630-0722</Phone>
    <Fax></Fax>
    <Access>Between 11th and 12th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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>saturdays openinghour 11:00</ScheduleDetails>
    <ScheduleNote>Viewing also by appointment.</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[In Detroit Redux, Marsha Pels has created a personal metaphorical landscape with an ensemble of five sculptures dealing with decay, frailty and rehabilitation in relation to the fall of a great American city. Pels continues to merge autobiographical narratives within the larger context of global concerns. Consisting of deconstructed surrogates of the artist herself, these sculptures fuse images of destruction with images of resurrection to make us question the body as a working machine, aging vs. fertility and the animal as savior.
 
Pels spent 2008-2010 as a Sculpture Professor in Detroit. In 1932, Diego Rivera was commissioned by Henry Ford to make the great fresco murals for the Detroit Institute of Art. Rivera described the city as &quot;the great saga of the machine and of steel.&quot; In contrast, his wife, the painter Frida Kahlo, described Detroit as &quot;a shabby village.&quot; This dialogue remains today as Detroit attempts to resurrect itself from political and economic devastation through a cultural &quot;Renaissance.&quot;
 
Inspired by ruins of America's most famous post-industrial city while she endured a traumatic cervical fusion, Pels has created an open-ended narrative that is never didactic; a surreal and dramatic bildungsroman relating to the feminine experience of aging to the monumental Zietgeist of Detroit.
 
Pels' sculptural practice involves making these inspirations corporeal through labor-intensive, materially complex objects and installations in a masterful range of materials including: cast bronze and iron; glass and resin; marble and found objects. Images of anatomical structures blend into iconic architectural and mechanical forms. Engines become organs, concrete becomes bone and domestic animals become signifiers of resurrection.
 
In the tradition of her mentor, the late Louise Bourgeois, Pels' material language has become increasingly more complex over the past three decades. Cerebral and psychosomatic, Pels's installations force us to examine our impending mortality through dark humor and visceral imagery.
 
An important voice in New York for three decades, Pels has been exhibiting internationally since winning the prestigious Prix de Rome in 1984. This is her fourth exhibition with the gallery. Recently, Marsha Pels was the only American sculptor to participate in the 2011 Lorne Biennale in Lorne, Victoria, Australia. She is the recipient of a Pollock Krasner Award and a Fullbright Scholarship to Germany among others. Her work is in The Olbricht Collection, Berlin, Germany and the National Museum of Gaborone, Botswana, Africa. Her outdoor site-specific sculpture is in the public collections of Grounds For Sculpture, Hamilton, NJ; The Pratt Sculpture Park, Brooklyn, NY; Smith Gilbert Gardens, Kennesaw, GA, and the Hebrew Home Museum, Riverdale, NY. Her work will also be featured in a forthcoming issue of Sculpture magazine. This exhibition is accompanied by the catalogue, Detroit Redux: Recent Sculpture 2009-2011.

[Image: Marsha Pels &quot;To Fly, To Drive&quot; (2009-2011) Cast epoxy resin and fiberglass, fluorescent lights, 1997 V8 Lincoln engine, plastic chains, steel cable, 7 x 16 x 18 ft.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/BCB4-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BCB4-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BCB4-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750125</Latitude>
  <Longitude>-74.003686</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/BD37" href="http://www.nyartbeat.com/event/2012/BD37">
  <Name>&quot;African American Art from the Flomenhaft Collection&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/19A3A8B8">
    <Name>Flomenhaft</Name>
    <Type>Gallery</Type>
    <Address>547 W 27th St., Suite 308, New York, NY 10001</Address>
    <Phone>212-268-4952</Phone>
    <Fax>212-268-4953</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[The Black artists’ selections on view share neither an artistic program nor a similar background.  They are all of a different mettle.  All create with an unremitting creative force that issues from their Black heritage, their American heritage, political or societal influences or from a poetic instinct.  What is clear is that out of their shared heroic struggles have come some glorious art that feeds on life.  The Flomenhaft Gallery is proud to have collected works by wonderful Black artists and is pleased to make them available to the public.  In our exhibit are: Emma Amos, Benny Andrews, Romare Bearden, Beverly Buchanan, Jacob Lawrence, Faith Ringgold, Charles Lloyd Tucker, and Carrie Mae Weems.

Atlanta born artist, Emma Amos once said “For me, a black artist, to walk into the studio is a political act.”  She received her BFA at Antioch College studying fine arts and textile weaving.  She also worked as an illustrator for Sesame Street and as a textile designer for the very prestigious Dorothy Liebes.  She was the only female artist in the Spiral Group formed by Romare Bearden and his peers.  The Spiral group recently was celebrated in a superb show at the Studio Museum in Harlem.  Three of Emma’s works in our exhibit are: Let Me Off Uptown, Josephine and the Ostrich and Beauty. Her pastel painting Josephine and the Ostrich (1984) is a tribute to Josephine Baker, world famed American born French dancer, singer and actress who was carried through a boulevard in Budapest, sitting aloft her carriage and pulled by an ostrich.

Benny Andrews’  ink drawing from 1974, MacDowell Colony/Across the Water, was created 10 years after Congress gave President Lyndon Johnson the right to do whatever he deemed necessary to defend South East Asia.  Those ten years of bloodshed in Vietnam resulted in 50,000 American servicemen coming home in body bags, others coming home disabled, and American pilots and crews of downed aircrafts being taken to horrific prisons.  With terse linear forms, Andrews drew a mother standing at the edge of a cliff screaming perhaps for her son lying dead in a pool of blood across a deep chasm, a black cloud looming above.  It could just as well be a passionate depiction of any mother today bereft because of a son or daughter killed or maimed in Iraq or Afghanistan.

Romare Bearden was born in North Carolina in 1911 and grew up in Harlem.  His centennial is currently being celebrated in many museums and galleries.  His mother was actively engaged in social issues, and great black writers, musicians and politicians often visited their home.  He had a degree in education, but his first love was art.  He is arguably one of the great masters of the collage.  It is worth making a pilgrimage to our exhibit if only to see Up at Minton’s (1980) a collage with painted elements for which Bearden is renowned.  His work offers a microcosmic view of the jazz musician’s life during the Harlem Renaissance days, when after their gigs, they went to Minton’s and played their hearts out by the light of the moon.  It was the work chosen by the Bearden Foundation for a picture puzzle sold in many museums and for their 2005 engagement book cover.   Another work, Maternity/Ancestral Legend (1972), a watercolor and collage on board, is a metaphor for motherhood that freezes the images in our minds. When UNICEF was searching for the essence of a Black Madonna and Child for Christmas cards, at least 20 years ago, they asked to reproduce this one.  It is still used as one of their holiday images.

Beverly Buchanan’s shack architecture in paintings such as Ferry Road Shacks (1988), oil pastel on paper, and her sculptures are poetic works as rich in dignity as they are in complexity. They evoke the spectra of people, places and a culture that was fast disappearing in the byways of North and South Carolina, of people that could neither read nor write but raised children who became doctors, lawyers and all sorts of creative adults.  Each of her makeshift sculptures, created out of scavenged materials, she calls a “portrait,” an homage to people who may have lived in a shack, or for a friend she made along her trek.  Buchanan is also a poet and for a work in our exhibit Coming Home the Back Way, wood and mixed media, 1991, she wrote a poetic legend which will be on view.

Whereas we know Jacob Lawrence best by his socially conscious art, the ink drawing on view in this collection is a nostalgic work.  Done in 1961, it is entitled Chess on Broadway.  The preoccupation of chess players is so carefully depicted in his boldly distinctive style and the groupings orchestrated with the perfection of angular austerity, that it is hard to imagine any artist besting this work to communicate that time, place or involvement in the game.

Faith Ringgold is the quintessential story-teller and a remarkable artist.  Double Dutch on the Golden Gate Bridge (1988), which we are displaying, “is one of four quilts about being free to go and do whatever one can wish for.  In this case, she has drawn young Black girls in Harlem playing a favorite after-school street game.  Although Faith has transferred the game and the girls to the Golden Gate Bridge of San Francisco, of course it is Harlem in the background where Faith grew up.
 
Charles Lloyd Tucker was Bermuda’s first Black professionally trained artist and a dominant figure on the art scene during the 1950s and 1960s. In 1948 he went to London and studied at the Anglo-French Art Centre and then the Bryam Shaw School of Drawing and painting. He soaked up the culture of England and Europe, visiting art galleries always with sketchbook in hand and his talent was recognized early.  When he returned to Bermuda in 1953 he started teaching at the Berkeley Institute, and inspired a generation of artists.  Teaching provided him with the financial freedom to develop as an artist outside of the classroom. He was very fond of his mother, an elegant lady who loved to wear hats and probably inspired our painting, The Lady with the Hat (1960). The influence of his time spent in Europe is clear in this work.  There are remote echoes of Gauguin and Modigliani, artists he must have known from his student days.

Recently, several of Carrie Mae Weems works in our exhibit were borrowed by the Tate of Liverpool for an exhibit entitled “Color.”  On the subject of color, Weems says it all.  From the late 1988 to early 1990 Weems created a series entitled &quot;Colored People” which emphasized the range of skin color hidden behind the color “black.” The images portray the terms the African American community has used to create its own hierarchies by way of color.  We also include a four-part suite from her Sea Island Series of 1992. To create a new kind of historical and cultural chronicle, she visited the unique African American folk of the Gullah dialect who inhabit the Sea Islands of Georgia and South Carolina.  Our work evokes the superstitions of the Gullah people.  This is an important part of African American history because these people were cut off from the melting pot of the mainland and retained a purer version of original customs, language, games and song.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/BD37-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BD37-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BD37-170" width="170" />
  <Karma>1.16936</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750789</Latitude>
  <Longitude>-74.003658</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/BD53" href="http://www.nyartbeat.com/event/2012/BD53">
  <Name>Mark Podwal &quot;Sharing The Journey: The Haggadah&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/4F06D054">
    <Name>Forum Gallery</Name>
    <Type>Gallery</Type>
    <Address>730 5th Ave., New York, NY 10019</Address>
    <Phone>212-355-4545</Phone>
    <Fax>212-355-4547</Fax>
    <Access>At 57th St. Subway: N/R/W to Fifth Avenue or F to 57th Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Call for Summer hours.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[&quot;Sharing The Journey&quot; features new paintings and drawings by Mark Podwal-- twenty-six colorful paintings that relate the story of Passover. Working in the pictorial language of symbol and metaphor, Podwal’s approach to the Passover story is at once respectful, personal, and universal in its appeal.

[Image: Mark Podwal &quot;Adir Hu&quot; (2011) acrylic, gouache and colored pencil on paper 16 x 12 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/BD53-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BD53-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BD53-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-14</DateStart>
  <DateEnd>2012-03-07</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-14" start="17:30:00" end="19:30:00">Opening Reception</Party>
 <DaysBeforeEnd>27</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.762694</Latitude>
  <Longitude>-73.974364</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/BD6B" href="http://www.nyartbeat.com/event/2012/BD6B">
  <Name>&quot;Transitions&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/ACBF0723">
    <Name>New Century Artists, Inc.</Name>
    <Type>Gallery</Type>
    <Address>530 W 25th St., Suite 406, New York, NY 10001</Address>
    <Phone>212-367-7072</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>00:00:00</OpeningHour>
    <ClosingHour>00:00:00</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[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/BD6B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BD6B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BD6B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-18</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-21" start="15:00:00" end="18:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749336</Latitude>
  <Longitude>-74.004122</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/BED8" href="http://www.nyartbeat.com/event/2012/BED8">
  <Name>&quot;RETROspect&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/2F1BADDF">
    <Name>Charles Bank Gallery</Name>
    <Type>Gallery</Type>
    <Address>196 Bowery, New York, NY 10012</Address>
    <Phone>212-219-4095</Phone>
    <Fax></Fax>
    <Access>Between Prince and Spring Sts.  Subway: F/V to 2nd Avenue or 4 to Spring Street.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Installation</Media>
  <Media>3D: Furniture</Media>
  <Media>3D: Product</Media>
  <Description><![CDATA[Charles Bank Gallery presents RETROspect, a pairing of staff selected contemporary artworks with examples of exquisitely painted nineteenth-century woodworking from the collection of Elliott and Grace Snyder. The contemporary collection includes work by Allen Grubesic, Adam Henry, Barnaby Hosking, Eske Kath, Kim Keever, Ryan James MacFarland, Kasper Sonne, and Pär Strömberg. 
 
Elliott and Grace Snyder have been full-time antiques dealers since 1970, and currently exhibit in the most important antiques shows in this country, including the Winter Antiques Show in New York. They are also founding members of the Antiques Dealers’ Association of America, a trade organization dedicated to encouraging the maintenance of high ethical standards in the business of buying and selling antiques.
 
The Snyders specialize in 17th, 18th, and early 19th century American furniture and decorative arts with an emphasis on textiles, painted and/or decorated furniture in original condition, and folk art. Their interest has always been in 'country' interpretations of formal designs in which craftsmen were freer to improvise on prevailing structures. The Snyders always seek out pieces that successfully embody individual imagination.

The six antiques from the Snyder collection were specifically chosen for their hand-painted surfaces that resemble abstract paintings from a more recent period in Art History. As a result, the juxtaposition of these pieces with artworks from the Charles Bank Gallery program offers viewers a fresh perspective on both collections.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/BED8-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BED8-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BED8-170" width="170" />
  <Karma>2.61539</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-18</DateStart>
  <DateEnd>2012-02-09</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-18" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.721219</Latitude>
  <Longitude>-73.993861</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/BF29" href="http://www.nyartbeat.com/event/2012/BF29">
  <Name>&quot;New Moon : Interpretations of the Chinese Zodiac 2012&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/D2CE67CE">
    <Name>myplasticheart</Name>
    <Type>Shop</Type>
    <Address>210 Forsyth St., New York, NY 10002</Address>
    <Phone>646-290-6866</Phone>
    <Fax></Fax>
    <Access>Between E.Houston and Stanton Sts. Subway: F/V to 2nd Avenue</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Graphics</Media>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[myplasticheart presents the 4th annual New Moon: Interpretations of the Chinese Zodiac exhibit. We are kicking the year off right with this stellar group show featuring 18 artists’ reinterpretations of the 12 animals of the Chinese lunar calendar. Curated by John Wong.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/BF29-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BF29-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BF29-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-02-19</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>10</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.722417</Latitude>
  <Longitude>-73.9906</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/BF7F" href="http://www.nyartbeat.com/event/2012/BF7F">
  <Name>Tamara Gayer &quot;The Final Contraction&quot;, Stephen Sollins &quot;Piecework&quot; &amp; Heeseop Yoon &quot;Still Life #1&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/5B36DFD6">
    <Name>Smack Mellon</Name>
    <Type>Cultural Center</Type>
    <Address>92 Plymouth St., Brooklyn, NY 11201</Address>
    <Phone>718-834-8761</Phone>
    <Fax>718-834-5233</Fax>
    <Access>Between Main and Washington St. Subway: F to York Street or A/C to High Street.</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</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>2D: Prints</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Smack Mellon presents three solo exhibitions featuring new work and site specific projects by Brooklyn-based artists Tamara Gayer, Stephen Sollins, and Heeseop Yoon. Tamara Gayer reconfigures and translates the geometry of urban landscapes into an intricate vinyl installation for her window project The Final Contraction. Covering all 24 windows with various colors and textures of vinyl Gayer presents an alternate all-encompassing prismatic cityscape. Disorganized spaces, often hidden from public view by design, are the focus of Heeseop Yoon's Still Life #11. Yoon provides a dramatic view of chaotic interior spaces using black masking tape on the gallery's oversized 24' x 60' long wall. In the back gallery, Stephen Sollins presents Piecework, a series of large scale works on paper made entirely of collected mailing envelopes. Intersecting his mathematical approach with his interest in the sentimental, Sollins methodically assembles the recognizably patterned paper into the form of traditional American quilts.

Tamara Gayer,  The Final Contraction
Tamara Gayer is an artist transfixed by the city. Suspended between the impulses of an image maker and a builder she creates work that mutates from drawing to installation to video. Born in NYC, Tamara Gayer grew up in Jerusalem and Tel-Aviv. She holds a BA from Sarah Lawrence College and an MFA from Hunter College. In New York her work has been show at Priska Juschka Fine Art, Foxy Production, Mixed Greens and Exit Art among others. She is represented in several prominent collections including that of the Museum of Modern Art. Click here for more info.

Stephen Sollins,  Piecework
Stephen Sollins works primarily by altering found materials, applying various mediums and methods to direct the viewer's attention.  Themes in his work center around the possibility of communication in the domestic arena. He describes this as &quot;the space between people&quot; or alternately as &quot;lyrical non-communication and the poetry of silence&quot;.   Sollins holds a BA in Photography from Bard College and an MFA from the School of Visual Arts.  He is a recipient of grants and fellowships from The MacDowell Colony, The New York Foundation for the Arts, and Smack Mellon.  His work has been exhibited at galleries and museums such as the Brooklyn Museum, The Drawing Center, and Mitchell-Innes and Nash in New York and is part of public and private collections including at The Museum of Modern Art, the Brooklyn Museum, The Fine Arts Museums of San Francisco and others.  Click here for more info.

Heeseop Yoon,  Still Life #11
Heeseop Yoon's work explores memory and perception within disorganized spaces. Born and raised in Seoul, Korea, Yoon currently lives and works in Brooklyn, New York.  Yoon received a BFA from Chung-ang University, Seoul, Korea and an MFA from City College of NY.  She has had solo and two person shows at Triple Candie, NY; March Gallery, NY; Bose Pacia, NY and Arario Gallery, Seoul, Korea.  She has exhibited in museums and art centers internationally, including MASS MOCA, North Adams, Massachusetts; The Bronx Museum, NY; Seoul Arts Center, Seoul, Korea; CAST, Australia and Median Art Center, Beijing, China.  Yoon has participated in artist residencies such as the Marie Walsh Sharpe, Skowhegan School of Painting, and Sculpture, Artist Alliance Inc., NY and Stiftung Künstlerdorf Schöppingen, Germany. Click here for more info.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/BF7F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BF7F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BF7F-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-21</DateStart>
  <DateEnd>2012-03-04</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-21" start="17:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>24</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.703869</Latitude>
  <Longitude>-73.989686</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/C025" href="http://www.nyartbeat.com/event/2012/C025">
  <Name>Robby Herbst &quot;New Pyramids for the Capitalist System&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/A30362A3">
    <Name>Dumbo Arts Center</Name>
    <Type>Cultural Center</Type>
    <Address>111 Front St., suite 212, Brooklyn, NY 11201</Address>
    <Phone>718-694-0831</Phone>
    <Fax></Fax>
    <Access>Between Washington and Adams Sts. Subway: F to York Street, A/C to High Street</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</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>Also by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>3D: Installation</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[Dumbo Arts Center presents “New Pyramids For the Capitalist System,” an exhibition by Robby Herbst. “New Pyramids For The Capitalist System” explores acrobatics, class, bodies and interpersonal dynamics through a series of large-scale drawings, installations, and performances of human pyramids. The project was inspired by Herbst’s grandfather’s photos (a collection of beach and socialist acrobats) and a 1911 diagram produced by Industrial Workers of the World (IWW) called “Pyramid for the Capitalist System.”

At sites associated with Occupy LA Herbst and a group of amateur, costumed, acrobats enacted the IWW diagram by creating human pyramids. Acrobats dressed as workers, managers, law enforcement, clergy and capitalists. This exhibition focuses on social dynamics and the efforts to memorialize the actions highlighted in the pyramid performances. Drawings and sculpture will examine the spatial and political implications of what it means to bear the weight of this classed system.

“New Pyramids For The Capitalist System” reminds us that we are physical beings, inhabiting specific time and spaces. The acrobats hold and press against each other in the fleshy, intimate experience of supporting one another, a responsible community of interdependent relations.

Herbst’s grandfather was a talented acrobat involved who for decades did stunts with others at Orchard Beach in the Bronx. In the 1930s he associated with the Young Worker’s Athletic Club (YWAC) - a socialist acrobatic group. On display are many photographs of Herbst's grandparents' acrobatic performances in which banners with anti-fascist and pro-Communist slogans can be seen. Herbst's grandfather, Martin, was generally at the bottom of pyramids and stunts. As a strong trusted man, he was able to bear the weight of others. By tying in their acrobatic activities to the Capitalist Pyramid, Herbst makes literal the need we have for mutual support.

Through a public re-visitation of a popular political text (the Pyramid) from the early 20th century, the project aims to investigate the resonance of such language today. Following from a tradition of ambiguity in participatory new genres public art, this project explores the possibility of the legacy of class ideology within public spaces. &quot;New Pyramids&quot; raises questions of how the built environment can influence political participation. It explores the potential for human interaction, as exemplified by the acrobatic pyramids, to change our understanding of spaces. The show will also question how the spaces we occupy are meant to bear the weight of our interactions within them. The performance of the human pyramids raises issues of the nature of cooperation and complicity by citizens in the maintenance (or overturning!) of societal divisions.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C025-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C025-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C025-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-10</DateStart>
  <DateEnd>2012-04-01</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-10" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>52</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.702653</Latitude>
  <Longitude>-73.988995</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/C0CA" href="http://www.nyartbeat.com/event/2012/C0CA">
  <Name>Martin Bromirski, Rachel LaBine, and Elizabeth Riley Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/A1A837E8">
    <Name>StorefrontBushwick</Name>
    <Type>Gallery</Type>
    <Address>16 Wilson Ave., Brooklyn, NY 11237</Address>
    <Phone>917-714-3813</Phone>
    <Fax></Fax>
    <Access>Between Noll and George Sts.  Subway: L to Morgan Avenue </Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>13:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="1" fri="1" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Storefront Bushwick presents the work of Martin Bromirski, Rachel LaBine, and Elizabeth Riley. This show marks the first time that the artists have exhibited at the gallery.

All contemporary art-making is a response to what it means to live in the world today. The premise of the show is the multi-faceted nature of our experience of contemporary reality, which the artists draw upon to make their work. The three artists on exhibit share a free-wheeling, fractured sense of space, time, and reality, which they investigate in their work by stretching the boundaries of their practice.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C0CA-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C0CA-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C0CA-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-10</DateStart>
  <DateEnd>2012-03-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-10" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>31</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.703417</Latitude>
  <Longitude>-73.930547</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/C157" href="http://www.nyartbeat.com/event/2012/C157">
  <Name>Jennifer Poon &quot;Strange Blooms&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/EF0C5F09">
    <Name>Claire Oliver</Name>
    <Type>Gallery</Type>
    <Address>513 W 26th St., New York, NY 10001</Address>
    <Phone>212-929-5949</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[When conveyed with a delicate hand, dark, heavy subject matter becomes tractable enough for us to approach it, reflect on it, and digest its message. Jennifer Poon accomplishes this in her upcoming solo exhibition “Strange Blooms,” creating a provocative dialogue by juxtaposing her meticulous watercolors with her obsessively crafted fabric sculptures. Mining the relatable from both human and animal subjects, Poon’s studio practice is at once intellectual and emotional; she maximizes the feminine nature of her media while allowing it to express compelling and bleak themes. Cut and sewn paper, gouache, and watercolor along with densely stitched, stained, and sculpted fabrics narrate the Artist’s personal relationship with sorrow, death, and decay. These somber and beautiful meditations on mortality constitute Jennifer Poon’s third solo exhibition with the Gallery.

[Image: Artist: Jennifer Poon “Untitled” Watercolor and gouache on paper 41 x 53.5  in. (2011) Courtesy of Claire Oliver Gallery, New York]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C157-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C157-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C157-170" width="170" />
  <Karma>0.946915</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="3" date="2012-01-05" start="18:00:00" end="20:00:00">Reception For The Artist</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749761</Latitude>
  <Longitude>-74.003139</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/C167" href="http://www.nyartbeat.com/event/2012/C167">
  <Name>&quot;Anonymous Tantra Paintings&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/844E0DE9">
    <Name>Feature Inc.</Name>
    <Type>Gallery</Type>
    <Address>131 Allen St., New York, NY 10002  </Address>
    <Phone>212-675-7772</Phone>
    <Fax>212-675-7773</Fax>
    <Access>Between Delancey and Rivington Sts. Subways: 6 to Spring Street, F/M/J/Z to Delancey Street or B/D to Grand Street.</Access>
    <Area areaId="lower_east_side">Lower East Side</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>sundays openinghour 13:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[These small paintings on found paper are made anonymously in India (especially in Rajasthan) by practitioners of tantraism, some of whom are artists, to represent and embody fundamental aspects of Tantra, a vast and complex spiritual and philosophical practice. Viewing or meditating on these reductive and essential images stimulates specific mental and/or spiritual experiences that are part of its teachings. While the images are centuries old with highly codified forms and colors, the paintings are packed with such a high level of the artists’ intentionality that they continually appear fresh and alive. Despite their didactic function, they also have a history of being coveted as decorative objects and abstract art both in India and in the West. Feature Inc. began exhibiting these anonymous Tantra paintings 1998, as a result of the gallery's research into contemporary Indian artists and art.

[Image: Anonymous Tantra Painting &quot;Divine Love&quot;]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C167-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C167-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C167-170" width="170" />
  <Karma>2.26744</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-07</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-07" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.720094</Latitude>
  <Longitude>-73.990247</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/C1A2" href="http://www.nyartbeat.com/event/2012/C1A2">
  <Name>James Nares &quot;1976: Movies, Photographs and Related Works on Paper&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/D2A39B09">
    <Name>Paul Kasmin Gallery (515 W 27th)</Name>
    <Type>Gallery</Type>
    <Address>515 W. 27th St., New York, NY 10001</Address>
    <Phone>212-563-4474</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Film</Media>
  <Description><![CDATA[“Lower Manhattan in 1976 was a beautiful ruin. The crumbling wasteland proved fertile ground for artists though, nurturing the talent of a generation inspired by its vast emptiness.” James Nares

Paul Kasmin Gallery presents 1976: Movies, Photographs and Related Works on Paper, a new exhibition by James Nares. Before he was painting large, single movement brush strokes, Nares’s kinetic investigations took other forms and directions. His preoccupation with movement and bodies in motion was well provided for in what amounted to an enormous, open air, common studio. The post-industrial landscape became the backdrop, subject and the medium during his prolific early career.

The exhibition will feature five films including his 1976 Pendulum, which clocks a large spherical mass as it swings on a wire, strung up high from the footbridge, since dismantled, crossing Staple Street in downtown Manhattan. The exhibition will also feature a series of black and white chronophotographs that reveal the temporal structure of a pendulum’s swing, invisible to the naked eye, along with drawings, diagrams, objects, photos and other related material.

Of Nares’s films, Amy Taubin writes, “Pendulum, like several other of Nares's mid-'70s movies—Hand Notes #2 (1975) and Ramp, Steel Rod, and Poles (all 1976)—was influenced by the films Richard Serra made in the late '60s, primarily Hand Catching Lead (1968). Both films depict a single, repeated action involving the effect of gravity on a heavy metal object. But the comparison stops there. Pendulum has a haunted lyricism, which has nothing to do with Serra's interests. The film evokes an anxiety dream: The entropic movement of the groaning pendulum, the claustrophobic effect of the industrial buildings lining the site on three sides, the slivers of sunlight penetrating the dust-laden air, even the occasionally glimpsed shadow of the filmmaker, suggest that something terrible has taken or is about to take place on this desolate street.”]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C1A2-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C1A2-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C1A2-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-05" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750482</Latitude>
  <Longitude>-74.002948</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/C1EB" href="http://www.nyartbeat.com/event/2012/C1EB">
  <Name>Frankie Rice &quot;SOLO&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/BC6774A0">
    <Name>Launch F18</Name>
    <Type>Gallery</Type>
    <Address>373 Broadway, New York, NY 10013</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between White and Franklin Sts., Subway: 1 to Franklin or 6/N/R/Q to Canal Street.</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>00:00:00</OpeningHour>
    <ClosingHour>00:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Frankie Rice assembles sculptural archways as metaphor and self-portrait. The arch itself is the common denominator, yet the material has differed drastically depending on the external or internal environment he is currently taking into consideration.  Kids spring-loaded rocking horses from playgrounds, linked together in a whimsical and slightly creepy narrative suggest a troubling passage or gateway from childhood to adolescence. His driftwood arches are a direct result of his upbringing in Truro MA, which project a torque, sinuous struggle that he has iconoclastically burned in ceremonial settings or kept intact as weathered milestone. When Frankie moved to NYC he utilized materials fundamental to his immediate internal and external dialogue. He left the natural beauty of opaque driftwood representative of his home on Cape Cod and utilized the structure of the trashcan to emote a sense of his reaction to the complexity of the city both agleam and distressed.  In November Frankie include one of the most profound sculptures of this series as part of the exhibition &quot;Wrestle&quot;. The sculpture, small in comparison, required an entire wall; it spoke volumes. He has taken his past lovers HIV pill bottles and melded them into small, intimate pieces that wreathe danger, sexual tension (ejaculation, caustic and frozen in time) all within an irony of hope.  Twisted, burning, wreathing, torqued and weathered, his works metaphoric denominator is always the very evident opportunity of wishfulness through passage.
 
For SOLO, Frankie will be exhibiting his large trashcan sculpture. Gleaming and powerful in its stance, this works mien suggests passage and renewal through the structure of banal material that, in its traditional form, is used to compile and dispose of unnecessary waste. Frankie takes these trashcans and repurposes them in a context that allows us to walk through and experience riddance metaphorically.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C1EB-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C1EB-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C1EB-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-04</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-04" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.717864</Latitude>
  <Longitude>-74.003397</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/C221" href="http://www.nyartbeat.com/event/2012/C221">
  <Name>Mac Premo &quot;The Dumpster Project&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/890A7C33">
    <Name>The Invisible Dog</Name>
    <Type>Cultural Center</Type>
    <Address>51 Bergen St., Brooklyn, NY 11201</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between Smith &amp; Court Sts. Subway: F/G to Bergen Street</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[The Dumpster Project is a work of transportable public art. The Dumpster Project is also a daily blog (www.thedumpsterproject.com). Fundamentally, though, The Dumpster Project is a physical taxonomy of one man’s existence.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C221-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C221-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C221-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-08</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.687189</Latitude>
  <Longitude>-73.991242</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/C281" href="http://www.nyartbeat.com/event/2012/C281">
  <Name>Annabelle Troster Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8E9E482D">
    <Name>Pleiades Gallery</Name>
    <Type>Gallery</Type>
    <Address>530 W 25th St., 4 Fl., New York, NY 10001</Address>
    <Phone>646-230-0056</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_25">Chelsea 25th</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></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C281-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C281-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C281-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-24</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="17:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749275</Latitude>
  <Longitude>-74.004308</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/C341" href="http://www.nyartbeat.com/event/2012/C341">
  <Name>&quot;Selected Gallery Artists&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/0F1576CC">
    <Name>Flowers</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., New York, NY 10011</Address>
    <Phone>212-439-1700</Phone>
    <Fax>212-439-1525</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd St.</Access>
    <Area areaId="chelsea_20">Chelsea 20th</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="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>or by appointment</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[[Image: Glenys Barton &quot;Tattoo Head I&quot; (2009) Ceramic, 63 x 44 x 28 cm / 25 x 17½ x 11¼ in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C341-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C341-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C341-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-24</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746263</Latitude>
  <Longitude>-74.006224</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/C370" href="http://www.nyartbeat.com/event/2012/C370">
  <Name>&quot;Bright Future: New Designs in Glass&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/7231EE35">
    <Name>Pratt Manhattan Gallery</Name>
    <Type>Gallery</Type>
    <Address>144 W 14th St., 2 Fl., New York, NY 10011</Address>
    <Phone>212-647-7778</Phone>
    <Fax></Fax>
    <Access>Between 6th and 7th Ave., Subway: L to 7th Avenue, 1/2/3/9 to 14th Street.</Access>
    <Area areaId="chelsea_east">East Chelsea</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></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Product</Media>
  <Description><![CDATA[Glass is an ancient material whose second life is just beginning. &quot;Bright Future&quot; introduces innovative designs that reflect traditions in glass while demonstrating its new possibilities.
 
Guest Curator: Sarah Archer

Participating artists, designers and firms:
 
Lindsey Adelman Studio, U.S.A.
Werner Aisslinger and CIAV Meisenthal, France
Omer Arbel for Bocci, Canada
Alison Berger, U.S.A.
Amiram Biton, Israel
James Carpenter Design Associates, U.S.A.
Marco Dessí for J. &amp; L. Lobmeyr, Austria
GlasPro, U.S.A.
Hulger and Samuel Wilkinson, U.K.
Helen Lee, U.S.A.
Áron Losonczi / Litracon, Hungary
Ingo Maurer, Germany and U.S.A.
Giovanni Moretti for Carlo Moretti Srl., Italy
Moving Color, U.S.A.
Bruce Munro, U.K.
Tom Patti, U.S.A.
Robert Stadler, France
SWITCH Lighting, U.S.A.
Liana Yaroslavsky, France]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C370-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C370-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C370-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-10</DateStart>
  <DateEnd>2012-05-05</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>86</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.738322</Latitude>
  <Longitude>-73.998236</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/C44C" href="http://www.nyartbeat.com/event/2012/C44C">
  <Name>Dongwook Lee &quot;Love Me Tender&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/ACA0CBE2">
    <Name>Doosan Gallery </Name>
    <Type>Gallery</Type>
    <Address>531 W 25th St., New York, NY 10001</Address>
    <Phone>212-242-6343‎</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave.  Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</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: Photography</Media>
  <Media>2D: Prints</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C44C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C44C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C44C-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-19" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749511</Latitude>
  <Longitude>-74.004136</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/C488" href="http://www.nyartbeat.com/event/2012/C488">
  <Name>The Hilton Brothers &quot;Tyrants + Lederhosen&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/80BD8452">
    <Name>Christopher Henry Gallery</Name>
    <Type>Gallery</Type>
    <Address>127 Elizabeth St., New York, NY 10011</Address>
    <Phone>212-244-6004</Phone>
    <Fax>646-416-6437</Fax>
    <Access>Between Grand and Broom St., Subway: J/M/Z to Bowery, 6 to Spring Street</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</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>Tuesday by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Christopher Henry Gallery presents The Hilton Brothers: Tyrants + Lederhosen.  Photographers  Christopher Makos and Paul Solberg (a.k.a. the Hilton Brothers) break new ground with an exhibition mounted concurrent with the book publication Tyrants + Lederhosen.  The duo have authored a modern take on the photo travelogue, compiled in the first ever published Hilton Brothers anthology from 2004 to 2011. After 8 years traveling the globe as non-traditional  ‘photo-anthropologists’, the duo captures a raw candor with their pictures, void of restraint and self-consciousness.  The duo are storytellers through their photographs, seeming to unconsciously explore the contradictions and obsessions of Myth.
 
It is an artistic collaboration like no other. Two photographers in an intense collaboration over several years;  one with a legendary resume photographing many of the 20th Centuries biggest pop icons and the other a rising creative talent; fearless, borderless, with fresh eyes, known firstly for his seductive flower portraits.  The Hilton Brothers are an experiment of collaboration, as well as making art.
 
The Brothers use their cameras as their paintbrush as much as to document; details of shadows and light, suggesting the ordinary as extraordinary. They open a new window on both familiar and unfamiliar worlds.  From the Far East to the Middle East, Europe and the Americas, all worlds collide into dramatic dissonance in this seminal photographic document of our time.  The Hilton Brothers have been exhibited throughout the world, including Galerie Catherine Houard, Paris and a “one man” show at la Casa Encendida Museum, Madrid.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C488-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C488-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C488-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-04</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="19:00:00" end="22:00:00">Opening Reception</Party>
 <DaysBeforeEnd>24</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.719492</Latitude>
  <Longitude>-73.995361</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/C55F" href="http://www.nyartbeat.com/event/2012/C55F">
  <Name>Paul Bloodgood &quot;Objects in Pieces&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/7E64E7E3">
    <Name>Newman Popiashvili Gallery</Name>
    <Type>Gallery</Type>
    <Address>504 W 22nd St., New York, NY 10011</Address>
    <Phone>212-274-9166</Phone>
    <Fax>212-274-3829</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</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></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Other</Media>
  <Description><![CDATA[Newman Popiashvili Gallery presents Objects in Pieces, the second solo exhibition of Paul Bloodgood's work at the gallery. The show consists of new painting and collages, which continue his ongoing practice of fragmentation and reassembly.

Bloodgood has made his career mining texts and images from artists, poets and philosophers, reassembling them into landscapes without the constraints of any one specific genre of painting or poetry. His method is based on fracture and assembly.

In October 2010, the artist suffered a brain injury, which altered his optical system. Bloodgood lost the ability to make perceptual closure, to &quot;make whole&quot; images from objects viewed only in part. The works in this show straddle Bloodgood 's two visual worlds. Before, he would break things apart to understand them, now the converse is necessary - he assembles fragments, reassembles, in order to understand them.

Abstraction's imperative to grant the medium priority over the subject matter frees the line, the mark, from what it delivers. In place of a requirement to convey information, there is in Bloodgood's paintings, an exploration of the expressive capability of line as an embodiment of naturalistic form.

Co-founder and curator of the AC Project Room, Paul Bloodgood has been an important figure in the New York art world for the past two decades. His work has been exhibited at David Zwirner Gallery, 303 Gallery and at the 2007 White Columns Annual. He received his MFA in Painting from the Maine College of Art in Portland and his BA in Painting from Yale University. Paul Bloodgood was a 2009 recipient of the Guggenheim Fellowship.

[Image: Paul Bloodgood &quot;Objects in Pieces&quot; (2011) Oil on panel, 48 X 58 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C55F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C55F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C55F-170" width="170" />
  <Karma>1.36752</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-07</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747075</Latitude>
  <Longitude>-74.0048</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/C65C" href="http://www.nyartbeat.com/event/2012/C65C">
  <Name>Joseph Adolphe &quot;Toro Bravo&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/EDF7F316">
    <Name>Bertrand Delacroix Gallery</Name>
    <Type>Gallery</Type>
    <Address>535 W 25th St. New York, NY 10001</Address>
    <Phone>212-627-4444</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Aves. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>10:30:00</OpeningHour>
    <ClosingHour>18:30:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[&quot;Toro Bravo&quot; is an exhibition of recent works by Joseph Adolphe. Echoing the anxiety of an age marked by austerity and personal uncertainty, Adolphe’s subjects vary between the beaten down fighter, the agile and stoic beast, the exposed human and the vulnerable child – each of them leaving their life force in the ring. Strength and individuality are measured by their ability to endure the respective
hardships of their personal confrontations with the world. They are brave despite facing a constant barrage of disappointments, setbacks and unfulfilled dreams. Any remaining optimism seems to slip into darkness. While the trajectory of Adolphe’s paintings follows this same course there is nevertheless an illogical optimism reflected in the confident and powerful force of his marks and colors, as if to say that, ‘in spite of the downfall of the proud, we still stand, bloody and marked, broken, but beautiful’.

Joseph Adolphe was born in Calgary, Alberta Canada in 1968. He moved to NYC in 1992 to attend the School of Visual Arts, where he received an MFA in 1994. His work is mostly in private collections, as well as in several corporate collections. He currently teaches drawing and painting in the Department of Fine Arts at St. John’s University in New York, and lives in New Haven, CT with his wife and seven children.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C65C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C65C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C65C-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749398</Latitude>
  <Longitude>-74.004226</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/C6D5" href="http://www.nyartbeat.com/event/2012/C6D5">
  <Name>&quot;“The World According To&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/A7A85009">
    <Name>Black &amp; White Gallery / Project Space</Name>
    <Type>Gallery</Type>
    <Address>483 Driggs Ave., Brooklyn, NY 11211</Address>
    <Phone>718-599-8775</Phone>
    <Fax>718-599-8798</Fax>
    <Access>Corner of N 10th St.  Subway: L to Bedford Avenue</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>12:00:00</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[The exhibition will showcase the diversity of the gallery program. The 8 artists included with works representing a variety of media (paintings, installations, sculpture, photography and design) reveal the sharp awareness they have of today’s circumstances. Ranging from Michael Van den Besselaar’s witty and wry observations on a range of familiar social subjects and Eric White’s insightful commentary on the absurdities of life to Julian Montague’s exploration of everything from the mundane to the sublime through text and image, the works in this exhibition cover a wide range of practices, lending the exhibition an uncanny edge.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C6D5-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C6D5-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C6D5-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-03-10</DateStart>
  <DateEnd>2012-04-15</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-03-10" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>66</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.718497</Latitude>
  <Longitude>-73.954778</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/C78E" href="http://www.nyartbeat.com/event/2012/C78E">
  <Name>Laura Westby &quot;Transcendental Spaces&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/8402CDDA">
    <Name>Phoenix Gallery</Name>
    <Type>Gallery</Type>
    <Address>210 11th Ave., Suite 902, New York, NY 10001</Address>
    <Phone>212-226-8711</Phone>
    <Fax>212-343-7303</Fax>
    <Access>Between W 24th and W 25th St. Subway: C/E to 23rd Street.　</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>11:30:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Other</Media>
  <Description><![CDATA[My work deals with the function of landscape, not from a point of view, but as a field of change. The multiple canvases allow the overall field to be a conversation between its parts, thus allowing the viewer to be able to perceive the landscape as though one were walking through it. In this way the paintings are a concept of a landscape and not a single view.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C78E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C78E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C78E-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-01</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749922</Latitude>
  <Longitude>-74.005956</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/C7AD" href="http://www.nyartbeat.com/event/2012/C7AD">
  <Name>&quot;A. Object Migration&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/C3AD66D1">
    <Name>Proteus Gowanus</Name>
    <Type>Gallery</Type>
    <Address>543 Union St., Brooklyn, New York 11215</Address>
    <Phone>718-243-1572</Phone>
    <Fax></Fax>
    <Access>Corner of Nevins St.  Subway: M/R to Union Street, F/G to Carroll Street</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>thursdays openinghour 15:00, fridays openinghour 15:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[When we think about migration, we tend to focus on people and creatures, the mobile inhabitants of the planet. But life and motion create products and byproducts: tools, waste, the implements of culture. These are often the things that drive us onward in our migrations. We asked our community of friends and collaborators and all others to contribute objects with migratory stories for this show. With over 50 contributors, objects on display range from a 50 million year old “dinosaur fart” (or gas bubble) to a collection of wild bird’s stomach contents collected in the early 20th C for “scientific” purposes. There are also talismans, mundane objects with secret meanings, things of beauty and much more.

We will view these objects as independent beings with stories of their own, stories that began before the object’s encounter with its current owner and that will likely continue long after they part. The stories may migrate into the economic, the industrial, the political, the historical, the geologic, the environmental and so on as visitors add to the stories on display with information they may have about the object in question.

B. The Bureau of Unknown Destinations
As part of Object Migrations, we introduce The Bureau of Unknown Destinations, offering temporary displacements to members of the public seeking to experiment with their migratory impulses.

Make a booking for a day’s journey, and you’ll be presented with a free round trip ticket for a train adventure (along with a notebook and a small, somewhat absurd, task). Begin your day by tearing open a sealed envelope and revealing the mystery of where you will find yourself by noon. Set forth, free of decisions, into the great (or perhaps, in this case, the small) unknown. Test your sense of destiny. Have lunch someplace new.

Book your travel up to two weeks in advance at the Bureau’s offices, located at Proteus Gowanus. Offices are open most Saturdays 1-5, as well as irregularly on other days, and always by appointment.

The Bureau of Unknown Destinations is part of a three month artist’s residency by Sal Randolph at Proteus Gowanus, extending through mid-April.

Object Migrations is presented by Proteus Gowanus with curatorial assistance from the artist Sal Randolph, creator of the Free Biennale, Free Manifesta, Free Words and Manifesta, and from Smudge Studio, creator of the book Geologic City: A Field Guide to the GeoArchitecture of New York, exploring the convergence of the geologic and the human, and of  Friends of the Pleistocene. Sal will also be our Artist-In-Residence for the duration of the Objects Show. We also wish to thank Twig Terraria, on 4th Ave and President, for assisting us with our display by providing glass terraria.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C7AD-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C7AD-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C7AD-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-04-07</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>58</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.679203</Latitude>
  <Longitude>-73.987442</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/C7E3" href="http://www.nyartbeat.com/event/2012/C7E3">
  <Name>Annie Ewaskio &quot;Futurescapes&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/2FD3D32C">
    <Name>A.I.R. Gallery</Name>
    <Type>Gallery</Type>
    <Address>111 Front St., #228, Brooklyn, NY 11201</Address>
    <Phone>212-255-6651</Phone>
    <Fax>212-255-6653</Fax>
    <Access>Between Washington and Adams Sts. Subway: F to York Street, A/C to High Street.</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[In her first solo exhibition in New York, Ewaskio exhibits a series of colorful and luminous oil paintings that depict nonexistent places. Painted in a luscious and visceral manner, the works are scenes that stem from the artist's imagination but are rooted in her experience traversing the American landscape. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C7E3-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C7E3-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C7E3-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-01</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote>Artist talk: Thursday February 2th, 6 PM</ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.702653</Latitude>
  <Longitude>-73.988995</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/C878" href="http://www.nyartbeat.com/event/2012/C878">
  <Name>Roberto Burle Marx &quot;Tablecloth&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/6F8F8A37">
    <Name>Rooster Gallery</Name>
    <Type>Gallery</Type>
    <Address>190 Orchard St., New York, NY, 10002</Address>
    <Phone>212-230-1370</Phone>
    <Fax></Fax>
    <Access>Between Houston and Stanton Sts.  Subway: F to 2nd Avenue.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>20:00:00</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: Drawing</Media>
  <Media>3D: Architecture</Media>
  <Description><![CDATA[Roberto Burle Marx (1909-1994, Brazil) is recognized as one of the most influential – if not the most influential – landscape architects of the 20th century. “Tablecloth/Toalha” will be comprised of several late works, mainly executed during his stay in Constância at José Ramoa’s, an art dealer and collector with whom Burle Marx developed an intense friendship.
 
The exhibition is titled after a 141”x59” painted tablecloth specifically designed to fit Ramoa’s dining table. Just like another tablecloth on display at Sítio Burle Marx in Guaratiba, Rio de Janeiro, this work clearly demonstrates Burle Marx’s originality as a multifaceted artist whose work cannot be exclusively categorized as landscape architecture. Lauro Cavalcanti – curator of the retrospective exhibition “Roberto Burle Marx 100 anos: A permanência do Instável” – stated that Burle Marx “…painted every day in the morning and in the afternoon he did his gardens” and did not enjoy the fact that his paintings were relegated to a secondary position.
 
Also on display will be 12 india-ink works on paper, dated from 1973 to 1990, which reveal Burle Marx’s loose proficiency. While dispensing color – something inherently his due to his activity as a landscape architect – Burle Marx still follows the same provocative abstract morphology that characterized South-American art during the second half of the 20th century, providing the viewer some hints on issues like urbanism and landscaping. Along with these works some never before seen letters and photography of Burle Marx and Ramoa will be available.
 
“Tablecloth/Toalha” is an exhibition that wants to show Burle Marx’s activity not only as a landscape architect, but also as a prolific and inventive artist. In the end, one might question whether it is the architectural grammar that is present on Burle Marx’s paintings or the pictorial language that is present in his landscape projects.
 
Roberto Burle Marx was born in São Paulo in 1909 and died in 1994 in Rio de Janeiro. Marx studied at the National School of Fine Arts of Rio de Janeiro where he became a close friend of Oscar Niemeyer with whom he would collaborate throughout his life, namely at the “Ibirapuera Park” (São Paulo, 1954) and at the “Monumental Axis” (Brasília, 1961). His most famous landscape projects are: “Flamengo Park” (Rio de Janeiro, 1965), the Copacabana promenade (Rio de Janeiro, 1970), “Inhotim Park” (Brumadinho, 1984), among others. Burle Marx’s works have been shown in the Gulbenkian Foundation, Lisbon (“Roberto Burle Marx,” 1973), The Museum of Modern Art, New York (“Roberto Burle Marx: The Unnatural Art of the Garden,” 1991), Paço Imperial, Rio de Janeiro (“Roberto Burle Marx 100 anos: A permanência do Instável,” 2008), New York Botanical Garden (“The Orchid Show: Brazilian Modern,” 2009) and his work is represented in the permanent collections of The Museum of Modern Art, New York; Museu de Arte de São Paulo Assis Chateaubriand; among others.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C878-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C878-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C878-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-03-04</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>24</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.721694</Latitude>
  <Longitude>-73.988222</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/C904" href="http://www.nyartbeat.com/event/2012/C904">
  <Name>&quot;The Laughing Dough&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/70F1394D">
    <Name>Southfirst</Name>
    <Type>Gallery</Type>
    <Address>60 N 6th St., Brooklyn, NY 11211</Address>
    <Phone>718-599-4884</Phone>
    <Fax>718-599-4884</Fax>
    <Access>Between Kent Ave. and Wythe Ave. Subway: L to Bedford Avenue</Access>
    <Area areaId="williamsburg">Williamsburg</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>Also by appointment.  July and August by appointment only. </ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[MATTHEW THURBER’s 120-foot by three- and four-foot sumi ink on paper scrolls, “Century 21,” “1-800-MICE Scroll,” and “Ambergris Performance Scroll,” tell the story of a mouse security guard, the protagonist of his graphic novel 1-800-MICE, and illustrate his band Ambergris’s songs “Paid in Foam” and “Daylight Savings.” Each work was part of a live performance that the artist narrated against an unfurling backdrop that is one part comic book and one part “nineteenth century music video.” These performances took place at KGB bar (2008), Issue Project Room (2007), and the Brick Theater (2011). The scrolls are seen here for the first time since these performances. ELWYN PALMERTON’s untitled large- and medium-scale quasi-performative drawings are non-compositional records of his unconscious. They are generally abstract but their lines crystalize into moments of occasionally lucid, often obscene representation. These improvisational works start with porous small structures which build to suggest information overload or horror vacui, and establish a vocabulary of clusters and lines. The velocity and intensity of the mark-making creates a pace which determines how the drawing progresses. They fill the page but also inhabit a shallow space and share an internal logic suggestive of the work of Henri Michaux.
 
A hardcover printing of THURBER’s 1-800-MICE was recently put out by PictureBox. The Paris Review calls the book “the Gravity’s Rainbow–Sherlock Holmes–Professor Sutwell–Inspector Clouseau–Silent Spring of comics,” while cartoonist Ben Katchor says: &quot;Matthew Thurber has singlehandedly revived the Surrealist program of revolutionary politics through dreamwork.&quot; He graduated with a BFA from Cooper Union and lives and works in Brooklyn. PALMERTON’s work is currently on view at Macarthur B Arthur gallery in Oakland, CA. He holds an MFA from SVA, lives and works in New Jersey, and is the recent recipient of a Pollock-Krasner grant.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C904-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C904-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C904-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-27</DateStart>
  <DateEnd>2012-02-26</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-27" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>17</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.719425</Latitude>
  <Longitude>-73.961817</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/C968" href="http://www.nyartbeat.com/event/2012/C968">
  <Name>Ed Sanders &quot;Fuck You Press&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/BA8EED7D">
    <Name>Boo-Hooray</Name>
    <Type>Gallery</Type>
    <Address>265 Canal St., #601, New York, NY 10013</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between Broadway and Lafayette St. Subway: 6/N/R/Q/W to Canal Street.</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>2D: Prints</Media>
  <Media>2D: Other</Media>
  <Description><![CDATA[Boo-Hooray is exhibiting a comprehensive collection of publications from Ed Sanders’ Fuck You Press, including a complete run of Fuck You, A Magazine of the Arts. The exhibition commemorates the publication of Ed Sanders’ memoir Fug You: An Informal History of the Peace Eye Bookstore, the Fuck You Press, the Fugs, and Counterculture in the Lower East Side (Da Capo Press).


“In February of 1962 I was sitting in Stanley’s Bar at 12th and B with some friends from the Catholic Worker. We’d just seen Jonas Mekas’s movie Guns of the Trees, and I announced I was going to publish a poetry journal called Fuck You, A Magazine of the Arts. There was a certain tone of skepticism among my rather inebriated friends, but the next day I began typing stencils, and had an issue out within a week. I bought a small mimeograph machine, and installed it in my pad on East 11th, hand-cranking and collating 500 copies, which I gave away free wherever I wandered. (...)

Fuck You was part of what they called the Mimeograph Revolution, and my vision was to reach out to the “Best Minds” of my generation with a message of Gandhian pacifism, great sharing, social change, the expansion of personal freedom (including the legalization of marijuana), and the then-stirring messages of sexual liberation. 

I published Fuck You, A Magazine of the Arts from 1962 through 1965, for a total of thirteen issues. In addition, I formed a mimeograph press which issued a flood of broadsides and manifestoes during those years, including Burroughs’s Roosevelt After Inauguration, Carol Bergé’s Vancouver Report, Auden’s Platonic Blow, The Marijuana Review, and a bootleg collection of the final Cantos of Ezra Pound.”

    - Ed Sanders



The run of Fuck You Press publications that blazed through New York City’s underground scene between 1962 and 1965 still resonates with an almost supernatural vibrancy, urgency and what the Greeks coined as enthusiasmos. There were 13 issues of Fuck You, A Magazine of the Arts, printed from 1962 through 1965. In addition, Sanders published a multitude of mimeographed poetry titles during these years, alongside broadsides, manifestos and handbills.

Fuck You was founded by Ed Sanders—Beat poet, Fugs band member, and proprietor of the East Village underground Peace Eye Bookshop. Ed Sanders' editorial voice and execution resulted in a poetry ‘zine that was fearless, sexually provocative and experimental. Contributors included Sanders, Tuli Kupferberg (also of the Fugs), Carol Bergé, John Wieners, Andy Warhol, Ray Bremser, Lenore Kandel, Charles Olson, Joel Oppenheimer, Peter Orlovsky, Philip Whalen, Allen Ginsberg, Herbert Huncke, Julian Beck, Frank O'Hara, Leroi Jones, Diane DiPrima, William Burroughs, Gary Snyder, Robert Kelly, Judith Malina, Carl Solomon, Gregory Corso, Robert Duncan, Robert Creeley, Michael McClure, Ted Berrigan, Joe Brainard, Gilbert Sorrentino, and many others.

Fuck You, A Magazine of the Arts was a mimeographed journal, printed on a Speed-o-Print and later an A.B. Dick stencil duplicator (mimeograph), in an edition size of roughly 500 copies.

Printing on a mimeograph was a cumbersome labor: All the gathered texts needed to be transferred to stencils, the illustrations cut meticulously by hand-held metal-tipped styli into the page of text, the sticky, awkwardly shaped stencil then attached to the drum of the mimeograph which supped on ink and spat some back. If one multiplies the paper sheets needed for an issue of the publication, (36 x 500 = 18,000 sheets), that needed to be collated and stapled to complete one issue, it truly baffles that this was a one-man operation.

This ‘zine was dedicated to free expression, defying taboo subjects, celebrating sexual liberation and the use of psychedelics years before the Summer of Love. Sanders and his collaborators bridged the Beats of the Fifties and the counterculture of the late Sixties, and helped define many of the differences between the two—the latter building on the breakthroughs initiated by the former.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C968-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C968-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C968-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-16</DateStart>
  <DateEnd>2012-03-08</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-16" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>28</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.718819</Latitude>
  <Longitude>-74.001052</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/CA49" href="http://www.nyartbeat.com/event/2012/CA49">
  <Name>Paul Heyer / Virginia Poundstone &quot;I know that I am awake&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/CF2617B7">
    <Name>Rachel Uffner Gallery</Name>
    <Type>Gallery</Type>
    <Address>47 Orchard St., New York, NY 10002</Address>
    <Phone>212-274-0064</Phone>
    <Fax></Fax>
    <Access>Between Grand and Hester Sts.  Subway: F to East Broadway</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</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>Summer Hours: July 1–August 8, 2009: Wednesday–Saturday, 11am–6pm, or by appointment (Closed Saturday, July 4th). August 12–August 29, 2009: Open by appointment only.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[The trees die out in a rock garden of dwarf rhododendron, birch, and fire-colored ash, set about with strap ferns, edelweiss, and unknown alpine florets, fresh mineral blue. Then a woodpecker of vivid green appears, and though I know that I am awake, that I actually see such a bird, the blue flowers and green woodpecker have no more reality, or less, than the yellow-throated marten of my dream.

When she died, the rhododendron in her garden passed back into wildness; for to garden is to impose order upon the landscape and control upon the plants. The bush lives on, blooming a different kind of flower– one made not for her and with no help from her, but because of her.

The smell of the rose made our eyes roll back.

Twilight changed the shade of a different ordered arrangement. The tree was purple. The sky was the color of cantaloupe. And the electric light cast ultramarine shadows into an empty expanse of nurtured potential. She would go to a field, dig up a plant, and bring it home to cultivate a protected opportunity for it to grow.

I know that I am awake is an exhibition bringing together new work from Paul Heyer and Virginia Poundstone.

Paul Heyer lives and works in Los Angeles. He has been included in exhibitions throughout the United States including, Night Gallery, Los Angeles, Proof Gallery, Boston, MA, “Whitney’s Biennial”, c.r.e.a.m projects, Brooklyn, NY, and Daniel Reich Gallery, NY. He received his MFA from Columbia University in 2009.

Virginia Poundstone lives and works in New York City. She has been included in the following recent exhibitions: Louis B. James, NY, Thierry-Goldberg, NY, La Mama Gallery (solo) NY, Sculpture Center, Long Island City, NY, Harris Lieberman (solo), NY, and Time – Life, Taxter &amp; Spengemann, NY, among others. She has recently been named Top 100 young artists to watch in Modern Painters. She received her MFA from Columbia University in 2009.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/CA49-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/CA49-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/CA49-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-15</DateStart>
  <DateEnd>2012-02-26</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-15" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>17</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.716423</Latitude>
  <Longitude>-73.991291</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/CB42" href="http://www.nyartbeat.com/event/2012/CB42">
  <Name>&quot;The Displaced Person&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/946E5141">
    <Name>INVISIBLE-EXPORTS</Name>
    <Type>Gallery</Type>
    <Address>14A Orchard Street, New York, NY 10002</Address>
    <Phone>212-226-5447</Phone>
    <Fax></Fax>
    <Access>Between Hester and Canal Sts.  Subway: F to East Broadway</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:30:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment. </ScheduleNote>
  </Venue>
  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[Invisible-Exports presents &quot;The Displaced Person&quot;, a group exhibition featuring works by Ron Athey, Walt Cassidy, Jesse Aron Green, Geof Oppenheimer and Sue Williams. 

Public space is palimpsest, an accidental archive of imperious elements and refugee cultures, competing claims, misfits, dissidents, legacies and outcasts, all cast together and called, simultaneously, forward. But what goes by the name of renewal, in city life and politics, in arts and culture, is often just a flattening, a sorting, sometimes even an obliteration. The work gathered here, by five artists exploring the libidinous zone between public and intimate, sanctioned and condemned, suggests instead that displacement, exclusion, and alienation, as much as they are symptoms of social failure, can return as civic virtues. In fact, they must.

Ron Athey (b. 1961) is a London based performance artist whose iconoclastic work reconsiders preconceived notions of masculinity, sexuality, religion and the anxiety surrounding the AIDS crisis.  Athey’s work and performances have been staged and exhibited internationally including at MOCA Los Angeles, the Kampnagel Theater, Germany, and Western Projects, among others. His upcoming monograph, “Pleading in the Blood: The Art of Ron Athey”, will be published by the Live Art Development Agency and the MIT Press in 2012.

Walt Cassidy (b. 1972) is a New York based artist whose latest work examines the narratives of alternate belief systems, the interiority of personal history as well as social and civic dislocation and identity. His work has been exhibited at MASS MOCA, Paul Kasmin Gallery, 303 Gallery, The Torrance Museum of Art, and Deitch Projects, among others.

Jesse Aron Green (b. 1979) is a New York based artist whose investigative work merges multi-media installations with research-based conceptual foundations. His work has exhibited at the Williams College Museum of Art, the Tate Modern, London, and the Whitney Museum of American Art, among others.

Geof Oppenheimer (b. 1973) is a Chicago based artist working with diverse media, who takes the formal manifestation of civic value as his subject, interrogating the ways in which political and social structures are encoded in images and objects.  It is a practice situated at the intersection of art and politics, but in such a way that neither art nor politics is reducible to the other term. He has exhibited at The Project, New York, Aspen Art Museum, LAX ART, PS1 Contemporary Arts Center, The Contemporary Museum, Baltimore, and SITE Santa Fe, among others.

Sue Williams (b. 1954) is an American painter, whose works echoed and argued with the dominant feminist aesthetic, with a frank and caustic eye toward gender politics and the sanctuary of the body. Her work has been exhibited internationally at institutions that include the Museum of Modern Art, New York, Art Institute of Chicago, IL, Museum of Contemporary Art, Los Angeles, Vancouver Art Gallery, Dallas Museum of Art, Dallas, Texas, Vancouver Canada, P.S. 1 Contemporary At Center, Long Island City, NY, Kunst Werke Berlin Germany, Kunsthaus Zurich, Switzerlan, Museum voor Moderne Kunst Arnhem, Netherlands, Palais de Tokyo, Paris, France, SITE Santa Fe, Santa Fe, New Mexico. She has had solo exhibitions at the Carpenter Center at Harvard University, Cambridge, Massachusetts; IVAM, Valencia, Spain; Vienna Secession, Vienna, Austria; and Centre d'Art Contemporain, Geneva, Switzerland; among others.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/CB42-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/CB42-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/CB42-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-06</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-06" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.715058</Latitude>
  <Longitude>-73.991617</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/CF2D" href="http://www.nyartbeat.com/event/2012/CF2D">
  <Name>&quot;Storm Watch: A Photographic Journal of Tornado Alley&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/0F750B8D">
    <Name>Gallery at New World Stages</Name>
    <Type>Gallery</Type>
    <Address>343 W 49th St., New York, NY 10019</Address>
    <Phone>212-399-4401</Phone>
    <Fax></Fax>
    <Access>Between 8th and 9th Ave., Subway: C/E to 50th Street.</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[The images on exhibit are a digital record from 2008 – 2011. The four storm chasers met on their travels with Tempest Tours in the area known as Tornado Alley-- an informal and popular media term that refers to where tornadoes are most common in the United States. The area between the Rocky Mountains and Appalachian Mountains is usually associated with this terminology.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/CF2D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/CF2D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/CF2D-170" width="170" />
  <Karma>0.969551</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-06</DateStart>
  <DateEnd>2012-04-29</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>80</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.762248</Latitude>
  <Longitude>-73.987731</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/CF34" href="http://www.nyartbeat.com/event/2012/CF34">
  <Name>&quot;Reading Images&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/F1212C26">
    <Name>Brooklyn Public Library (Central)</Name>
    <Type>Other</Type>
    <Address>10 Grand Army Plz., Brooklyn, NY 11238</Address>
    <Phone>718-230-2100</Phone>
    <Fax></Fax>
    <Access>At Eastern Pkwy. Subway: 2/3/Q to Grand Army Plaza or Eastern Parkway/Brooklyn Museum of Art, or Q to 7th Avenue. </Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>09:00:00</OpeningHour>
    <ClosingHour>21:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>friday closinghour 18:00, saturdays closinghour 18:00, saturdays openinghour 10:00, fridays openinghour 10:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Prints</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[We now straddle book culture and cyberspace. Because we have a foot in both worlds, we are granted a glimpse into the way these technologies shape how we derive meaning from what we see. But it is like stepping from a dock onto a boat; we risk losing our balance by staring into the water between our feet. Meaning shifts and may be lost altogether.

The works in this exhibition are oil, graphite and screen printing on wood panels. Obsolete and residual technology is an important element in my work, and residual print technologies were utilized in the fabrication of this work, including thermal screen printing, ditto masters and letterpress type.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/CF34-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/CF34-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/CF34-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-12-08</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.672903</Latitude>
  <Longitude>-73.968878</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/CF53" href="http://www.nyartbeat.com/event/2012/CF53">
  <Name>&quot;Sin City-Impressions of Shanghai: New Work by island6&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/D5824028">
    <Name>Tally Beck Contemporary Gallery</Name>
    <Type>Gallery</Type>
    <Address>42 Rivington St., New York, NY, 10002</Address>
    <Phone>212-677-5160</Phone>
    <Fax></Fax>
    <Access>Between Eldridge Street and Forsyth Street. Subway: F to 2nd Avenue</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</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>Screen: Digital</Media>
  <Description><![CDATA[Tally Beck Contemporary presents an exhibition of the artist collective island6, from Shanghai, China. The eclectic group is well-known for their dynamic LED work and inventive digital multi-media pieces. The exhibition, entitled Sin City—Impressions of Shanghai: New Work by island6, opens at Tally Beck Contemporary, 42 Rivington St., on Wednesday, January 25, 2012, with an opening reception from 6:00 to 10:00 p.m. and will run through March 11. The event will also be a celebration of the Chinese New Year with a special lion dance performance by Dance China New York and catering by Marja Samsom.

Sin City—Impressions of Shanghai will be comprised of over a dozen multi-media pieces produced in 2011 and 2012. In addition to the myriad of LED creations, highlights will include new neon work, telephone interactive video and other new media yet to be exhibited in the U.S.

island6 has begun to shine on the Asian contemporary art scene because of their innovative use of electronic media to characterize the city of Shanghai. This exhibition explores the realties and myths of 1930s Shanghai, focusing on female sexuality and issues of exoticism, eroticism and Orientalism. Combining videographic technology with LED lights and found objects such as furniture and décor elements, the collective produces animated, socio-historical vignettes of 1930s Shanghai and the collision of Chinese and colonial cultures. Their work has been shown extensively in Asia and Oceania as well as in art fairs and special exhibitions in the U.S., France, Belgium, Switzerland, Spain and Morocco.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/CF53-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/CF53-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/CF53-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-25</DateStart>
  <DateEnd>2012-03-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-25" start="18:00:00" end="22:00:00">Opening Reception</Party>
 <DaysBeforeEnd>31</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.721047</Latitude>
  <Longitude>-73.991083</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D02B" href="http://www.nyartbeat.com/event/2012/D02B">
  <Name>Anne Appleby &quot;Paintings&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/7BC7FFEC">
    <Name>Danese</Name>
    <Type>Gallery</Type>
    <Address>535 W 24th St., 6 Fl., New York, NY 10011</Address>
    <Phone>212-223-2227</Phone>
    <Fax>212-605-1016</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street, A/C/E to 34th Street or L to 8th Avenue.</Access>
    <Area areaId="chelsea_24">Chelsea 24th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Summer: Mon -Thu 10am-6pm (Fri 10am - 4pm)</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[[Image: Anne Appleby &quot;Oaks&quot; (2012) Oil and wax on wood panels 37 x 37 in. (overall)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D02B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D02B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D02B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-10</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748847</Latitude>
  <Longitude>-74.004817</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/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/D1AC" href="http://www.nyartbeat.com/event/2012/D1AC">
  <Name>&quot;Rotary Connection&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/30018243">
    <Name>Casey Kaplan</Name>
    <Type>Gallery</Type>
    <Address>525 W 21st St., New York, NY 10011</Address>
    <Phone>212-645-7335</Phone>
    <Fax>212-645-7835</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_21">Chelsea 21st</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[Casey Kaplan presents a group exhibition, Rotary Connection, organized by the gallery’s director, Loring Randolph. The exhibition brings together 13 artists who, despite different approaches, all challenge conventional models of artistic processes. A web of interwoven art historical references and ideologies connects the sculptures, paintings, and images on view in an installation that aspires to incite multi-disciplinary discussions with varied readings relating to themes such as: the displacement of the figure and the subject, the phenomenology of the viewer, and the deconstruction of systems. In Rotary Connection, what is visible is as important as what is unseen.

Étienne Chambaud’s two sculptures are objects that have been formed and deformed through subversive acts, emphasizing the fragile balance of context, representation, and meaning. Objets Rédimé (les livres), 2010, consists of three cast glass books that have been dropped to their demise from the gallery’s ceiling to the floor of the exhibition space. « Atlas, », 2011, presents a found atlas with holes cut into its pages, displayed at its center, and leveled flat resting on a plinth. The remaining object confuses and combines political and geographical boundaries.

Isabelle Cornaro’s practice begins with documents and archives belonging to history and culture. Utilizing these images and documents as a framework, Cornaro creates, through various processes and mediums, artworks that question and deconstruct the systems of representation that these sources denote (of objects, life, architecture, and nature). Based on historical images of landscaped gardens the exhibition presents three drawings created from wisps of hair and cut paper, plus an ethereal spray painting, entitled, Of Cinematic, 2011, where nuances of compositions in Impressionist paintings have been rapidly captured.

Julia Dault’s artworks harness the limitations and the contingencies of gesture, time, and material, as their subject matter. Dault’s most recent sculptures consist of draped, un-stretched paintings that layer vinyl, pleather, and other materials of costume and display. While taut, Dault scrapes through previously applied layers of paint with a simple toothed tool to reveal both singular and repetitive gestures, additionally exposing metallic, reflective, transparent or vibrantly colored under surfaces.

Jose Dávila takes simple industrial, building materials with appropriated images as his medium to create artworks that contest the inherent qualities of modern architecture and other constructed spaces. In, Topology of Memory, 2011, Dávila has removed famous artworks from their surroundings, exposing the interior and exterior sites as the subjects. Mirage No. 2, 2011, is reminiscent of a number of past artworks, including Kazimir Malevich’s White on White from 1918. However, in Dávila’s case, the wall acts as the canvas within a series of receding vinyl outlined frames, as panes of glass slip out of place to create an illusion of form.
A copper bell hangs in the third gallery with no clapper inside it to ring. The only time it sang out was when attached to the end of the broom of chimney sweep, Jonas Vytas Keršys while he cleared ash and soot from chimneys in Vilnius, Lithuania. This past journey and the bell’s sound are now an imagined occurrence – immortalized in the mind - by all who see its shell. Jason Dodge’s displaced objects tell a story of their history as evidence of a transformation that has already taken place through Dodge’s own actions and those of others.

Ryan Gander’s art tells a story in hopes of activating the viewer’s imagination, directing them to begin to remember or to misremember history in order to create a new “future history” of art. Multiple fictional characters and personas, processes, subject matters, and media, function within a system of production that Gander has created where the spectator must believe that the world is a constructed reality, one where anything can be true. An exhibition poster for a fictitious show entitled “You need to see this beauty broken down” and a fragmented historical icon direct the viewer to fill in the gaps.

In the late 1990s, Liam Gillick created an artwork consisting of a set of instructions to paint swatches on a wall to try to replicate the color of coca-cola, challenging the instructed person to re-examine their relationship to architecture, as well as the relationship of art production to social and economic structures. Three drawings in the exhibition are presented in the three rooms of the gallery, and show Gillick’s own graded attempts, Tango colored conference room, Pepsi colored foyer and Seven-up colored lobby, that additionally comment on the implications of the aesthetics in these structured places of temporal occupation.

What if this guy was a figment of my imagination, 2011, Andrew Kuo’s painting, quantifies the nonrepresentational – thoughts and emotions – in a mimetic relationship between text and image. Typical of his diagrammatic paintings that draw on the language of info-graphic images, the work contains fields of color that abstract a depiction of a 360-degree book hovering above a corresponding key. While it points towards modernist geometric abstraction, Kuo’s work is imbued with a unique complexity as it functions to document his daily life and oscillations of his psyche.

In many of his works, Mateo López creates sculpture from drawings, and then uses drawing as a means, a process, and an investigation into the narrative. Sometimes the work contains studio-like scenarios, often functioning to blur the line between production and display. By creating a system of lines on uniform rectangles of paper and creasing these lines, López delineates a 3-dimensional typography out of paper. His Paper Poems unfold on two shelves, changing daily over the course of the exhibition. Day 15 reads: “Time has” on the upper shelf, and “beaten us again” below.

Benoit Maîre’s practice is rooted in philosophy and theory. His paintings, installations, and films aim to create new systems of aesthetics through an investigation of whether an image (or an object) can be a concept and the distance that exists between the visual and the textual. In the exhibition, all three sculptures function around themes of the gaze. A bronze head of the Medusa faces her opposing reflection, Alberto Giacometti’s Nose, 1945 (cast 1965), is poised on a tripod as a camera, and a new sculpture, conjugaison du 16 novembre 2011: la question d'amie, is a vitrine with objects and images positioned to be experienced by the viewer from a specific vantage point.

Arthur Ou’s oeuvre includes photography, sculpture, and installation. His practice is engaged with questions of modernism, historiography, and documentation and their roles within visual culture. The four photographs on view, Primer 1 – 4, 2011, assimilate two different images and subjects, landscape, and studio photography, onto one plane in film through double exposures on a single negative. In this collapsed space, wire sculptures draw gestural lines over rock face expanses.
Over the past few years, Marlo Pascual has investigated the malleability of the photograph as physical material. In a recent series, Pascual scales and reprints found images of performers on watercolor paper, and then folds the paper at specific points to distort the image. Pascual’s latest image of a woman standing in front of a curtain is rendered life size, the figure engulfed by the drape of the fabric.

Pietro Roccasalva’s practice includes a wide-range of media such as painting, performance, sculpture and photography, that create what the artist calls “situazione d’opera” (“a worksite”), in which images and iconographies circulate in an ongoing process that eventually comes back to its departure point: painting and its power of simulacrum. The work in the show belongs to a series of white marble pieces titled, Che cosa sono le nuvole (What clouds are), which materialize the artist’s refusal to participate in a number of exhibitions. Embedded into a wall, each marble is the size of an A4 sheet of paper and is carved with the details of the show (date, venue, list of artists participating, title, and curator). The letters are then filled with black ink with the exception of Roccasalva's name, which is left indecipherable.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D1AC-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D1AC-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D1AC-170" width="170" />
  <Karma>0.685003</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-05" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746806</Latitude>
  <Longitude>-74.005678</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/D1DB" href="http://www.nyartbeat.com/event/2012/D1DB">
  <Name>Yinka Shonibare MBE &quot;Addio del Passato&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/145CEA21">
    <Name>James Cohan Gallery</Name>
    <Type>Gallery</Type>
    <Address>533 W 26th St., New York, NY 10001</Address>
    <Phone>212-714-9500</Phone>
    <Fax>212-714-9510</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>Screen: Film</Media>
  <Description><![CDATA[James Cohan Gallery presents an exhibition of new works by British born, Nigerian artist Yinka Shonibare MBE. In this multi-part exhibition of new sculptures, photoworks and the premiere of a new film, Shonibare explores the concept of destiny as it relates to themes of desire, yearning, love, power and sexual repression.

Yinka Shonibare, well known for creating multi-faceted, conceptual art work, continues to draw our attention to patterns of history and how they are repeated in our own time. Following the installation of the artist’s widely-acclaimed work Nelson’s Ship in a Bottle, on the Fourth Plinth in Trafalgar Square, London, Shonibare continues his explorations of Lord Nelson, the figurehead of the British Empire at its apotheosis. Nelson’s destiny was to fall a hero at the Battle of Trafalgar just as the British Empire’s ultimate destiny was its inevitable demise. Shonibare sees a similar fate reflected on the front pages of today’s newspapers, “The Imperial West is in decline at a time of great economic challenges as we see the rise of the East. The old world is in decline and new worlds are emerging through the economic successes of China and India and the revolutions in the Arab world. We are re-experiencing a new Age of the 'Decline and Fall of the Roman Empire'.”

The main gallery will feature a series of five new photoworks entitled Fake Death Pictures. The artist refers to this series as “a re-enactment of suicide through the history of death in Painting.” Shonibare imagines a dramatized vision of the tragic event of Nelson’s death as played out over a series of five photographic allegories based on classic scenes in painting. The series brings together painting, stage design and photography to create works in the manner of The Suicide by Leonardo Alenza y Nieto (1839) and Edward Manet, (1877) and The Death of Chatterton by Henry Wallis (1856), Death of St. Frances by Bartolomé Carducho (1593) and Death of Leonardo da Vinci by François-Guillaume Ménageot (1781).

Two sculptural installations of costumes constructed in period details with Shonibare’s signature fabric will be displayed in the main gallery space. These costumes were worn by the actors in the film projected in the back gallery. Although the fabric has become a signifier of “Africaness” it is in fact a textile produced by the Dutch with patterns influenced by Indonesian batiks. And therein lays the irony: despite the misunderstanding surrounding the fabric’s cultural origins, it has come to represent a true African identity. The significance of the fabric has provided a conceptual underpinning in Shonibare’s work since his early work.

In the back gallery on view is the film Addio Del Passato (so closes my sad story) in which the character of Frances Nisbet, Lord Nelson’s estranged wife sings the eponymous aria from the last act of Verdi’s opera La Traviata. Shonibare finds a parallel in the story of Nelson’s betrayal of his wife and his passionate love affair with Lady Hamilton to the feelings of loss and yearning as expressed by the opera’s heroine Violetta, on the eve of her impending death. 

On display in the front gallery will be three sculptures of fetish objects and sex aids from bygone eras. With characteristic wit, Shonibare presents his audience with two reproductions of anti-masturbation devices—one for women and one for men—fascinating objects of beauty and horror. Complimenting the array will be a pair of fetish boots whose improbable proportions connote both domination and submission.

Yinka Shonibare, MBE (b.1962) lives and works in London, UK. Shonibare received the prestigious Fourth Plinth Commission in Trafalgar Square from the mayor of London in 2009.

[Image: Yinka Shonibare MBE &quot;Fake Death Picture&quot; (The Death of Chatterton - Henry Wallis), (2011) digital chromogenic print 50 X 62 5/8 inches, Edition of 5]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D1DB-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D1DB-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D1DB-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-16</DateStart>
  <DateEnd>2012-03-24</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="3" date="2012-02-16" start="18:00:00" end="20:00:00">Reception For The Artist</Party>
 <DaysBeforeEnd>44</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.75</Latitude>
  <Longitude>-74.003711</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D246" href="http://www.nyartbeat.com/event/2012/D246">
  <Name>Eva Zeisel &quot;Important Works of 20th Century Design&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/7B2FB6F2">
    <Name>Schroeder Romero &amp; Shredder</Name>
    <Type>Gallery</Type>
    <Address>531 W 26th St., New York, NY 10001</Address>
    <Phone>212-630-0722</Phone>
    <Fax></Fax>
    <Access>Between 11th and 12th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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>saturdays openinghour 11:00</ScheduleDetails>
    <ScheduleNote>Viewing also by appointment.</ScheduleNote>
  </Venue>
  <Media>3D: Product</Media>
  <Media>3D: Ceramics</Media>
  <Description><![CDATA[&quot;Eva Zeisel: Important Works of 20th Century Design&quot; extends our previous exhibition celebrating Zeisel's long career on the occasion of her passing, December 30, 2011. Born in Hungary in 1906, Zeisel was one of the most important industrial designers of the 20th century with an over 80 year career. About Zeisel, art critic Jed Perl wrote, &quot;There are elements of the magician, the poet, and the joker in everything that Eva Zeisel does. Seeing her objects next to one another, I know that stories are unfolding. Zeisel is a philosopher of the table top; she imagines all the relationships that can develop in a community of forms.&quot; This exhibition features works ranging from her early Bauhaus-influenced geometric designs for the Schramberg factory in the late 1920s to the rare small edition reissued designs produced in the late 1990s. In this context, Zeisel's designs are showcased for being continuously fresh and vibrant. Underscoring Zeisel's uniquely fluid form and self-confessed commitment to the s-curve, on view are her famous room dividers, iridescent Zsolnay vases, sterling silver bud vases and well-known ceramic pieces such as the Schmoo salt and pepper shakers, among many other pieces.  Zeisel's designs are included in the collections of the Museum of Modern Art, the Metropolitan Museum, and many others around the world.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D246-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D246-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D246-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750125</Latitude>
  <Longitude>-74.003686</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D26A" href="http://www.nyartbeat.com/event/2012/D26A">
  <Name>&quot;Color&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/7594AA3E">
    <Name>Carolina Nitsch Project Room</Name>
    <Type>Gallery</Type>
    <Address>534 W 22nd St., New York, New York 10011</Address>
    <Phone>212-645-2030</Phone>
    <Fax>212-463-0614</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</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></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Prints</Media>
  <Description><![CDATA[Carolina Nitsch presents the exhibition Color; including work by Damien Hirst, Donald Judd, Anish Kapoor, Ellsworth Kelly, Sherrie Levine, Sol Lewitt, Olaf Nicolai, and Blinky Palermo, at Carolina Nitsch Project Room, 534 W. 22nd St, New York.

Donald Judd’s Untitled (s. 157-166), from 1988 is a suite of ten woodcuts printed in cadmium red light on Okawara paper. This series presents the rectangle and its subsequent partitions as both positive and negative space. It begins with a solid red rectangle surrounded by a wide margin of paper. Next to it stands its counterweight, the negative space of the same rectangle formed by a frame of red printed in the wide margin. Each subsequent print in the series partitions these rectangles horizontally and vertically as if continually clarifying itself.

Meltdown (1989) by Sherrie Levine is a suite of four 12-color woodblock prints on Korean Kozo paper. This series of abstract squares is the result of employing computer technology to reduce four famous paintings to their essential 12 colors. The 4 paintings are: Mondrian's Tableau No II; Kirchner's Potsdam Square, Berlin; Monet’s Rouen Cathedral, and Duchamp's L.H.O.O.Q. (mustached Mona Lisa).

Damien Hirst has been painting and making prints of evenly spaced colored spots since 1986. They call to mind candy or pills and permeate a strange sense of indifferent optimism. Each work is named after a bio-chemical or organic compound used in pharmaceutical drugs and the title of the print in this exhibition, Hydroxylysine (2010), is a component of collagen.

Ellsworth Kelly’s lithograph, Purple, (2001) is a simple, thick wedged form tilting on the paper. Its simplicity results in varying observations; it can seem like a rectangle which has been hit by some invisible force, two squares colliding into each other from oblique angles, or a bloated arrow. Green Shadow (2011) by Anish Kapoor is a suite of 4 etchings with each print utilizing 2 photopolymer plates with half tone screens, which are printed slightly out of register in order to purposely create a moiré effect. The intense pigmentation and moiré lends these prints a three-dimensional quality akin to Kapoor’s sculpture. The viewer is constantly pulled back and forth between pure color and bright white as if falling into a vortex.

Olaf Nicolai’s Kombination series from 2007 are woven Pantone strips using 30 different colors in as many different combinations as is mathematically possible. Each assemblage is made by the same process but no 2 are alike. Nicolai is fascinated by the effects standardization has had on artistic practice and by functional applications of color in everyday life.
Isometric Forms (2002) by Sol Lewitt are rich linocut prints of various three dimensional forms whose volume is defined purely by color, rather than tonal value. Because of this they constantly fluctuate between appearing flat and three-dimensional. Blinky Palermo’s Untitled print from 1971 is a screen printed blue and green oval form that seems to be attempting to break away from the constraints of the 4 sided paper on which it sits.

[Image: Sherrie Levine &quot;Meltdown&quot; (1989) Suite of four 12-color woodblock prints on Korean Kozo paper, with colophon, in wooden box, 36 x 25 in. Edition of 35, Each signed and numbered]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D26A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D26A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D26A-170" width="170" />
  <Karma>0.901126</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-06</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747344</Latitude>
  <Longitude>-74.005611</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D2E1" href="http://www.nyartbeat.com/event/2012/D2E1">
  <Name>André Saraiva &quot;Love Letters”</Name>
  <Venue href="http://www.nyartbeat.com/venue/796DDFEA">
    <Name>Half Gallery</Name>
    <Type>Gallery</Type>
    <Address>208 Forsyth St., New York, NY 10002</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between Houston and Stanton St. Subway: F/V to 2nd Avenue</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 12:00, saturdays closinghour 16:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Graphics</Media>
  <Media>2D: Painting</Media>
  <Media>Screen: Film</Media>
  <Description><![CDATA[Street artist André Saraiva is perhaps best known for the creation of his &quot;Mr. A&quot; character which was featured last year in the award winning documentary Exit Through the Gift Shop. He made his own directorial debut in 2011 with his short film, &quot;The Shoe,&quot; co-starring Leo Fitzpatrick and Annabelle Dexter-Jones. Saraiva has exhibited all over the world including shows at Colette, Palais de Tokyo and Air de Paris where he showed his love graffiti for the first time. For MOCA's landmark &quot;Art in the Streets&quot; show, he tagged up the museum's bathrooms with his colorful graffiti. Andre's show Love Letters at half gallery -- his first solo exhibition in New York -- will include paintings on french letter boxes which he used to paint all over Paris and love notes on stationery, a somewhat anachronistic celebration of communication so closely tied to the romantic. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D2E1-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D2E1-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D2E1-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-11</DateStart>
  <DateEnd>2012-03-01</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-11" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>21</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.722383</Latitude>
  <Longitude>-73.990614</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D2F9" href="http://www.nyartbeat.com/event/2012/D2F9">
  <Name>&quot;Dona Nobis&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/2579FA0F">
    <Name>Concrete Utopia</Name>
    <Type>Gallery</Type>
    <Address>39 Hampton Pl., Brooklyn, NY 11213</Address>
    <Phone>347-559-6155</Phone>
    <Fax></Fax>
    <Access>Between Sterling and St. John's Pls., Subway: 2/3/4/5 to Kingston Avenue.</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>00:00:00</OpeningHour>
    <ClosingHour>00:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>By appointment only.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Art is a gift. This winter the 20 artists of Dona Nobis have probed the gift dimension of the work of art---the idea that seems to come from somewhere beyond the artist, the value of the work that escapes the valuation of the market, the communities art builds through viewership and circulation, and the world of exchange between artists themselves. On February 11, Concrete Utopia opens its winter group show Dona Nobis at our project space in Crown Heights, featuring paintings, sculpture, electronic installation, and photography from:]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D2F9-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D2F9-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D2F9-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-11</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-11" start="19:00:00" end="22:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.671472</Latitude>
  <Longitude>-73.94065</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D302" href="http://www.nyartbeat.com/event/2012/D302">
  <Name>&quot;MAKE. BELIEVE.&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/72573B9B">
    <Name>Fountain Gallery</Name>
    <Type>Gallery</Type>
    <Address>702 9th Ave. New York, NY 10019</Address>
    <Phone>212-262-2756</Phone>
    <Fax></Fax>
    <Access>Corner of 48th St. Subway: C/E to 50th Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 13:00, sundays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[This group exhibition features work by Fountain Gallery artists and by artists with mental illness from three other non-profit organizations based in New York City, participating through The Fountain Gallery Visiting Artists Program: HAI, The Living Museum, and Services for the UnderServed. &quot;MAKE. BELIEVE.&quot; is curated by Frank Maresca.
 
&quot;Basically, art for me falls into two categories. That which is effective, and that which is less effective. It is all about communication,&quot; said Maresca, co-owner of Ricco/Maresca Gallery. “Many of the artists in this show do not have the questionable benefit of academic training or an art historical background. However, they still have a lot to say. The art emanates from life experiences that are often harsh and unique, creating an overwhelming desire to reach out and make their stories known. The medium that they have chosen is art, and the message is powerful.&quot; Maresca has championed the work of artists communicating outside of the academic mainstream for the last 30 years; the mission of Ricco/Maresca Gallery has always been to blur the lines between the so called high and low.

[Image: Elliot Johnson &quot;Nicki Minaj&quot; (2011) graphite, ink, vinyl on paper 13.5 x 11 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D302-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D302-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D302-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-03-07</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>27</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.76225</Latitude>
  <Longitude>-73.989817</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D383" href="http://www.nyartbeat.com/event/2012/D383">
  <Name>&quot;Video 2012&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/4A464AB7">
    <Name>Momenta Art</Name>
    <Type>Gallery</Type>
    <Address>56 Bogart St., Brooklyn, NY 11237</Address>
    <Phone>718-218-8058</Phone>
    <Fax></Fax>
    <Access>Corner of Grattan St. Subway: L to Morgan Avenue</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D383-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D383-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D383-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-27</DateStart>
  <DateEnd>2012-04-01</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>52</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.705575</Latitude>
  <Longitude>-73.933216</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D3BC" href="http://www.nyartbeat.com/event/2012/D3BC">
  <Name>Kenneth Ian &quot;Organic Lust&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/D65A4E9B">
    <Name>Yes gallery</Name>
    <Type>Gallery</Type>
    <Address>147 India St., Brooklyn, NY 11222</Address>
    <Phone>347-599-2322</Phone>
    <Fax></Fax>
    <Access>Between Manhattan Ave. and McGuinessBlvd. Subway: G to Greenpoint Avenue.</Access>
    <Area areaId="williamsburg">Williamsburg</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[Kenneth Ian Husbands works have been displayed and sold throughout the USA. His love of art had started at a young age when his father would take him to local gallery’s and museums.
As soon as young Kenneth could he started studying art history and carrying a sketch pad and oil pastels with him everywhere he could. His original style became that of the European surrealists, as he felt most comfortable in unreal situations where his imagination could thrive. Due to economic hardships he had to leave collage and his love of art and became a off shore fisherman where he spent 265 days a year at sea and away from land.
During and after this time he didn’t paint much as time did not allow. Kenneth settled in for the &quot;American dream&quot;, bought a house and seemed to be doing well until everything he was working for fell apart.
Now once again facing economic struggles and mental hardships he turned to a place that was all to familiar to him, his art! But in redefining himself he found that the surrealistic style now longer suited his feelings and view of the world. Kenneth wanted his new style to depict his latest life lesson that although we wish to control everything around us, we are all set in a predetermined path that we have little, if any control. His first solo show of 2012 is presented by the YES gallery and entitled &quot;Organic Lust&quot; it is curated by Lesley Doukhowetzky.
Kenneth Ian’s paintings have an energy of their own. They are predetermined on their own path, either meandering like water or like flowing like lava formations. These paintings are actually formed by the forces of nature, looking like organic earth formations. He depicts abstract, organic forms
which naturally blend together  to create patterns replicating nature’s perfection. Ian’s trust in organic forms is evident in the lustful use of paint which creates interesting designs. Kenneth’s use of rich colors is just what one would expect to see in forces of nature. When you can not be surrounded by live natural beauty one might lust over being exposed to Ian’s works of art.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D3BC-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D3BC-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D3BC-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-02-13</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="19:00:00" end="22:00:00">Opening Reception</Party>
 <DaysBeforeEnd>4</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.732506</Latitude>
  <Longitude>-73.953994</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D3C6" href="http://www.nyartbeat.com/event/2012/D3C6">
  <Name>Carrie Pollack &quot;Witness&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/23A427A6">
    <Name>Minus Space</Name>
    <Type>Gallery</Type>
    <Address>111 Front St., Suite 226, Brooklyn, NY 11201  </Address>
    <Phone>347-525-4628</Phone>
    <Fax></Fax>
    <Access>Between Washington and Adams Sts. Subway: A/C to High Street or F to York Street</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</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="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[MINUS SPACE presents the exhibition Carrie Pollack: Witness. This is the Brooklyn-based artist’s first solo exhibition in New York and it will feature a suite of new paintings consisting of digital prints on linen.

Carrie Pollack describes her work as “a catalog of her memories”. In it she examines what we as individuals consciously or unconsciously choose to remember, and how our memories of people, places, and events degrade and change over time. Begun after the death of her father in 2009, Pollack’s new paintings are both poetic and existential, and they investigate the notions of permanence and impermanence, as well as uncertainty and contradiction. She deliberately intends her paintings to function “more as conversations than as statements”. Her imagery can often appear both familiar and unknown at the same time spanning both abstraction and representation.

The source materials of Pollack’s new paintings can be found in long meditative walks she takes daily with her dog around her Greenpoint, Brooklyn neighborhood. She carries her camera with her religiously, which she uses as a research tool to record the fleeting nature of her immediate environment. Each day Pollack takes dozens of photographs, which as of late have focused on deteriorating advertising posters, faded graffiti tags, vacant lots, worn textiles, and the fleeting quality of the sky, as well as other elements in transition and flux.

Pollack in turn organizes her photographs – now numbering in the thousands – into several distinct categories: posters, skies, newspapers, and textiles, among others. She spends weeks pouring over her images, intuitively arranging and rearranging them, looking for shared relationships between them. Once she identifies an image of essential interest, Pollack reduces it down to gray-scale in Photoshop, occasionally adjusting its contrast if needed to bring the image into a neutral state. She then prints upwards of one hundred test images with her large-format printer onto a wide array of supports, including newsprint, paper, canvas, and linen. The printing process is intentionally laden with glitches and hiccups, which she readily embraces. She remarks that the technology “adds its own interpretation of the image”, which reflects the way one’s mind continually tries to understand, interpret, and find meaning in the past, present, and future.

In the concluding steps of her process, Pollack prints a final image onto linen in a size that is unequal – sometimes larger, sometimes smaller – to the dimensions of the painting stretcher that will support it. As a result, the printed image often appears misaligned at first glance. Sometimes an image will wrap around the sides of the stretcher bars and onto the back the painting. Other times an image will be completely isolated within a much larger field of raw linen on the surface of the painting. These choices starkly contrast the digital quality of the image with the physical materiality of the painting itself, which directly parallels and exemplifies the complexity of memory.

Carrie Pollack (b. 1973) has exhibited her work throughout the United States, as well as in Germany and Belgium. Her work was recently included in the group exhibition Between This Light and That and Space curated by artist Douglas Melini at the gallery this past summer. Pollack has also recently exhibited at BRIC Rotunda Gallery, Monya Rowe Gallery, and David Krut Projects, all in New York. She has also produced editions with Daily Operation in New York and Sonnenzimmer in Chicago, IL.

Pollack has been awarded residencies at Yaddo, Jentel, Virginia Center for the Creative Arts, and Vermont Studio Center. Her work has been discussed in publications, such as Time Out New York, Metropulse, and The Daily Beacon. She holds an MFA from the University of Iowa, Iowa City, IA, and a BFA from Alfred University, Alfred, NY.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D3C6-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D3C6-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D3C6-170" 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>40.702653</Latitude>
  <Longitude>-73.988994</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D3D6" href="http://www.nyartbeat.com/event/2012/D3D6">
  <Name>Julia Berkman &quot;Blip.&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/A9CA140E">
    <Name>Soho20 Chelsea Gallery</Name>
    <Type>Gallery</Type>
    <Address>511 W 25th St., #605, New York, NY 10001</Address>
    <Phone>212-367-8994</Phone>
    <Fax>212-367-8994</Fax>
    <Access>Between 10th and 11th Aves. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Berkman’s work can be seen as a playful exploration in color, form and texture. Her paintings often consist of only a few simple, yet bold colors, which contain awkward shapes, lines and markings. In Ladder, small light-colored rectangles ascend out of view amid a delicious melon-pink background. Another piece, Ribbon consists of a “dirty white” surface lined horizontally with multi-colored wavering stripes. Both paintings demonstrate Berkman’s great sensitivity to the materials and color.

The rich texture and layered colors in the pieces strike out on their own, but the work can also be seen as a nod to abstract expressionists such as Phillip Guston, Barnett Newman and Agnes Martin. Based on geometric abstraction, Berkman’s painting uses a grid-like structure from which other forms derive. However, her work veers away from strict geometry and suggests the pliable nature of the grid. As seen in the monochromatic works, such as Breath to Breath, the grid emerges as a playful and energetic presence. Berkman’s work offers the viewer intimate meditations on painting’s basic elements.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D3D6-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D3D6-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D3D6-170" width="170" />
  <Karma>1.43236</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-31</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749125</Latitude>
  <Longitude>-74.003533</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D419" href="http://www.nyartbeat.com/event/2012/D419">
  <Name>James Brooks &amp; Dan Flavin &quot;Unlikely Friends&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/36840A06">
    <Name>Greenberg Van Doren Gallery</Name>
    <Type>Gallery</Type>
    <Address>730 5th Ave., New York, NY 10019</Address>
    <Phone>212-445-0444</Phone>
    <Fax>212-445-0442</Fax>
    <Access>Between 56th and 57th St. Subway: F at 57th Street or E/V at 53rd Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Summer Hours: Monday - Friday, 10:00 am-5:00 pm</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[The gallery is pleased to present this two-person exhibition featuring works on paper and canvas by James Brooks and fluorescent light sculptures by Dan Flavin.

This exhibition pairs these visually disparate bodies of work by exploring the mutual professional respect and friendship Brooks and Flavin had for one another, demonstrated through correspondence, curation of exhibitions and dedication of artworks. While Brooks’ painterly Abstract Expressionist tableaux vary tremendously from Flavin’s controlled, conceptually driven Minimalist light sculptures, both artists paid particular attention to color and the application of their media on the base surface whether paper, canvas or wall.

[Image: James Brooks &quot;Mardon&quot; (1973) acrylic on canvas 76 x 76 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D419-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D419-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D419-170" width="170" />
  <Karma>1.26736</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.762639</Latitude>
  <Longitude>-73.974228</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D454" href="http://www.nyartbeat.com/event/2012/D454">
  <Name>Graham Durward Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/DC14729E">
    <Name>Louis B. James Gallery</Name>
    <Type>Gallery</Type>
    <Address>143 Orchard St., New York, NY 10002</Address>
    <Phone>212-533-4670</Phone>
    <Fax></Fax>
    <Access>Between Rivington and Delancey Sts. Subway: F, J/M/Z to Delancey St. or F to 2nd Avenue.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Durward’s paintings in oil on linen render formally the intangibility and ephemerality of desire. He works primarily in three veins: portraiture, still life, and art historical devotional imagery, and treats each subject to the same interplay of abstraction and representation, obscurity and clarity. The portraits are culled from the Internet and display anonymous men who have obscured their own faces with crude Photoshop technology. The painterly violence of erasure, with oil paint mimicking digital drawing, lends a darkness to the subjects’ advertisements of desire. Durward’s still lives bear a tenuous relationship to the tradition; based on photographs taken by the artist, they depict the smoke from incense and candles, fixing in time the fluidity of the incorporeal.  His sacred imagery, here the Shroud of Turin and the Sistine Chapel dissolved to abstraction, similarly engage the impossibility of the depiction of immateriality in paint. 
 
Graham Durward studied at Edinburgh College of Art and the Whitney Independent Study program.

[Image: Graham Durward &quot;U&quot; (2011) oil on linen 20 x 22 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D454-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D454-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D454-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-15</DateStart>
  <DateEnd>2012-02-27</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-15" start="16:00:00" end="19:00:00">Opening Reception</Party>
 <DaysBeforeEnd>18</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.720206</Latitude>
  <Longitude>-73.989346</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D4D3" href="http://www.nyartbeat.com/event/2012/D4D3">
  <Name>&quot;Luxe&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/1C8CE198">
    <Name>Tria Gallery</Name>
    <Type>Gallery</Type>
    <Address>531 W 25th St., New York, NY 10001</Address>
    <Phone>212-695-0021</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>And by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[On display will be two large canvases by Franco, along with one large, three mid-sized and two smaller canvases by Satterly.
 
Satterly and Franco are both drawn to painting realistic images of sumptuous luxury items. The word luxury comes from the Latin word luxus,which relates to excess. It includes the notion of pleasure and indulgence and the connotation of something that is not necessary. &quot;Luxe&quot; goods have captured the imagination and desire of people since the beginning of time, and one cannot help but have a visceral reaction of desire when viewing these exquisite images.
 
Both Satterly and Franco's paintings are meticulously created and highly realistic. Both are entertaining and thought-provoking, for while the subject matter necessarily raises questions of materialism and conspicuous consumption, the viewer can't help but smile when looking at these items of true and luxurious beauty.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D4D3-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D4D3-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D4D3-170" width="170" />
  <Karma>1.34146</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750694</Latitude>
  <Longitude>-74.003639</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D51C" href="http://www.nyartbeat.com/event/2012/D51C">
  <Name>Bill Jacklin &quot;Recent Work, New York&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/C0A11582">
    <Name>Marlborough (Midtown)</Name>
    <Type>Gallery</Type>
    <Address>40 W 57th St., New York, NY 10019</Address>
    <Phone>212-541-4900</Phone>
    <Fax>212-541-4948</Fax>
    <Access>Between 5th and 6th Ave. Subway: B/Q to 57th Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Jacklin, born and raised in London, has lived and worked in New York City and Rhode Island since 1985. The subjects of the 30 oils on canvas and one COR-TEN steel sculpture exhibited are taken from visual encounters specific to New York City.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D51C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D51C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D51C-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="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.763483</Latitude>
  <Longitude>-73.975231</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D52B" href="http://www.nyartbeat.com/event/2012/D52B">
  <Name>Joyce Pensato “Batman Returns”</Name>
  <Venue href="http://www.nyartbeat.com/venue/C889AF53">
    <Name>Friedrich Petzel Gallery</Name>
    <Type>Gallery</Type>
    <Address>535 &amp; 537 W 22nd St., New York, NY 10011</Address>
    <Phone>212-680-9467</Phone>
    <Fax>212-680-9473</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</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="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>And by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Friedrich Petzel Gallery presents “Batman Returns,” the third exhibition of new work by the New York-based artist Joyce Pensato. An illustrated catalogue, published by 38th Street Publishers with an accompanying essay by Ira G. Wool, will be available on the occasion of the exhibition. The book commemorates the 32 years that the artist worked in her Olive Street studio in East Williamsburg, Brooklyn, before re-locating to a new space in the spring of 2011.

For this exhibition, Joyce Pensato uses Batman as the predominant subject and inspiration for her paintings. “Batman” is a motif that first appeared in Pensato’s drawings as early as the mid-1970’s and has been used by the artist only periodically since, the last Batman painting, as singular work, having been executed in 1996. Pensato’s resurrection of this iconic image sixteen years later marks an additional shift in her practice as it will be the first time that she has added various colors to what until now has been a strictly black, white and silver painting palette. Pastel color has played a role in Pensato’s drawings over the years, but color in the paintings is new, and as with her drawings, the color element marks a layer within, simultaneously erased and darkened by the profuse and continual saturation of black and white enamel. 

Alongside Pensato’s Batman motif will be paintings and drawings incorporating her familiar cartoon imagery of clowns, Homer Simpson, Groucho Marx, Mickey Mouse, and a character the artist refers to as “The Juicer.” Furthermore, she will present assemblages of toys, ephemera, and stuffed animals throughout the gallery and will show as well approximately fifteen to twenty photographs of striking tableaux of the aforementioned elements taken by the artist at various times of day and night in her former studio. Through these old and new mediums, Pensato continues her baleful transmutation of American cartoon culture - employing her fast, assured, and gestural hand to shed light on the arguable darkness lurking within our familiar Pop iconography. What lay beneath Batman’s mask was, perhaps only for a moment, Bruce Wayne.

Joyce Pensato lives and works in Brooklyn, New York. She has exhibited widely, including in exhibitions at the Museum of Modern Art, San Francisco; the St. Louis Art Museum; The Speed Museum of Art, Louisville; and The Cleveland Museum of Art. Her work is included in the collections of the Museum of Modern Art, New York; the Museum of Modern Art, San Francisco; The Dallas Museum of Art; the Hammer Museum, Los Angeles; and the FRAC des Pays de la Loire, France, among others. She is the recipient of a Guggenheim Fellowship, the Pollock-Krasner Foundation Award and the Anonymous Was A Woman Award. She attended The New York Studio School.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D52B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D52B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D52B-170" width="170" />
  <Karma>1.44841</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747381</Latitude>
  <Longitude>-74.00555</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D56D" href="http://www.nyartbeat.com/event/2012/D56D">
  <Name>Joergen Geerds &quot;The Other Side&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/1A1F1D89">
    <Name>532 Gallery Thomas Jaeckel</Name>
    <Type>Gallery</Type>
    <Address>532 W 25th St., New York, NY 10001</Address>
    <Phone>917-701-3338</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave.  Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>satudays openinghour 13:00, saturdays closinghour 17:00, tuesdays closinghour 16:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>2D: Prints</Media>
  <Description><![CDATA[Through panoramic photographs, artist Joergen Geerds explores the interconnections of space and community, humans and habitats, inside and out, self and other.

Geerds highlights here not a dissociating modern city, but its underlying structures and spaces, which—temporarily freed of people by the power of the camera—allow for unity, for community. Geerds’s alchemy shows us that the city is not so much a succession of insides and outsides as it is a plastic network of other sides. If anything, he empties New York of its value as a site of exchange.

He flattens the New York of capital (snowy parks, busy restaurants, bright streets) with the New York of snow and streets. This attention to the elemental is what makes Geerds’s images so arresting: Are these photographs dark comments on a New York underneath, around, and above us all the time, hiding from us, shaping our lives?

Or are they agnostic, or even stoic works—intended to ask us questions about our city, yes, but also intended to question the spaces themselves, to bring them, in answering, into concert with one another, in the not-quite-dark of the long-exposure night?

In this critique of city spaces, Geerds’s photography recalls the maximal, place-focused interrogation of industry practiced by Allan Sekula and Noël Burch in TheForgotten Space. But—odd for a New York artist—Geerds does not bring a politics of exchange into his work.
Regardless of how we interpret or are questioned by Geerds’s many-sided New York, we can’t help but look at it, and look again.
Joergen Geerds was born in Oberstreu, Germany, in 1969. He studied photography and design under Ernst Weckert and Nicolai Sarafov at the University for Applied Science, Würzburg. Since 2000 he has resided in in Astoria, New York. Inspired by the grandeur and grime of New York City, Geerds branched into panoramic photography in 2006 after a successful career as an art director in the advertising world.
Over the years, Geerds has continually refined his love of wide-angle photography. Finding the uncropped cityscapes revealed by his flattened photographs to be unique in the market, Geerds was led to develop his own distinct style—large-scale, hyper-wide night panoramas of New York City.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D56D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D56D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D56D-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="20:30:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749294</Latitude>
  <Longitude>-74.004353</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D6D4" href="http://www.nyartbeat.com/event/2012/D6D4">
  <Name>&quot;It's a Thin Line Between Love and Hate&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/C2FC31E7">
    <Name>United Photo Industries</Name>
    <Type>Gallery</Type>
    <Address>111 Front St., Suite 204, Brooklyn, NY, 11201 </Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between Washington and Adams St. Subway: F to York Street, A/C to High Street</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[In strict observance of February - the year's most emotionally conflicted month - we'll be kicking things off with a two-week show focusing on the concept of Love before flipping the gallery over to another two-week show, aptly dedicated to the art of pure, unadulterated Hate. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D6D4-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D6D4-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D6D4-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-02-28</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-16" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>19</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.70264</Latitude>
  <Longitude>-73.98896</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D6DF" href="http://www.nyartbeat.com/event/2012/D6DF">
  <Name>&quot;Come and Get It!&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/3F1AA6BF">
    <Name>Hendershot Gallery</Name>
    <Type>Gallery</Type>
    <Address>195 Chrystie St., New York, NY 10002</Address>
    <Phone>212-239-1210</Phone>
    <Fax></Fax>
    <Access>Between Stanton and Rivington Sts.  Subway: F/V to 2nd Avenue.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</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>Also by appointment</ScheduleNote>
  </Venue>
  <Media>2D: Prints</Media>
  <Media>3D: Fashion</Media>
  <Media>3D: Product</Media>
  <Description><![CDATA[Hendershot Gallery presents the opening of Come and Get It!, a group show that features the work of Alben, Daniel Arango, Ghost of a Dream, Ted Noten, Rachel Bee Porter, Tom Sanford, Shelter Serra and Marie Vic.

Come and Get It! encompasses our inherent fascination with consumer goods. While the artist's reference to popular culture is certainly not a new endeavor, the boundary between art and commerce has become increasingly faint. Come and Get It! exhibits the work of eight contemporary artists, each of whom explores the intersection between popular culture, consumerism and art. Inspired by bold and overt advertisements scattered throughout Manhattan, the title of this show further exaggerates the sales tactics used to seduce us into making an impulsive purchase. For the duration of this five-week exhibition, Hendershot Gallery will redesign its gallery space – creating an ironic juxtaposition between the contemporary art world and the retail experience.
 
Highlighting this reciprocal dialogue between art and commerce, Hendershot Gallery has partnered up with local businesses and artists to contribute their products for this exhibition. Books and t-shirts from photographer Jesper Haynes’ St. Marks: 1986-2006 series will be available at the gallery, revealing twenty years of memories throughout his time living on the iconic New York City block. The opening reception for Come and Get It! will be sponsored by our friends at BOMB Beer Company and The Little Cupcake Bakeshop. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D6DF-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D6DF-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D6DF-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-10</DateStart>
  <DateEnd>2012-03-16</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-10" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>36</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.721972</Latitude>
  <Longitude>-73.992058</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D783" href="http://www.nyartbeat.com/event/2012/D783">
  <Name>The Herd Remorse</Name>
  <Venue href="http://www.nyartbeat.com/venue/03242706">
    <Name>Lesley Heller Workspace </Name>
    <Type>Gallery</Type>
    <Address>54 Orchard St., New York, NY 10002</Address>
    <Phone>212-410-6120</Phone>
    <Fax>212-410-5340</Fax>
    <Access>Between Grand and Hester. Subway: B/D to Grand Street or F/J/M/Z to Essex Street.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 12:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Film</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D783-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D783-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D783-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-01</DateStart>
  <DateEnd>2012-03-04</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>24</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.716594</Latitude>
  <Longitude>-73.990822</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D819" href="http://www.nyartbeat.com/event/2012/D819">
  <Name>&quot;Makeup on Empty Space&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/96F464D6">
    <Name>Larissa Goldston Gallery</Name>
    <Type>Gallery</Type>
    <Address>551 W 21st St., New York, NY 10001</Address>
    <Phone>212-206-7887</Phone>
    <Fax>212-206-7829</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_21">Chelsea 21st</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[Larissa Goldston Gallery inaugurates its new ground floor space with the exhibition Makeup on Empty Space, featuring works by Nicole Cherubini, Lauren Clay, Orly Genger, Janelle Iglesias, Fabienne Lasserre, Shana Moulton, Arlene Shechet, Lotte Van den Audenaeren, and Lorna Williams.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D819-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D819-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D819-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-31</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>51</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.74715</Latitude>
  <Longitude>-74.006554</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D8EF" href="http://www.nyartbeat.com/event/2012/D8EF">
  <Name>Araya Rasdjarmrearnsook &quot;Two Planets / Village and Elsewhere&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/6714DCF2">
    <Name>Tyler Rollins Fine Art</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., New York, NY 10001</Address>
    <Phone>212-229-9100</Phone>
    <Fax>212-229-9104</Fax>
    <Access>Between 10th Ave and West Side Hwy. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_20">Chelsea 20th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Araya Rasdjarmrearnsook is universally recognized as one of the leading video artists from Southeast Asia. For the past 25 years, her video, installation, and graphic works have been regularly shown in institutions in her native Thailand and throughout the world. Tyler Rollins Fine Art presents Two Planets / Village and Elsewhere, the first solo show of her work in the United States. The exhibition features the world premiere of her latest video, Village and Elsewhere: Jeff Koons’ Wolfman in Pakoitai Market and Sunday Market, as well as the first US showing of three other recent videos from her Village and Elsewhere and Two Planets series (Village and Elsewhere: Artemisia Gentileschi’s Judith Beheading Holofernes, Jeff Koons’ Untitled, and Thai Villagers; Two Planets: Millet’s The Gleaners and Thai Farmers; and Two Planets: Manet’s Luncheon on the Grass and the Thai Villagers). The videos are installed with a group of related photographs.

Araya’s video works have a meditative, ritualistic quality, and, like many of humanity’s important rituals, they are often focused on the idea of communication between different realms. Her earlier works, for example, have explored the connection between the living and the dead, between the insane and “normal” people, and between humans and animals. Over the past few years, Araya has focused on art itself and the way the viewer interacts with a work of art. In the videos she presents in this exhibition, Araya has placed framed reproductions of iconic Western artworks in settings that are radically different from the art museum, specifically in rural villages, markets, and Buddhist temples in Thailand, where she films groups of farmers or working class people discussing the artworks. The scenes are shot from the perspective of a member of the crowd, thereby incorporating the viewer into the flow of conversation. With the four videos screening simultaneously in the gallery, the various soundtracks seem to meld together as a constant barrage of different voices buzzes in the air, with English subtitles providing a selective translation of the Thai dialogue, suggestive of the artist’s own attempt to manage, organize, and make sense of the unfolding events. These videos show the meeting of two different worlds: “high art” and everyday life; the personal and private spheres; elite vs. mass culture; art and commerce; East and West. While issues of class and cultural differences, exoticization of the “other,” etc., are invoked, these videos also convey a sense of curiosity, humor, and joy that emphasize a common humanity.

Videos from Two Planets will be shown later this year at the Walters Art Museum in Baltimore, which will present Araya’s first solo show at a US museum. Her works have been shown in numerous international museum exhibitions on five continents, including the groundbreaking exhibition, Traditions/Tensions: Contemporary Art in Asia, organized by the Asia Society, New York, in 1996. In 2011 alone, her work was featured in group exhibitions at the National Museum of Art, Osaka, Japan; the Musée de l’Objet, Blois, France; the Zentrum für Kunst, Karlsruhe, Germany; the Sørlandets Kunstmuseum, Kristiansand, Norway; the Palazzo Fortuny, Venice, Italy; MDE11 (Encuentro Internacional de Medellin), Medellin, Colombia; the Changwon Asian Art Festival, Gyeongnam, South Korea; and the Singapore Art Museum.

Araya’s work has been regularly featured in international biennials; she represented Thailand at the Venice Biennale (2005) and was featured in the Sydney Biennale (2010 and 1996), the Nanjing Biennale (2010), the International Video Art Biennial in Tel Aviv (2010), the Ural Industrial Biennale of Contemporary Art (2010), the Incheon Women Artists Biennale (2009), the Taipei Biennial (2006), the Gwangju Biennale (2006), the Carnegie International (2005), the Istanbul Biennial (2003), the Johannesburg Biennial (1995), and the Asia Pacific Triennial (1993). She was also an artist in residence at Artpace, San Antonio (1998-1999). We are pleased to welcome her back to the US.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D8EF-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D8EF-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D8EF-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-19" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746263</Latitude>
  <Longitude>-74.006224</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D99E" href="http://www.nyartbeat.com/event/2012/D99E">
  <Name>Maria Garkavenko &quot;New &amp; Recent Works&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/2F4F0C85">
    <Name>Ten43 Gallery</Name>
    <Type>Gallery</Type>
    <Address>1043 Madison Ave., New York, NY 10075</Address>
    <Phone>646-476-6341</Phone>
    <Fax>646-476-6342</Fax>
    <Access>Between 80th and 79th sts., Subway: 6 to 77th Street.</Access>
    <Area areaId="upper_east_side">Upper East Side</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[Ten43 Gallery is proud to announce the first New York exhibition of paintings by Russian Emerging artist Maria Garkavenko.

Human psyche is the signature mark of artist Maria Garkavenko’s work. Elegant curves compose androgynous silhouettes accentuating the strength of figures in her paintings. The eleven compositions in this exhibition are a balance of line, color and shape that combined with her choice of tone elicits a confidence of calm. Universal symbols such as bowls, moons and trees are depicted in a flat folk art style meets hieroglyphic sensibility.

Garkavenko’s work evokes triune thoughts of a unity between human, spirit and soul existing in moments of time. Two figures are joined through braided hair, creating a trinity with the moon floating above. The energy that bursts from these canvases stems from the bold color and silence the work explores. We feel as though we are peeking into the inner most thoughts and rituals of the subjects.

Her ontological question of existence is visible on the canvases. The atmospheric balance achieved through flat color and line alludes to the artist’s desire for harmony and inner peace. This artist’s journey is a constant pursuit of the inspection of the soul and self-analysis combined with a simplistic voice of artistic expression.

Maria Garkavenko was born in Leningradin, 1980. She earned herd egree in classical art at the Stirlitz Academy of Art. In 2006 she was honored with membership to the prestigious union of artists.

She lives and works in St. Petersburg, Russia. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D99E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D99E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D99E-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.776715</Latitude>
  <Longitude>-73.961635</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D9E0" href="http://www.nyartbeat.com/event/2012/D9E0">
  <Name>Fanny Sanin &quot;Drawings and Studies 1960 to Now&quot; </Name>
  <Venue href="http://www.nyartbeat.com/venue/452D6F3F">
    <Name>Frederico Sève Gallery/latincollector</Name>
    <Type>Gallery</Type>
    <Address>37 W 57th St., Fl. 4, New York, NY 10019</Address>
    <Phone>212-334-7813</Phone>
    <Fax>212-334-7830</Fax>
    <Access>Between 5th and 6th Ave. Subway: F at 57th Street or N/R/W at 5th Avenue</Access>
    <Area areaId="midtown">Midtown</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>saturdays openinghour 11:00, saturdays closinghour 18:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[The gallery is pleased to present a retrospective of the works on paper by Fanny Sanín. The Colombian-born, now American artist is best known for her symmetrical, geometric abstract paintings in oil and acrylic on canvas. This exhibition provides an illuminating history and insights into the methodical process leading to Sanin's larger paintings on canvas. While each drawing can be appreciated on its own, the suites of drawings that she generates for each of her final composition evince her intricate thought process using a variety of drawing media on paper to build her final compositions. This exhibition project has been organized by New York independent art curator and writer Patterson Sims.

[Image: Fanny Sanín &quot;Composition No. 2&quot; (2009) acrylic and pencil on paper 33 x 25 in.]
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D9E0-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D9E0-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D9E0-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-03-31</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>51</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.763414</Latitude>
  <Longitude>-73.975061</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D9FE" href="http://www.nyartbeat.com/event/2012/D9FE">
  <Name>&quot;Resourced: The Influence of Photography in Contemporary Art&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/7298302A">
    <Name>Lyons Wier Gallery</Name>
    <Type>Gallery</Type>
    <Address>542 W 24th St., New York, NY 10011</Address>
    <Phone>212-242-6220</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Aves. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_24">Chelsea 24th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Lyons Wier Gallery presents Resourced: The Influence of Photography in Contemporary Art, an exhibition of eight contemporary artists who use photography to create and sometimes inspire their art making. Each artist appropriates certain aspects and assets afforded by the camera, creating work that is referential but independent in spirit.  The featured artists are: Ryan Bradley, Mary Henderson, David Lyle, Tim Okamura, Fahamu Pecou, James Rieck, Aristides Ruiz, and Cayce Zavaglia. 

Although the advent of the Daguerreotype utilized and revolutionized the principles of the camera obscura by capturing images in the early nineteenth century, the use of the camera obscura as a preparatory tool for artists dates as far back as the Renaissance when in 1490, Leonardo da Vinci wrote the first detailed description of the camera obscura in his “Atlantic Codex.”

Resourced presents a contemporary look at the influences and inspiration borne from the platforms of photography, ranging from found vernacular photography to self-portraiture.  Collectively, the exhibition reveals the inexhaustible possibilities of how an artist can appropriate and re-contextualize a photographic image into a distinct conceptual perspective through various other media.

The artists’ methodology of capturing a moment or finding inspiration is as subjective as their aesthetic point of view. Some artists choose to take a traditional approach by staging studio shoots that generate self-produced photographs open for creative transformation. This can be seen in Ryan Bradley’s digitally manipulated shots of muse Adi Neumann that result in ornate hand drawn deconstructions of the female figure, Fahamu Pecou’s painted self-portrait that evolves into a parody of contemporary media, Cayce Zavaglia’s intimate and striking portrait of her daughter, Abbi, that becomes a painstaking hand stitched embroidery on canvas, and Tim Okamura’s expressive and provocative oil portrait of friends that he intuitively situates within urban environments of New York and its surrounding boroughs. 

Others artists seize captured moments from the past and present for re-contextualization, thereby transforming the original source material via personal and societal prisms into another place and time. David Lyle’s use of found vernacular prints and vintage photographs are cleverly reimaged and redefined within our contemporary zeitgeist, executed in his limited use of only black paint. Mary Henderson’s oil paintings source images from photo-sharing websites that she alters compositionally into an intentional public image executed in paramount technical detail. Aristides Ruiz’s hyper-realist ballpoint drawings metamorphose extracted shots of animated New York streets into baffling renderings of urban life. And finally, James Rieck’s appropriation of commercial advertising into deliberately cropped photo-realist paintings truncates contemporary culture to its essence.  

With a focus in “conceptual realism,” the common ground shared in Resourced is the realist platform that photography allows and the conceptual leap the artist affords. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D9FE-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D9FE-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D9FE-170" width="170" />
  <Karma>1.54074</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748819</Latitude>
  <Longitude>-74.005161</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/DB92" href="http://www.nyartbeat.com/event/2012/DB92">
  <Name>PS3* Pedro Sanchez3 &quot;On the Outer Edge&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/6EDA133D">
    <Name>Abrons Arts Center </Name>
    <Type>Cultural Center</Type>
    <Address>466 Grand St., New York, NY 10002</Address>
    <Phone>212-598-0400</Phone>
    <Fax></Fax>
    <Access>Corner of Pitt St.  Subway: F to East Broadway or Delancey, D/B to Grand Street, J/M to Essex Street.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>22:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 11:00, sundays closinghour 18:00, saturdays openinghour 09:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Film</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[The Abrons Arts Center announces On the Outer Edge, an exhibition by Spanish-born New York based artist PS3* Pedro Sanchez3 in the Upper Main Gallery. The artist presents a new video work in his full-scale model home designed for a life of deliberate deprivation. Based on Brazilian favelas and built from materials found in and around the Lower East Side, this continually adaptable structure participates in an international language of habitation. Dwellings like the one presented in this exhibition are a global response to poverty — usually inhabited by immigrants or slave workers in the suburbs of large cities in Brazil, Mexico, the Philippines, Morocco, and many other African and Asian countries. 

This (anti-)utopian dwelling uses the leftovers of capitalist production to re-negotiate contemporary living spaces. Rather than looking to state-of-the-art materials and advanced construction technologies PS3* poses bricolage as a solution to the need for an affordable, easily transportable and environmentally efficient house. We are presented with a porous and ephemeral structure that challenges the notion of the self-enclosed, permanent home and puts in its place a model of community living sustained by creative reconstruction, mobility and change. 

Installed in the favela is a video of schizoid scenes from dance clubs, street bazaars, and arcades, cropped and blurred to the brink of abstraction. The video suggests a passage through temporary spaces filled with life, music, metallic surfaces, and darkened shadows. It conjures a dream experience of so many not-quite-recognizable cities floating by in disjointed stop light animation that barrels toward, but never reaches, total saturation and exhaustion. 

In this moment of worldwide occupations On the Outer Edge redirects the gaze of the revolutionary spirit away from central urban spaces and towards the incongruous fringes of the social. The dialogue between the video and dwelling structure embraces transience, for better or worse, as a mode of living. Eschewing the notion of a linear timeline that moves forward in the name of progress, PS3* deploys a circular temporality of reuse and revision. The ambiguous locations of the video and transient space of the favela appear not simply as the dysphoric remains of global capitalism but as permeable laboratories for rethinking the future.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/DB92-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/DB92-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/DB92-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-17</DateStart>
  <DateEnd>2012-02-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-24" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>8</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.715256</Latitude>
  <Longitude>-73.984058</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/DD72" href="http://www.nyartbeat.com/event/2012/DD72">
  <Name>&quot;The First Rebellion is History, Next Week Rome Falls&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/EC176588">
    <Name>Simon Preston Gallery</Name>
    <Type>Gallery</Type>
    <Address>301 Broome St., New York, NY 10002</Address>
    <Phone>212-431-1105</Phone>
    <Fax>212-431-1106</Fax>
    <Access>Between Forsyth and Eldridge St.  Subway: B/D/Q to Grand Street or F/J/M/Z to Essex Street.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[The exhibition's title is borrowed from a recent series of photographs by Daniel Joseph Martinez. In each of his images, hand-groomed Bonsai trees, tended by the artist, are placed on pedestals in front of national flags, activating a rich set of connotations about nature, aesthetics and social control. Martinez will exhibit two further photographic series of works in his solo exhibition titled I want to go to Detroit; Cheerleaders CHEER at LA&gt;&lt;ART which opens on 4 February, as part of Pacific Standard Time in LA. Michelle Lopez exhibits a pair of hand-formed clay, wall-leaning sculptures that examine the iconography of the flag. Following the previous trajectory of her work titled Flare, properties of drawing invade the sculptures and expose a kind of natural, organic form. Jessica Mein will show a series of billboard works depicting construction sites. Through the artist's obsessive hand-made perforations and collage, the mechanical printing process found in the discarded material is interrupted and altered. Marco Rios' Unititled photograph is hyperbolic in nature, employing humor and slapstick tactics to address the more solemn issues of failure, death, desire, and despair. Kara Tanaka has transformed a cowhide into an abstracted map by shaving and carving onto the skin, illustrating the search for both physical and mythical mountain systems. Tanaka's use of animal hides draws a parallel to the Tibetan iconographic image of flayed skin as a symbol for the destruction of the ego. Caragh Thuring includes a volcano. Painted on unprimed linen, with an extreme efficiency of marks, the volcano appears mythical or simply dormant and elicits a certain faith and desire in its mere existence, echoing the very foundation and method in the construction of each of her paintings. Josh Tonsfeldt will exhibit recent work made while on residency at the Zabludowicz Collection in Sarvisalo, Finland. He is included in New York: Directions, Points of Interest at Massimo de Carlo , which will open on January 25th - March 24th in Milan.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/DD72-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/DD72-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/DD72-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-15</DateStart>
  <DateEnd>2012-02-26</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>17</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.718652</Latitude>
  <Longitude>-73.99245</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/DDD2" href="http://www.nyartbeat.com/event/2012/DDD2">
  <Name>&quot;One And Many&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/2F230DB3">
    <Name>Location One</Name>
    <Type>Cultural Center</Type>
    <Address>26 Greene St., New York, NY 10013</Address>
    <Phone>212-334-3347</Phone>
    <Fax></Fax>
    <Access>Between Canal and Grand St. Subway: A/C/E to Canal Street or N/Q/R/W to Canal St.</Access>
    <Area areaId="soho">Soho</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: Other</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Location One is proud to present One and Many, a group show featuring works by Monica Baptista, Jacob Dahl Jürgensen, Atsushi Kaga, Agnieszka Kurant, David Molander, and Hiraku Suzuki. These artists engage a variety of mediums, from digital film and photography to the traditional art of sewing, transforming one piece into many as they channel possible meta-narratives in their work. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/DDD2-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/DDD2-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/DDD2-170" width="170" />
  <Karma>1.36752</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-11</DateStart>
  <DateEnd>2012-02-15</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-10" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>6</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.721233</Latitude>
  <Longitude>-74.002639</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/DE48" href="http://www.nyartbeat.com/event/2012/DE48">
  <Name>Tony Cragg Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/83FEC312">
    <Name>Marian Goodman Gallery</Name>
    <Type>Gallery</Type>
    <Address>24 W 57th St., New York, NY 10019</Address>
    <Phone>212-977-7160</Phone>
    <Fax>212-581-5817</Fax>
    <Access>Between 5th and 6th Ave. Subway: B/Q to 57th Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Summer Hours Monday - Friday </ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[The exhibition features recent sculptures in bronze, corten steel, wood, cast iron, and stone.

Tony Cragg is one of the most distinguished contemporary sculptors working today. Cragg’s work developed within the context of diverse influences including early experiences in a scientific laboratory; English landscape and time-based art, a precursor to the presenting of found objects and fragments that characterized early performative work; and Minimalist sculpture, an antecedent to the stack, additive and accumulation works of the mid-seventies. Cragg has widened the boundaries of sculpture with a dynamic and investigative approach to materials, to images, and objects in the physical world, and an early use of found industrial objects and fragments.

The current exhibition presents recent innovations and diversifications of this visual morphology. One of the legacies of &quot;Early Forms,&quot; how one vessel can transform into another and in its alteration reveal its interior space, is brought to life in &quot;Cubic Early Form,&quot; 2010 and &quot;Turning Point,&quot; 2011, as is the intricate choreography of interlocked forms and negative/positive space in &quot;Lost in Thought,&quot; or the complex shapes cut from wood in &quot;Chip&quot;, 2011. The motif of sequentially mutating silhouettes that have appeared in recent works are present in &quot;Hollow Head,&quot; 2008, alongside the complex elliptical and axial stacked constructions that began with &quot;Rational Beings.&quot; Here they extend as if to incorporate speed and rhythmic, elastic motion in &quot;Red Figure,&quot; 2009 and &quot;Runner,&quot; 2011; are layered and heaped in &quot;Accurate Figure,&quot; 2011 and &quot;Thumbs Up,&quot; 2011; or coalesce into families of striking multiple columnar forms as in &quot;Group,&quot; 2011 and &quot;Versus,&quot; 2011.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/DE48-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/DE48-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/DE48-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-01</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-01" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.763253</Latitude>
  <Longitude>-73.974683</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/DE5B" href="http://www.nyartbeat.com/event/2012/DE5B">
  <Name>&quot;Departure&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/598BC9AF">
    <Name>2/20 Gallery</Name>
    <Type>Gallery</Type>
    <Address>220 W 16th St., New York, NY, 10011</Address>
    <Phone>212-807-8348</Phone>
    <Fax></Fax>
    <Access>Between 7th Ave. and 8th Ave.  Subway: 1/2/3/9/ to 14th Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_east">East Chelsea</Area>
    <OpeningHour>14:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Departure is a dual exhibition, celebrating the work of artists Pansum Cheng and Phyllis and Victor Merriam, which takes the viewer on a journey into the artists’ exploration of the dislocation of physical space from the forms that exist within it. Through the mutual negation of space by form and form by space, obvious connections are lost and the audience is challenged to venture beyond the visual and enter the works in an emotional way.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/DE5B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/DE5B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/DE5B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.740069</Latitude>
  <Longitude>-73.999256</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/DE66" href="http://www.nyartbeat.com/event/2012/DE66">
  <Name>&quot;Plane &amp; Solid&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/F815F002">
    <Name>AG Gallery</Name>
    <Type>Shop</Type>
    <Address>107-A N 3rd St., Brooklyn, NY 11211 </Address>
    <Phone>718-599-3044</Phone>
    <Fax></Fax>
    <Access>Between Wythe Ave. and Berry  St. Subway: J/M/Z/ to Marcey Avenue, L to Bedford Avenue.</Access>
    <Area areaId="williamsburg">Williamsburg</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>fridays closinghour 21:00, saturday closinghour 21:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Other</Media>
  <Description><![CDATA[Because architecture has both aspects as being an artwork itself and a subject of artworks; also naturally it has phases form 2D image on blue print to 3D structure when it built, the works selected for this exhibition have a variety of media and shapes from plane to solid and have in it some of the elements of “Architecture” in different ways.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/DE66-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/DE66-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/DE66-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-03-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-03" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>45</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.71681</Latitude>
  <Longitude>-73.961848</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/DE92" href="http://www.nyartbeat.com/event/2012/DE92">
  <Name>&quot;007_Urban_Songline&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/BBB9B5CB">
    <Name>Storefront for Art and Architecture</Name>
    <Type>Other</Type>
    <Address>97 Kenmare St.,  New York, NY 10012</Address>
    <Phone>212-431-5795</Phone>
    <Fax>212-431-5755</Fax>
    <Access>Between Cleveland  Place and Mulberry St. /Subway: 6 to Spring Street or R/W to Prince Street</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Architecture</Media>
  <Media>Screen: Digital</Media>
  <Description><![CDATA[Storefront for Art and Architecture presents 007_Urban_Songline by Allard van Hoorn. The exhibition is the artist's first solo exhibition in New York and will continue his series of works that explore the tradition of Songlines through a site-specific, newly commissioned work that will literally transform the Acconci/Holl façade into a sound instrument. 
 
The origin of Songlines [or Dreaming Tracks] can be traced to Australian indigenous systems for navigation and caretaking of land achieved by mapping space through the creation of music based on the topography of land. Throughout the duration of 007_Urban_Songline, van Hoorn will create a series of Dreaming Tracks utilizing the changing morphology of the Storefront façade and the sounds emerging from the urban sonic context of the gallery.
 
The installation will consist of an interwoven network of strings throughout the façade and the gallery space that will transform the facade into an interactive, responsive musical instrument. Storefront's façade contains 12 panels that pivot vertically or horizontally to open the entire length of the gallery directly onto the street. When a panel of the façade moves, the strings will physically activate the totality of the façade and acoustically transform the space of the gallery making the different spatial transformations audible for visitors. Visitors will become performers and will be encouraged to manipulate the installation as they transcend the space by moving the panels of the façade and stretching and playing the fields of strings with their bodies, thus constructing and transforming the acoustic and visual topography of Storefront.
 
The project will allow the visitor to experiment on an architectural scale the connection between sound, tension, materiality and space. 
 
Orchestrating the sounds between urban context and installation content, van Hoorn will strategically distribute a system of microphones throughout the different acoustic nodes around the gallery and its surroundings that will all merge into a synthesized, real time Songline audible to visitors in the gallery. The continuous Urban Songline produced throughout the length of the exhibition will be constantly streamed live and recorded and available in the Storefront Sound Archive.
 
For the opening night of the exhibition, van Hoorn will perform a concert of 7 Urban Songlines recorded in the space throughout the pre-opening days. In addition to performances held in the space throughout the length of the exhibition, Storefront will host events to discuss the theme of Public City Sounds; including a panel discussion moderated by the artist with sound engineers and architects. During the closing event, which will take place on February 18, 2012 at 7 PM, a live performance will mix different versions of the Storefront Songline that will then be cut live into vinyl and given away.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/DE92-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/DE92-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/DE92-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-18</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote>A live performance will be held on February 18, 2012 at 7 PM.</ScheduleNote>
 <Party type="1" date="2012-01-17" start="19:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.721325</Latitude>
  <Longitude>-73.996975</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/DF70" href="http://www.nyartbeat.com/event/2012/DF70">
  <Name>Marilla Palmer &quot;Nature Burlesque&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/F457E489">
    <Name>Kathryn Markel Fine Arts</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., Suite 6W, New York, NY 10011</Address>
    <Phone>212-366-5368</Phone>
    <Fax>212-366-5468</Fax>
    <Access>Between 10th and 11th Avenue. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_20">Chelsea 20th</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>saturdays openinghour 11:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Marilla Palmer's delicate compositions of flowers and leaves combine nature and theatrical embellishments; sequins, glitter and beads are all decadent components used to make nature her Soubrette. Palmer's eight new works on paper and sculptures reflect her overall interest in combining natural elements with fabricated materials. Palmer's faux botanical studies are derived directly from fallen shadows of handheld twigs and branches, and incorporate mushroom spores with thread, pressed leaves with holographic paper, and glitter with watercolor. The intricacy of Palmer's work entices exploration and beguiles the viewer. Look close and the work reveals details of intense study that are faithfully copied but made to be, as Palmer says, &quot;more gorgeous, more exciting.&quot; It is what Mother Nature would create if she were casting a play. Marilla Palmer gilds the lily of nature in its perfection; delicate and ethereal, sensual and seditious, it is nature accompanied by flare.

Marilla Palmer lives and works in Brooklyn, NY and has had numerous exhibitions of her work in New York and Los Angeles. She received her B.A. from Philadelphia College of Art. A review of a New York exhibition in the New Yorker says Palmer &quot;successfully amalgamates light-emitting diodes and bits of forest fungus.&quot; Time Out New York said Palmer &quot;sidesteps kitsch to create vivid and complex environment&quot;; and the Village Voice described her work as &quot;wistful rather than ornamental.&quot;]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/DF70-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/DF70-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/DF70-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746167</Latitude>
  <Longitude>-74.0062</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/DF76" href="http://www.nyartbeat.com/event/2012/DF76">
  <Name>Bruno Hadjadj &quot;Bye Bye CBGB&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/21F41C8E">
    <Name>Clic Bookstore &amp; Gallery (255 Centre St.)</Name>
    <Type>Shop</Type>
    <Address>255 Centre St., New York, NY 10013</Address>
    <Phone>212-966-2766</Phone>
    <Fax></Fax>
    <Access>Corner of Broome St.  Subway: 6 to Spring Street</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[BYE BYE CBGBs is a final goodbye to one of the last relics of New York punk rock and 1970s/1980s underground culture. CBGBs is a place that continues to thrive on in the collective unconscious; a historic landmark that belongs just as much to teenagers buying their first Ramones album as it does to those who attended the first Ramones gigs in 1974. It was in this dingy little rock den on Bowery and Bleecker that the seeds of punk rock germinated before transforming worldwide counterculture forever. Forget the Sex Pistols or The Clash -- it was home-spun heroes like Patti Smith, Television, and The Ramones who were at the forefront what we now understand as punk. Dirty, rebellious, crass, unpracticed, and irreverent, this new breed of rock ‘n roll hellcats who performed nightly at CBGBs redefined what it means to be a voice of a generation. During its thirty-three years in existence, CBGBs dictated and detected new currents and strains of rock ‘n roll like no one place has since.

On October 14th, 2006 people came from all other the world to say “Bye Bye” to CBGBs before the club shut its doors for good. Indoors, there were 48-hours of star-studded performances, but it was the emotionally-charged going-ons right outside the club’s doors that captivated multimedia artist Bruno Hadjadj. Using sketches, photography, and videos, he immortalized the anonymous throngs who queued up outside to pay their final respects. For two days people dedicated poems, artworks, mementos, and performances to the legacy of the greatest rock club of all time. Hadjadj’s resultant body of work not only tells the tale of an era coming to an end, but also pays testament to the incredible endurance of CBGBs influence.

“Bye Bye CBGB” is comprised of black and white prints and silver prints mounted on light boxes with the flickering electric lights animating the figures. The accompanying sketches are rendered with a mix of ink and pencils.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/DF76-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/DF76-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/DF76-170" width="170" />
  <Karma>1.17172</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-30</DateStart>
  <DateEnd>2012-02-28</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>19</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.720306</Latitude>
  <Longitude>-73.998308</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/E061" href="http://www.nyartbeat.com/event/2012/E061">
  <Name>Thomas Eggerer and R.H. Quaytman &quot;Preludes&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/C889AF53">
    <Name>Friedrich Petzel Gallery</Name>
    <Type>Gallery</Type>
    <Address>535 &amp; 537 W 22nd St., New York, NY 10011</Address>
    <Phone>212-680-9467</Phone>
    <Fax>212-680-9473</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</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="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>And by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Friedrich Petzel Gallery presents Preludes, a collaboration between Thomas Eggerer and R.H. Quaytman. This is Thomas Eggerer and R.H. Quaytman’s third collaboration together.

The exhibition Preludes consists of three collaborative paintings between Thomas Eggerer and R.H. Quaytman with an additional large acrylic painting, Regatta (2009), by Eggerer. Working together, Eggerer and Quaytman selected images for screenshots from documentary footage of piano virtuoso Arturo Benedetti Michelangeli (1920 – 1995). The artists then followed Quaytman’s standard medium and formats by creating silkscreens on gessoed panels measuring: 32 3/8 x 52 3/8 inches (82.2 x 133 cm), and 32 3/8 x 32 3/8 inches (82.2 x 82.2 cm). The silkscreened images are each interrupted by Eggerer’s hand painted band across the surface.

The images of Michelangeli were selected because of Thomas Eggerer’s ongoing interest in representations of male authority. The temporal and spatial stability of this classic genre of musical portraiture is overturned through color and form via the painted image. The photographic crop appears to threaten the hierarchy of the virtuoso in relation to his instrument. The piano becomes a landscape that is at once wellspring and menace. The dated illustionistic space of the image itself becomes another kind of landscape between the painted gesso ground and the oil painted line. Eggerer and Quaytman’s process of reconfiguring and reframing the image, subdues the pianist’s and the painter’s authorial autonomy. The piano becomes the guiding vessel, an external body, and an allusion to a black coffin mirroring the pianist on the inside of its lid. In addition, the raised piano lid resembles the sailboat that quietly keels upon the endless horizon in Regatta.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/E061-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E061-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E061-170" width="170" />
  <Karma>1.65266</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747381</Latitude>
  <Longitude>-74.00555</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/E34F" href="http://www.nyartbeat.com/event/2012/E34F">
  <Name>Michelle Matson &quot;Rise&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/98DB3881">
    <Name>PLEATS PLEASE ISSEY MIYAKE</Name>
    <Type>Shop</Type>
    <Address>128 Wooster Street, New York, NY 10012</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>On the corner of Prince St. Subway: N/R to Prince Street or C/E to Spring Street.</Access>
    <Area areaId="soho">Soho</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 12:00, sundays closinghour 18:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[PLEATS PLEASE ISSEY MIYAKE presents BRAVO TV’s Work of Art contestant Michelle Matson, and her latest paper sculpture installation entitled RISE.

PLEATS PLEASE ISSEY MIYAKE’s Spring/Summer 2012 collection was designed around the themes of BELIEF and KACHINA, the Native American (Hopi) spirit beings that are oftentimes depicted as colorful dolls. It is believed by Kachina devotees that life is present in all objects of the universe. Our interaction with the life force emanating from the beings and objects around us is considered central to our survival.

Reflecting on these concepts, artist Michelle Matson created a totem-like sculpture for PLEATS PLEASE ISSEY MIYAKE store visitors to interact with. Made with her signature technique of paper cutting, it is accompanied by numerous paper birds that emerge from the sculpture as if flying towards the skies, a physical embodiment of the exchange of life force energy. The overall installation conjures up feelings of grace, joyfulness, and mystery; all in the spirit of the Hopi ideals.

Michelle Matson is an interdisciplinary artist working predominantly with paper sculpture. A graduate of the School of Visual Arts in New York City, Matson has worked assisting prominent artists such as Marilyn Minter and Josephine Meckseper. Her unusual paper creations that are oftentimes inspired by nature, and more intriguingly by body fluids, have been exhibited at Kravets Wehby Gallery, Postmasters, Stux Gallery, and Zach Feuer’s Project Space, among others. In 2011, Matson was selected to participate in BRAVO TV’s reality show Work of Art: The Next Great Artist, produced by actress Sarah Jessica Parker. Matson competed against 13 other up-and-coming artists and proved to be judge and New York Magazine art critic Jerry Saltz’s evident favorite.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/E34F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E34F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E34F-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-10</DateStart>
  <DateEnd>2012-03-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-16" start="19:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>31</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.72517</Latitude>
  <Longitude>-73.999931</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/E3CC" href="http://www.nyartbeat.com/event/2012/E3CC">
  <Name>&quot;The Family Jewels&quot; and &quot;Dorian, the Wallpaper Collection&quot; Exhibitions</Name>
  <Venue href="http://www.nyartbeat.com/venue/00038288">
    <Name>Stephan Stoyanov Gallery</Name>
    <Type>Gallery</Type>
    <Address>29 Orchard St., New York, NY 10002</Address>
    <Phone>212-582-4425</Phone>
    <Fax>212-582-2366</Fax>
    <Access>Between Hester &amp; Canal Sts.  Subway: F to East Broadway, B/D to Grand Street</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 12:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Stephan Stoyanov Gallery presents &quot;The Family Jewels&quot;, Hannah Barrett's series of paintings and drawings depicting a hermaphrodite master race; and &quot;Dorian, the Wallpaper Collection&quot;, Michelle Handelman's selection of ambient video loops from Dorian, a Cinematic Perfume, a project based on Oscar Wilde's The Picture of Dorian Gray.
 
In The Family Jewels, small Cranach-like icons portray an omnisexual elite enjoying their leisure in a fantasy realm reminiscent of William S. Burroughs'. Barrett creates an alternative pantheon by fusing the bodies of Hitler and Queen Elizabeth, ultimate symbols of blood-based superiority, and placing them in understated, highly charged settings. To accompany her first solo New York show, Barrett invites 2011 Guggenheim Fellow Michelle Handelman to exhibit photographs and videos from her acclaimed parable of decadence and narcissism, Dorian, a Cinematic Perfume. In this video installation characters and musicians of the underground '80s club scene act out the extremes of youthful beauty and aging decomposition as symbolized by Dorian Gray's secretly blistering portrait. Dorian exists as a contemporary celebrity, destroyed by a vacant ambition.
 
While Barrett paints in oil and gold leaf on panel, and Handelman shoots in high definition video, both create a cast of morally and sexually ambiguous characters engaged in exclusive and rarified power games and rituals. Handelman's lush glamour and Barrett's meticulous craftsmanship conspire to reveal pristine surfaces that are shattered by conflicted emotions and dark history.

[Image: &quot;Dead Dorian&quot; from Dorian by Michelle Handelman / &quot;The Bread of Future Generations&quot; by Hannah Barrett]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/E3CC-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E3CC-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E3CC-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-15</DateStart>
  <DateEnd>2012-02-19</DateEnd>
  <ScheduleNote>Artists Talk: Sunday, February 12, 4-5pm</ScheduleNote>
 <Party type="1" date="2012-01-15" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>10</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.715628</Latitude>
  <Longitude>-73.991703</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/E632" href="http://www.nyartbeat.com/event/2012/E632">
  <Name>&quot;Sound of Silence: Art During Dictatorship&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/17610F30">
    <Name>EFA Project Space</Name>
    <Type>Gallery</Type>
    <Address>323 W 39th St., 11 Fl., New York, NY 10018</Address>
    <Phone>212-563-5855</Phone>
    <Fax>212-563-1875</Fax>
    <Access>Between 8th and 9th Ave. Subway: A/C/E to 42th Street or A/C/E to 34th Street.</Access>
    <Area areaId="midtown">Midtown</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="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Prints</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Curated by Belarus-born Olga Kopenkina, this exhibition brings together nine of the most active young artists from Belarus, and their videos, posters, paintings and installations created in solidarity with popular protests against the December 2010 rigged election and state-sanctioned crime that unfolded in its aftermath. Belarus President Lukashenka usurped governmental control seventeen years ago, and proceeded to turn Belarus, a once culturally vibrant country re-establishing its identity after the fall of the Soviet Union, into a repressed and stagnant dictatorship. In December 2010, accusations against falsified presidential elections brought rise to a wave of peaceful protests throughout the country, which were reacted strongly against by the police and the government through violence, mass arrests, unlawful trials for the oppositional leaders and activists, and long jail terms. 
 
Young artists in Belarus responded strongly to the fast growing protest movement with new and bold expression-actions that have been gaining visibility throughout Europe despite the governments efforts to silence them. This is the generation of artists who grew up under the dictatorship of Lukashenka and now many of them have found brazen voices that enable them to take giant risks, challenging the status quo while faced with the constant threat of arrest and the fate of political exile. &quot;Sound of Silence&quot; is the first exhibition in New York City that surveys the recent and powerful activities coming from this generation of Belarusian artists. It presents a range of installation, documentation and objects: from the work generated by the collective www.antibrainwash.net, an artists-run activist website, which features radical protest posters and materials that can be downloaded, printed and distributed; to Marina Naprushkina's constantly morphing installation &quot;The Office of Anti-Propaganda,&quot; that presents images, objects, slogans and video footage exploring the illusory reality the Belarus government created through public campaign; to documentation of Ales Pushkin's outlandish staged performance protests delivered to the President, police, and other officials that led him to immediate and constant arrest; to the Minsk-based group FAU's &quot;Monopoly: The Belarusian Edition&quot;  that addresses the dominance of economics over politics and culture, when the players assume the roles of government officials and winning depends upon being the most corrupt; to Yauheni Shadko's expressionistic narrative paintings of recent political events.

[Image: antibrainwash.net &quot;Tortures #3 and #6&quot; (2011) (from series of 9 downloadable posters]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/E632-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E632-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E632-170" width="170" />
  <Karma>4.3769</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-27</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-27" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.755619</Latitude>
  <Longitude>-73.991822</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/E696" href="http://www.nyartbeat.com/event/2012/E696">
  <Name>Ray Smith &amp; G.T. Pellizzi &quot;The Execution of Maximilian: Border Paintings&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/DB6B2A8E">
    <Name>Y Gallery</Name>
    <Type>Gallery</Type>
    <Address>165 Orchard St., New York, NY 10002</Address>
    <Phone>917-721-4539</Phone>
    <Fax></Fax>
    <Access>Between Stanton and Rivington Sts., Subway: F to 1st Avenue or F/M/J/Z to Delancey Street.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>saturdays openinghour 11:00, sundays openinghour 11:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Y Gallery presents &quot;The Execution of Maximilian: Border Paintings&quot; by Ray Smith and G.T. Pellizzi, two Mexican-American artists of different heritages, but common cultural backgrounds. The exhibition refers to the violence represented by the border itself, replicated in the way illegal immigrants are treated—“backyard” policies creating a ripple effect of economic and social strife, as far off as in cities such as Ciudad Juarez. The daily violence that is produced at the borders is somehow reflected through these paintings, which were executed by shooting at cans of paint with shotguns, on the Texan border of Mexico near Brownsville, between the end of 2011 and the beginning of 2012. The making of the paintings took place outdoors in what is, and has been for over a century, the dump for the Iturria Ranch. This arena of action and the displacement of painterly production from the artist’s studio directly into nature and the outdoors echoes the Impressionist movement-taking place around the same time as Manet’s Maximilian paintings. Here, though, the natural landscape is taken to reference the Mexican–American border.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/E696-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E696-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E696-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-06</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>26</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.721164</Latitude>
  <Longitude>-73.988861</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/E6B9" href="http://www.nyartbeat.com/event/2012/E6B9">
  <Name>Jamy Kahn Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/58D45216">
    <Name>Brenda Taylor Gallery</Name>
    <Type>Gallery</Type>
    <Address>505 W 28th St., New York, NY 10001</Address>
    <Phone>212-463-7166</Phone>
    <Fax>212-463-8083</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_28_above">Chelsea 28th - 33rd</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[[Image: Jamy Kahn &quot;EXOTERRA: High Spirits Series&quot; 3-dimensional construction, acrylic on canvas on wood, 37 x 68 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/E6B9-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E6B9-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E6B9-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-21</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-28" start="17:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751114</Latitude>
  <Longitude>-74.002191</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/E6CD" href="http://www.nyartbeat.com/event/2012/E6CD">
  <Name>&quot;All Humans Do&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/164AD061">
    <Name>WHITE BOX</Name>
    <Type>Gallery</Type>
    <Address>329 Broome St., New York, NY 10002</Address>
    <Phone>212-714-2347</Phone>
    <Fax>212-714-2354</Fax>
    <Access>Between Bowery and Chrystie st. Subway: B/D/Q to Grand Street or J/M to Bowery Street.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>saturdays openinghour 12:00, sundays openinghour 12:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[Curated  by Aoife Tunney]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/E6CD-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E6CD-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E6CD-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-02-20</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>11</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.719158</Latitude>
  <Longitude>-73.994158</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/E7A8" href="http://www.nyartbeat.com/event/2012/E7A8">
  <Name>John Cohen &quot;Early Work: 1954-1957&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/C28BBE9E">
    <Name>Parker Stephenson Photographs</Name>
    <Type>Gallery</Type>
    <Address>764 Madison Ave., Suite 4F, New York, NY 10065</Address>
    <Phone>212-517-8700</Phone>
    <Fax></Fax>
    <Access>Between 65th and 66th Sts.  Subway: 6 to 68th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Be careful often by appointment only.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[L. Parker Stephenson Photographs presents John Cohen Early Work: 1954-1957, an exhibition of photographs by filmmaker, musician, and photographer, John Cohen.
 
The exhibition features Cohen's early photographs, some never before seen, of the streets of New Haven, Connecticut, and rousing gospel gatherings in New York City. While attending Yale University in the 1950's, Cohen often left the painting studio to photograph the surrounding neighborhood and was drawn to the wide-ranging activities on Oak Street. The images act as a portal into a parallel world; the life of the gypsies, boxers and children in the street. In fact, the first public display of the artist's photographs took place in the gypsies' storefront window - the photographs having been decorated by the gypsies with lipstick.
 
In contrast to the quiet New Haven scenes, energy bursts forth as music takes control of the men, women and children in gospel churches Cohen discovered in Brooklyn and Harlem. The Jazz Review issued a multi-paged photo essay of the series in 1959, making it Cohen's first published work.
 
This exhibition coincides with Library of Congress' acquisition of John Cohen's archive. By acknowledging the exceptional nature of his wide-ranging oeuvre, the Library will make his photographs, films and recordings accessible to researchers and the public.
 
Through photography, Cohen (b. 1932) documented one of the most transformative eras in American arts. From the Beat film Pull My Daisy and gallery happenings by early performance artists, to young Bob Dylan's arrival in New York and Abstract Expressionist gatherings at the Cedar Bar, Cohen was present to record what are now historical events in the late 1950's and early 60's. Beyond the United States, Cohen traveled extensively to Peru, driven by a fascination for the weaving and lifestyle of the native Andean population. Photographs and recordings are available in Past, Present, Peru (2010) a multi-volume set produced by Steidl. More John Cohen titles by Steidl are expected out this year and next. Signed copies of his first monograph, There is No Eye (2001), are available at the gallery.
 
Cohen's photographs have been exhibited in numerous solo and group exhibitions and are in the collections of The Metropolitan Museum of Art, The Museum of Modern Art in New York, New York Public Library, Corcoran Gallery of Art, the Smithsonian's National Portrait Gallery, and Victoria and Albert Museum in London.
 
Cohen is also well known and has been greatly influential in the world of American folk music. As founding member of the band The New Lost City Ramblers in 1958, he was also the driving force for the field's revival and appreciation. In his quest to follow its roots he visited Appalachia to witness, film and record a vanishing generation of musicians and singers. CDs of his field recordings and his own bands are available through Smithsonian Folkways Records and he continues to perform regularly.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/E7A8-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E7A8-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E7A8-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-10</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.767796</Latitude>
  <Longitude>-73.968539</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/E8E4" href="http://www.nyartbeat.com/event/2012/E8E4">
  <Name>Whiting Tennis Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/2F9BCE37">
    <Name>Derek Eller Gallery</Name>
    <Type>Gallery</Type>
    <Address>615 W 27th St., New York, NY 10001</Address>
    <Phone>212-206-6411</Phone>
    <Fax>212-206-6977</Fax>
    <Access>Between 11th and 12th Ave. Subway: C/E to 23rd Street or A/C/E to 34th Street</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Derek Eller Gallery presents an exhibition of new work by Whiting Tennis. 

Whiting Tennis' assemblages communicate empathy for the worn and neglected, for the histories engrained in objects and structures. Beginning with free-hand geometric sketches, his paintings employ wood-block prints and collage to transmute human and animal figures into architectural forms. Sculptural works, created with utilitarian materials such as plywood and plaster, are similarly anthropomorphized.  Flesh becomes solid, impenetrable, doorless, windowless, shut tight to the world, while the surfaces, the skin, bear the patina of age and experience.  

Works such as Hybrid, Droopy, and Glum evoke both the masculine romanticism of lone figures in desolate landscapes and the endearing quality of the battered and vulnerable. Tennis' compositions contain a brooding solitude and an awkward geometry of clashing planes and collapsing depths. Meticulously cobbled together, the shifting planes and shuffling perspective nod to Cezanne, Schwitters, and Cubism--the giants of Modernity meet American made-in-the-shed familiarity. With dexterity and formal rigor, Tennis's assemblages employ workaday materials to generate a rustling, deeply human world.

Whiting Tennis lives and works in Seattle, Washington and has been included in numerous solo and group exhibitions throughout the United States. He recently had his first solo museum show at the Frances Young Tang Teaching Museum and Art Gallery at Skidmore College. This will be his fourth solo exhibition with the gallery.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/E8E4-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E8E4-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E8E4-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-17</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-17" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751575</Latitude>
  <Longitude>-74.005528</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/E916" href="http://www.nyartbeat.com/event/2012/E916">
  <Name>Christopher Russell &quot;After the Golden Age&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/FB74E473">
    <Name>Julie Saul Gallery</Name>
    <Type>Gallery</Type>
    <Address>535 W 22nd St, 6 Fl., New York, NY 10011</Address>
    <Phone>212 627-2410</Phone>
    <Fax>212 627-2411</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street or A/C/E to 14th Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Russell’s second exhibition at the gallery will be a ceramic still-life installation comprised of multiple elements including fruit bowls, birds and obelisks. The elements have historical references to European decorative arts and monuments as well as natural history and Russell is using a new glaze that mimics the feeling of stone.

Russell describes the impetus for this new body of work: &quot;The essential element of the still life is not the golden goblet or the Ming bowl, or even the pile of luxurious fruit. The essential element of the still life is the bug haunting the fruit bowl, the worm that burrows into the surreally beautiful apple. All still life is haunted. It is haunted with desire and greed, with the past and loss, with ostentation and pride.

I started the work that has become &quot;After the Golden Age&quot; when I got back to the studio from a trip to Paris, the sadness of beauty and grandeur was very strong. The world is so beautiful, there are so many beautiful things, but sometimes it all feels cursed.”

Currently, Russell is completing a commission for the Metropolitan Transit Authority's Arts for Transit office who selected his design proposal for the 9th Avenue Brooklyn Station. The commis- sion includes cast bronze ornamental gates and finials in the shapes of magnified, bee-covered honeycombs and flowers. The motifs of bees and birds and thistles have been carried over from his earlier ceramic work shown here in 2009 and at Wave Hill in 2008.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/E916-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E916-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E916-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747453</Latitude>
  <Longitude>-74.005631</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/E93E" href="http://www.nyartbeat.com/event/2012/E93E">
  <Name>&quot;Point of Entry&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/3FB35CE4">
    <Name>Ana Cristea gallery</Name>
    <Type>Gallery</Type>
    <Address>521 W 26th St.,  New York, NY 10001</Address>
    <Phone>212-904-1100</Phone>
    <Fax>212-904-1171</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street Station</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Ana Cristea Gallery presents &quot;Point of Entry&quot;, a group show that brings together the work of three remarkable artists: Oliver Clegg, Daniel Pitin and Nicola Samori. The artists are all figurative painters concerned with the relationship between the surface they paint on and the subjects they depict. Each painter approaches this way of working from his own unique perspective, but each is concerned with how the viewer becomes implicated in the journey of the expression and resolution of the artist's ideas and feelings. Art, particularly painting has the ability to render that which is invisible, visible. Atmospheres and memories can be translated into a form that can not only be seen but also felt. With this in mind, the question of how the viewer can 'enter' a painting becomes even more pertinent.

In the case of Oliver Clegg, the process is enabled through the associative power of the found object and its 'ready-made' history. Child's play is a motif that runs throughout Clegg's work. His paintings of discarded toys are executed on objects such as found drawing boards or school desks. Clegg is sensitive to the significance of ordinary objects transformed in the hands of writer or artist.  While still at school Clegg collected old drawing boards, prizing them for their scratchings, doodles, and unique history of someone else's life. By working with these and other artefacts such as blanket boxes, chess sets, old diaries and more recently, prayer desks, Clegg allows the viewer to wander between narratives and worlds, uniting extant references with new images, or creating entirely new ones, recalling Duchamp. Clegg is also inspired by past masters and movements, particularly the Baroque period, as can be seen from his depictions of dramatically lit figures and still lifes. The elements one associates with this era: vanitas, chiaroscuro and a dramatic sense of theatre, run a vivid course through Clegg's work, situating his practice in the curious position of classically inspired conceptualism.

Daniel Pitin's darkly brooding paintings pan from dreamy landscapes to emotionally charged interiors to figures lounging on dingy sofas in dimly lit rooms. It is not hard to see that both film noir and old school detective dramas have been key sources of inspiration for Pitin. For Pitin crime films are particularly interesting because of the role of the detective who is someone with access to all levels of society while not belonging to any of them. He has the power to subvert the social strata and unearth secrets, in a way, the detective is similar to the position of the painter; he too can enter all levels of society. More than this, he can pare down the image he works with, leaving only a trace of its original essence behind like a clue in a crime scene. This glimpse allows the viewer to assume the role of detective, prompting the questions of what is happening, wh­at has taken place. This knowledge with the artist's deliberate decision to disrupt the surface of his paintings with abrasions, scrawling and charred fragments of burned paper and canvas, provide us with the means of entering Pitin's twilight world. The artist is attracted to situations where, he says 'you are neither here nor there'. The 'normal' rules no longer apply.

It is impossible to look at Nicola Samori's paintings without thinking of skin. The works are lushly painted in the fashion of an old master, but rather than simply aping the greats of the High Renaissance or the Baroque by repeating grand motifs of history painting, he chooses to disrupt the images he depicts by focusing on the process inherent to making painting.  Samori opens his surfaces as a surgeon would a body with a knife.  This 'skin' itself is sometimes comprised of skin - rabbit skin glue - a size which tightens the surface.  He treats the surface of his paintings as a skin: sometimes he pulls it, sometimes he uses perspective and chiaroscuro to create three dimensionality and drama. At other times he fuses subject with material imitating the act of flaying and actually creating stringy folds by cutting the canvas.  His work focuses on the corporeal: every part of his practice is about teasing and testing the skin and the flesh.  Samori's figures peel like skinned oranges, the floral still lifes grow skins of their own and sometimes, as if in a frenzied need to break through the skin into the puddled flesh beneath, he uses his fingers to push and scrape at the paint; the disruption of the surface being the point of entry.

[Image: Nicola Samori]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/E93E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E93E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E93E-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750029</Latitude>
  <Longitude>-74.003457</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/E9D1" href="http://www.nyartbeat.com/event/2012/E9D1">
  <Name>Jean Dubuffet &quot;The Last Two Years&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/971F8948">
    <Name>The Pace Gallery (510 W 25th St)</Name>
    <Type>Gallery</Type>
    <Address>510 W 25th St., New York, NY 10001</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave.  Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</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[An exhibition featuring nearly twenty works from the final two bodies of work by Jean Dubuffet, who died in 1985. In 1983 Dubuffet unleashed an extended color palette across the canvas, removing the borders and a representational reference point. From February 1983 to February 1984, the artist painted the Mires, or “Test Patterns,” exclusively, meant to evoke in viewers a visceral reaction that might rid the mind of the teachings of culture and tradition so as to see with a naked eye. Dubuffet entitled his final series Non-Lieux, a legal term meaning neither guilty nor innocent—in effect, “no verdict.”]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/E9D1-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E9D1-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E9D1-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749086</Latitude>
  <Longitude>-74.00385</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/EA52" href="http://www.nyartbeat.com/event/2012/EA52">
  <Name>Breyer P-Orridge &quot;I'm Mortality&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/946E5141">
    <Name>INVISIBLE-EXPORTS</Name>
    <Type>Gallery</Type>
    <Address>14A Orchard Street, New York, NY 10002</Address>
    <Phone>212-226-5447</Phone>
    <Fax></Fax>
    <Access>Between Hester and Canal Sts.  Subway: F to East Broadway</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:30:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment. </ScheduleNote>
  </Venue>
  <Media>2D: Graphics</Media>
  <Media>2D: Prints</Media>
  <Media>3D: Sculpture</Media>
  <Media>Screen: Film</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/EA52-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EA52-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EA52-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-17</DateStart>
  <DateEnd>2012-03-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-17" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>45</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.715058</Latitude>
  <Longitude>-73.991617</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/EABA" href="http://www.nyartbeat.com/event/2012/EABA">
  <Name>&quot;My Last Attempt&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/EC88A2E5">
    <Name>SVA Gallery</Name>
    <Type>University or School</Type>
    <Address>209 E 23rd St., New York, NY</Address>
    <Phone>212-592-2145</Phone>
    <Fax></Fax>
    <Access>Between 2nd and 3rd Ave. Subway: 6 to 23rd Street or R/W to 23rd Street</Access>
    <Area areaId="flatiron_gramercy">Flatiron, Gramercy</Area>
    <OpeningHour>09:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 10:00, saturdays closinghour 18:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Prints</Media>
  <Description><![CDATA[An exhibition of projects by students in the MFA Illustration as Visual Essay Department based on Brendan Matthews' short story &quot;My Last Attempt to Explain to You What Happened with the Lion Tamer&quot; and completed in the Book Seminar class of Fall 2011. Curated by faculty member Viktor Koen. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/EABA-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EABA-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EABA-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-10</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-14" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.738761</Latitude>
  <Longitude>-73.982936</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/EAF8" href="http://www.nyartbeat.com/event/2012/EAF8">
  <Name>Even Robart and James Moore Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/31ECD29E">
    <Name>Open Source Gallery</Name>
    <Type>Gallery</Type>
    <Address>255 17th St., Brooklyn, NY 11215</Address>
    <Phone>646-279-3969</Phone>
    <Fax></Fax>
    <Access>Between 5th and 6th Ave. Subway: R to Prospect Avenue</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</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>Check with the gallery for the hours. </ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Open Source presents Evan Robarts and James Moore.

Responding to their environment, Evan Robarts and James Moore will be presenting two site specific works intending to activate the space into a different dimension based on their work’s energies. Both artists work is characterized by formal and conceptual experimentation with material and a desire to transform thoughts into objects. An exchange and interplay of notions ranging from platonic ideals, semiology, biomimicry and nostalgia influence and infiltrate one another changing the original context of their individual pieces while its interplay creates a new understanding to the larger work as singular whole.

Evan Robarts’ work stems from an attraction to material and form as a means to capture the ideal and eternal. Reaching back to his childhood, he incorporates nostalgic memories, colors, and objects in his work. “Youth is central in my work, I relate very strongly to the evocative pull of the mysticism and unencumbered joy of childhood.” says Robarts about his work.

James Moore experiments with industrial objects that symbolically resemble organic matter, such as foam as tree sap, electrical circuits as a human nervous system, and modern, architectural spaces with life forms and bodily matter seeping from the cracks. “I often inject what I see as a mutating, extraterrestrial, and psychedelic life force into my work in order to resurrect or rebirth a space in contrast. ”

At Open Source Evan Robarts shows a variation of the series “popsicles”. He covers the concrete floor with (melted) popsicles. In juxtaposition to Evans nostalgic installation, James Moore will install a single light sculpture that leaks a primordial ooze out of the bulbs, reminiscent of the office light at one’s day job, or factory. As if it had a mysterious visitor channelling through it from another world.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/EAF8-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EAF8-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EAF8-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-11</DateStart>
  <DateEnd>2012-02-28</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-11" start="19:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>19</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.663472</Latitude>
  <Longitude>-73.990611</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/EC0D" href="http://www.nyartbeat.com/event/2012/EC0D">
  <Name>Victoria Neel Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/2846B77F">
    <Name>Jason McCoy, Inc. (Midtown)</Name>
    <Type>Gallery</Type>
    <Address>41 E 57th St., New York, NY 10022</Address>
    <Phone>212-319-1996</Phone>
    <Fax>212-319-4799</Fax>
    <Access>Corner of Madison Ave. Subway: N/R/W to 5th Avenue or 4/5/6 to 59th Street or E/V to 5th Avenue/53rd Street</Access>
    <Area areaId="midtown">Midtown</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[The gallery presents a group of paintings and works on paper by the New York based artist Victoria Neel. With an occasional affinity for the bizarre, Neel reinvestigates figurative expressionism. Though her style consciously borders on the naïve, her clear-eyed depictions of people, animals and mythic scenarios are far from innocent. She is particularly interested in contrasts. In her work, beauty and destruction, capture and flight, as well as loss and gain are always in close proximity.

In this complex installation of over 30 works from the past decade, Neel explores a concept she refers to as “Birds without Sky”. Many of the compositions feature antique airplanes on the ground or in mid-air, as well as urban pigeons. All these winged creatures, be they of mechanical or natural make up, serve as metaphors for dislocation and metamorphosis. While the pigeons are often considered a nuisance in the cities, Neel bestows them with iconic stature. Set against crisp white or black backgrounds, they transform into dignified reminders that we all are creatures of the same universe.

[Image: Victoria Neel &quot;Untitled&quot; (2011) gouache on paper 8.5 x 11 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/EC0D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EC0D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EC0D-170" width="170" />
  <Karma>1.2766</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-24</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-19" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>15</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.762294</Latitude>
  <Longitude>-73.972322</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/EC93" href="http://www.nyartbeat.com/event/2012/EC93">
  <Name>“To Be or Not To Be. New York City” Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/EB6AE664">
    <Name>Gallery 35</Name>
    <Type>Gallery</Type>
    <Address>30 East 35th St., New York, NY 10016</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between Madison and Park Aves., Subway : 6 to 33rd Street.</Access>
    <Area areaId="midtown">Midtown</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>Open by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[The Mantle, in collaboration with art@apt, present “To Be or Not To Be,” an exhibition featuring five Burmese artists, hosted by Gallery35 in New York City. 
 
The featured artists include Aung Zaw Tun, Kyain Lin Naing, Kyawswar Thant, Min Kyaw Khine, and Chaw Ei Thein. Collectively their work has hung in galleries and venues throughout the New York City region, Asia, and Europe.
 
“To Be or Not To Be” seeks to capture the ambiguous nature of being Burmese not only in New York, but also in an increasingly globalized world. Is there an obligation for the Burmese artist to be vocal about injustices occurring back home? “This exhibition is a stage for me to say something loudly,” says Chaw Ei Thein. “I can channel a ‘voice’ for those people who cannot express themselves not only from Burma, but also all over the world.” Adds Min Kyaw Khine: “I want to let people know what is happening in Burma. I want Burmese people to live without fear—that is why I am participating in this show.”
 
For the participating artists, their artistic fever burns as hot as their political concerns. “After a few years living outside of Burma, I’ve come to see things differently… more artistically. I want you to see what I’ve seen and what I’ve been thinking,” says Kyawswar Thant.
 
Burma (Myanmar) is experiencing significant political change. Nobel Peace Prize winner Aung San Suu Kyi has been released from prison, alongside hundreds of political prisoners. Recently U.S. Secretary of State Hillary Clinton visited the secretive country, and Suu Kyi’s political party, the National League for Democracy, has been given clearance to participate in upcoming elections. 2012 could be a formative year for the South East Asian country.
 
For Burmese artists, the time to ask “To Be or Not To Be” is now.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/EC93-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EC93-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EC93-170" width="170" />
  <Karma>1.28623</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="16:00:00" end="19:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747897</Latitude>
  <Longitude>-73.981819</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/ED06" href="http://www.nyartbeat.com/event/2012/ED06">
  <Name>“EMERGING TO ESTABLISHED, OLD AND NEW WORKS GROUP SHOW” Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/404B71BB">
    <Name>Krause Gallery</Name>
    <Type>Gallery</Type>
    <Address>149 Orchard St., New York, NY 10002</Address>
    <Phone>212-777-7799</Phone>
    <Fax></Fax>
    <Access>Between Rivington and Stanton Sts. Subway:  J/M/Z and F to Delancey/ Essex Street or J/M/Z to Bowery or F to 2nd Avenue.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:30:00</OpeningHour>
    <ClosingHour>18:30:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Graphics</Media>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</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/ED06-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/ED06-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/ED06-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-01</DateStart>
  <DateEnd>2012-03-05</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>25</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.720639</Latitude>
  <Longitude>-73.989131</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/ED55" href="http://www.nyartbeat.com/event/2012/ED55">
  <Name>Jon Kessler &quot;The Blue Period&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/17DDAC1C">
    <Name>Salon 94 Bowery</Name>
    <Type>Gallery</Type>
    <Address>243 Bowery, New York, NY 10002</Address>
    <Phone>646-672-9212</Phone>
    <Fax></Fax>
    <Access>Corner of Stanton St.  Subway: F/V to 2nd Avenue</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>tuesdays openinghour 13:00 </ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Salon 94 Bowery presents Jon Kessler’s The Blue Period (2007/2011), an immersive installation featuring kinetic machines, surveillance cameras, video monitors and life-size cardboard figures. This video-drenched panopticon is the culmination of Kessler’s longtime interest in surveillance, alienation and spectacle. First shown in Berlin in 2007, this is the work’s first installation in the US.  The Blue Period is a spiritual descendant of Society as Spectacle, Guy Debord’s seminal 1967 critique of the ascendant consumer culture, and the general passivity and isolation it engenders. Riffing on Debord and his fellow Situationists, Kessler has constructed a controlled environment in which social relations are mediated through images of a fabricated, inaccessible reality. Cameras capture real and fake spectators in a maze of monitors against blue splattered walls creating a fleeting sense of community and interconnection. Processors displace this blue with wave after wave of smiling catalog faces, setting the viewer adrift in a sea of the real and the imagined: a constant feedback loop that has a paradoxically liberating effect. This feeling is fleeting as the viewer becomes trapped in the immense accumulation of images, locked in an endless cycle of passivity and voyeurism.   
At the installation’s center an inverted model–a gallery within a gallery–is surveyed with a miniature camera. Large collaged portraits from Kessler’s residency at Dieu Donné hang on the walls, supporting Kessler’s idea of the portrait as a metaphor for captivity. A bank of box monitors imprisons familiar actors in blue-face such as Jean-Luc Godard’s Pierrot le Fou, Mel Gibson’s Apocalypto and sequences from the Blue Man Group. Like the viewer, these characters unwittingly become part of the work, and the act of looking and being seen becomes the de facto subject. The upstairs gallery exhibits four recent small-scale sculptures, each featuring a different human organ and its prosthesis: Hands (2012), Ear (2012), Foot (2012), and Eye (2012).  ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/ED55-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/ED55-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/ED55-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.722631</Latitude>
  <Longitude>-73.992975</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/ED7A" href="http://www.nyartbeat.com/event/2012/ED7A">
  <Name>Zak Prekop Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/D12CAB79">
    <Name>Harris Lieberman</Name>
    <Type>Gallery</Type>
    <Address>508 W 26th St., New York, NY 10001 </Address>
    <Phone>212-206-1290</Phone>
    <Fax>212-604-0203</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</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="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Harris Lieberman presents Zak Prekop’s second solo exhibition with the gallery.  For the occasion, the artist will present a constellation of new work that fills the gallery with polyphonies of forms and correspondences. Ranging from large blue monochromes to paper-collaged canvases, these paintings hang in delicate suspension between optical, illusionistic and material states. 
 
Several of the works on view find Prekop collaging cut paper to the backsides of raw canvas, in a play of opacities that casts the fabric in bas-relief and projects shadow-like shapes on its surface.  In others, he spreads paint out with a palette knife, as if priming a canvas and stopping short.  These incomplete fields create gestural images, but they are rerouted by various systems and procedures: sets of parallel lines that create grids or a rendering of stretcher bars fall within the edges of the fields, for example; as do forms in pink and red, painted to simulate the paper collaged beneath.  These flat, partly pictorial areas gauge the shallow depths of their armatures, taking stock of the materials that give Prekop’s paintings their physical and visual effect.
 
Colors vibrate at tonal thresholds, inducing optical states that assert the corporeality of viewing.  Standard pigments like cobalt are at turns built up and thinned out to form the palette knifed fields and pattern mesh of a new group of large-scale monochromes.  Layered into these intricate images are stencils from Prekop’s other paintings.  These formal echoes recur, throughout the exhibition, along with punctuation-like paintings of single white dots on aleatoric, red monoprints.  
 
Brown paper-bags take over the surfaces of another group of canvases.  The bags are taken apart and flattened to reveal their two-dimensional form and set into measured relationships with the edges of the canvases they are collaged to.  Prekop paints up against their creases in black or paints lines and shapes that mimic the margins between the bags and the paintings’ edges or the perforations that are part of the bags’ manufacturing and use.  Others lie untouched with paint but are combined into diptychs with columns for raw canvas that confuse the divisions between the panels.  They, too, hang in careful suspension: neither windows nor placeholders but testaments to Prekop’s poetics of method.
 
Zak Prekop (b. 1979) received an MFA from the School of the Art Institute of Chicago in 2008.  He currently lives and works in Brooklyn, New York.  He will have his first solo museum show in Fall 2012 at the Contemporary Art Museum in Raleigh, North Carolina and has had solo exhibitions at Shane Campbell Gallery, Chicago and Galleria Marta Cervera, Madrid.  His work has recently been exhibited in The Pittsburgh Biennial at Carnegie Museum of Art; The Fifth Prague Biennale, Prague, Czech Republic; and Greater New York, MoMA PS1, Queens.  Prekop also makes music and art with Hurray, a collaboration with artists Josh Brand, Peter Mandradjieff and Richard Aldrich.

[Image: Zak Prekop &quot;Untitled&quot; (2011)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/ED7A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/ED7A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/ED7A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-18</DateStart>
  <DateEnd>2012-03-15</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-18" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>35</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749679</Latitude>
  <Longitude>-74.003355</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/EE4B" href="http://www.nyartbeat.com/event/2012/EE4B">
  <Name>Alfred Leslie &quot;Figure Drawings, 1976 - 1983&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/B47DBB34">
    <Name>George Adams Gallery</Name>
    <Type>Gallery</Type>
    <Address>525 W 26th St., 1 Fl., New York, NY 10011</Address>
    <Phone>212-564-8480</Phone>
    <Fax>212-564-8485</Fax>
    <Access>Between 10th and 11th Ave.  Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Mondays by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[In the Drawing Gallery and concurrent with the Lenaghan exhibition is a show of five figure drawings by Alfred Leslie. The exhibition is comprised of four signature portraits in graphite pencil, including two studies for his 9x24 foot triptych “Americans: Youngstown, Ohio” (1978), and a large charcoal study for an unrealized painting.

Leslie was a highly regarded Abstract Expressionist painter who began working figuratively in 1962. Along with Jack Beal and Philip Pearlstein, Leslie was for many years represented by the Allan Frumkin Gallery in New York.

[Image: Alfred Leslie &quot;Janoslaw Leshko&quot; (1976) graphite on paper, 40 x 30 in. (left); &quot;Alla Leshko&quot; (1976) graphite on paper, 40 x 30 in. (right)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/EE4B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EE4B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EE4B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749974</Latitude>
  <Longitude>-74.003548</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/EE9C" href="http://www.nyartbeat.com/event/2012/EE9C">
  <Name>&quot;Reinventing Landscape&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/E62B62C5">
    <Name>Baruch College/Sidney Mishkin Gallery</Name>
    <Type>University or School</Type>
    <Address>135 E 22nd St., New York, NY 10010</Address>
    <Phone>212-802-2690</Phone>
    <Fax></Fax>
    <Access>At the corner of Lexington Ave. Subway: 6 to 23rd Street or R/W to 23rd Street</Access>
    <Area areaId="flatiron_gramercy">Flatiron, Gramercy</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>thursdays closinghour 19:00</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/EE9C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EE9C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EE9C-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-17</DateStart>
  <DateEnd>2012-03-30</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-16" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>50</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.738728</Latitude>
  <Longitude>-73.985061</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/EEE6" href="http://www.nyartbeat.com/event/2012/EEE6">
  <Name>Marianne Vitale &quot;What I Need To Do Is Lighten the Fuck Up About A Lot of Shit&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/026DCAE5">
    <Name>Zach Feuer Gallery</Name>
    <Type>Gallery</Type>
    <Address>548 W 22nd St., New York, NY 10011</Address>
    <Phone>212-989-7700</Phone>
    <Fax>212-989-7720</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Zach Feuer Gallery presents What I Need To Do Is Lighten the Fuck Up About A Lot of Shit, an exhibition of new work by Marianne Vitale. The artist's new publication, What I Need To Do Is Lighten the Fuck Up About A Lot of Shit, will be available at the gallery.   
 
&quot;In 1845, slightly over 23% of the inhabitants of the Northeastern United States suffered from what was then commonly referred to as &quot;Combustivism&quot; which, according to the DSM-IV-R, is currently known as Schizoaffective Disorder. Symptoms included hallucinations, delusions and manic episodes. Men and women alike would forget who they were, what they did for a living, who their spouses and children were and, would more often than not, set out on violent rampages that led to arson, beatings, and property damage.
 
During the extraordinarily violent month of April 1846, 25 people were injured during a melee in Boston. In response, President James K. Polk gave a speech to Congress in which he voiced his concern for the turmoil sweeping the nation by stating &quot;if this madness doesn't stop, I will have to use the big stick of the law and beat back.&quot; Murders and violent crimes were so rampant that martial law was instituted in the states of Massachusetts, New York, New Hampshire, Pennsylvania and the District of Columbia. There were unsubstantiated rumors that Combustivism was caused by dust in homes, by letters and the saliva used to seal envelopes (the theory held that when the saliva dried and the letter was opened it would emit a caustic human dust that was believed to also be the root cause of insomnia and fevered states of aggression). Other causes were said to be brought on by the ink used to print newspapers, by food grown in eastern soil and most peculiarly, ornithologists of the period claimed that cardinals had an extreme alkalinity in their droppings, which was claimed to &quot;dry&quot; the brains of humans who happened to inhale the dried remnants of cardinal feces. In 1847, nearly every building in the Northeastern U.S. had mounds of cardinal fecal matter on their roofs. These dried mounds would create small clouds of dust that would settle over the towns and cities. As a result of these claims, huge hunting parties of men, women and children were sent out with muskets and nets. Local newspapers initiated contests to see who could harvest the most cardinals. Local politicians even got behind the efforts by giving winners of these contests keys to the city and tax abatements based on the number of cardinals they killed. Subsequently, tens of thousands of the red birds were slaughtered. Because of this horrific action, merely seeing a cardinal in our day has a connotation of good luck because of their rarity. This can be directly attributed to the wholesale slaughter of these beautiful red birds in 1848. Previous to this horrific act of ornithicide, the population of cardinals was so great in the upper northeast in the 1600's, that when the first settlers arrived the Algonquians referred to the sky as &quot;Massachusetts&quot; which means &quot;Red Sky&quot; in Algonquin.
 
Combustivism reached its apex on September 13, 1849 in Philadelphia, Pennsylvania. Based on rumors that had been spreading all summer that there was a 78% infection rate near the Heathdon neighborhood located in Northern Philadelphia. The entire neighborhood, encompassing some 10 square blocks, was burned to the ground by an angry mob of anti-combustivists. Among those who lost their homes was Edgar Alan Poe, who had just published his famous &quot;Raven&quot; poem a few months before the fire, and as luck would have it, was visiting Baltimore, Maryland, the weekend of the fire. The original manuscript of that poem was said to be in the house that was burned.
 
By 1850 there was a growing belief that Combustivism might not be caused by cardinals, or any other previously blamed sources for the disease. A botanist named Dr. Wilfred Jones surmised that Combustivism might be caused by the pollen from roses, which were indigenous to the Northeastern United States. When his notion was published in the New York Times on June 10, 1850, the nation was drawn into yet another wave of intense hysteria as thousands of rose bushes that had dotted the urban and rural landscapes, were uprooted and burned. Bonfires of burning roses could be seen all across Brooklyn. On the evening of June 10, Walt Whitman wrote these words in a notebook: &quot;This evening I took a long walk along the waterfront and was engulfed by the acrid smell of rose bushes burning all around Borough Hall. The sky was sprinkled with yellow-dotted light. Destruction also has its beauty.&quot;
 
A revelatory and conclusive year for Combustivism was in 1851, when a chemist named George Halley correctly determined that the malady was caused by a chemical called Brollodox, used in the production of coal. Brollodox was a combination of various sulfur dioxides and organic compounds such as chlorophyll and, most peculiarly, a variant of nitrous oxide, which is derived by capturing the gas that is released when natural gas is filtered through fish oil. Nitrous oxide, now mostly used in dentists' offices and whipped cream canisters, was, in its early 1850's incarnation, an unstable and frequently debilitating compound. In several coal service factories in the 1830's there were outbreaks of the kind that were very similar to the ones unleashed upon the U.S. a mere decade or so later.  George Halley arrived at his conclusion by testing various compounds on himself in his lab in Worcester, Massachusetts. In one self-study he conducted, he breathed in the nitrous compound until, as he wrote in his notebook: &quot;The world became wobbly, the very light around me became granular and seemed to shimmer with a new sort of radiance. I did not want to leave that place, though it was the place I'd been working, albeit, in a different frame of mind, for years.&quot; Halley's discovery was further proven when a group of chemists from Harvard University visited Halley's lab in Worcester in order to learn more about his discoveries and noticed the density of the purplish tint in their clothing from their exposure to the nitrous oxide in his lab. (One of the side-effects of nitrous oxide is that it stains not only clothes but the face itself, leaving behind a purplish aura on the nose and mouth of its users-in the 1960's, nitrous oxide abusers were called &quot;Purples&quot;). Given these findings, the team of chemists determined that the removal of nitrous oxide used in coal production could, in fact, minimize the risk of Combustivism.&quot;
 
- Todd Colby, Brooklyn, New York 2011
 
Marianne Vitale (b. 1973) graduated in 1996 from the School of Visual Arts, New York. Her work was featured in the 2010 Whitney Biennial, Performa '07, '09 and '11, as well as exhibitions at the Rubell Family Collection (US), Cass Sculpture Foundation (UK), White Columns (NY), The Kitchen (NY) and Kling &amp; Bang (Iceland). Solo exhibitions of her work include Too Much Satan For One Hand, IBID Projects, London (2011), The Clipper presented by Kunstverein NY (2010), Landswab Over Berberis, Sculpture Center, NY (2009), Missing Book of Spurs, Tensta Konsthall, Stockholm (2007); and OK/KO at White Columns, NY (2007).  In February, Vitale will open If You Expect To Rate As A Gentleman, Do Not Expectorate On the Floor, a show of new work, at UKS in Oslo, Norway.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/EEE6-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EEE6-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EEE6-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-19" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747489</Latitude>
  <Longitude>-74.00625</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/EF50" href="http://www.nyartbeat.com/event/2012/EF50">
  <Name>&quot;Grey Full&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/E0C2A7B9">
    <Name>Jeff Bailey Gallery</Name>
    <Type>Gallery</Type>
    <Address>625 W 27th St., New York, NY 10001</Address>
    <Phone>212-989-0156</Phone>
    <Fax>212-989-0214</Fax>
    <Access>Between 11th and 12th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Jeff Bailey Gallery opens the New Year with a large group show of drawings, paintings, sculpture, and photography, an exhibition poised and eager to explore the color Grey in all its moody ramifications. 

In a letter to his brother Theo, Van Gogh wrote that he had mixed 46 shades of grey that morning, just to get a feel for grey's chromatic range. Our own Jasper Johns has been a master of grey since the mid-fifties. Younger artists use grey constantly, whether as graphite, in drawing, or as a mixed color in painting. 

If black is at one extreme, and white the other, does everything that falls between qualify as grey? What makes one grey warm, another cool? Does charcoal belong to black, or is it really grey? Is photography's nostalgia for black and white really a claim for the color grey? What if that rainbow is a bruise on the sky, as Nellie McKay asks in a song? ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/EF50-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EF50-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EF50-170" width="170" />
  <Karma>1.46465</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-13" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751828</Latitude>
  <Longitude>-74.005807</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/EFAC" href="http://www.nyartbeat.com/event/2012/EFAC">
  <Name>&quot;13th Annual WAH Salon Art Club Show&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/D34F35D5">
    <Name>Williamsburg Art &amp; Historical Center</Name>
    <Type>Cultural Center</Type>
    <Address>135 Broadway, Brooklyn, NY 11211</Address>
    <Phone>718-486-7372</Phone>
    <Fax>718-486-6012</Fax>
    <Access>Corner of Bedford Ave.  Subway: J/M/Z to Marcy Avenue or L to Bedford Avenue</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="1" fri="1" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/EFAC-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EFAC-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EFAC-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-21</DateStart>
  <DateEnd>2012-02-19</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-21" start="16:00:00" end="18:00:00">Opening Reception</Party>
 <DaysBeforeEnd>10</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.710392</Latitude>
  <Longitude>-73.963708</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/F35B" href="http://www.nyartbeat.com/event/2012/F35B">
  <Name>Shirin Neshat Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/3A325A19">
    <Name>Gladstone Gallery (Chelsea 24th Street)</Name>
    <Type>Gallery</Type>
    <Address>515 W 24th St., New York, NY 10011</Address>
    <Phone>212-206-9300</Phone>
    <Fax>212-206-9301</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_24">Chelsea 24th</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: Photography</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Gladstone Gallery presents our fifth exhibition with Shirin Neshat. In her upcoming project, Neshat will present a new series of photographs and a video installation, both of which explore the underlying conditions of power within socio-cultural structures.  Inspired by the sweeping momentum of recent political uprisings in the Arab world, Neshat turned to both historical and contemporary sources to generate richly provocative metaphors for the network of relations that comprise a society.

The new photographic series, titled The Book of Kings, is named after the ancient book Shahnameh (The Book of Kings), a long poem of epic tragedies written by the Persian poet Ferdowsi between c. 977 and 1010 AD. Shahnameh retells the mythical and historical past of Greater Iran from the creation of the world until the Islamic conquest of Persia in the 7th Century. Divided into three groups—the Masses, the Patriots, and the Villains—Neshat’s portraits of Arab youth comprise black and white photographs with meticulously executed calligraphic texts and drawings inscribed over each subject’s face and body. These texts and illustrations—drawn from Shahnameh as well as from contemporary poetry by Iranian writers and prisoners—both obscure and illuminate the subjects’ facial expressions and emotive intensity, intimately linking the current energy of contemporary Iran with its mythical and historical past.  In this arresting body of work, Neshat returns to the confrontational nature of her iconic Women of Allah series, while refocusing on themes of revolution and the bold-faced defiance of youth. 

In her new three-channel video installation, Neshat draws upon themes of justice and the struggle of the artist against the constraints of authoritarian rule. Creating a space where moral judgment is questioned and the viewer’s allegiances oscillate between identifying with the victim and being accomplice to power, Neshat investigates the repressed and unspoken elements of social and cultural consensus through this bold new work.

Shirin Neshat was born in Qazvin, Iran and moved to the United States in 1974. She has had solo exhibitions at the Museo de Arte Moderno, Mexico City; Contemporary Arts Museum, Houston; Walker Art Center, Minneapolis; Castello di Rivoli, Turin; Wexner Center for the Arts, Columbus; the Art Institute of Chicago; the Serpentine Gallery, London; Museo de Arte Contemporaneo, León, Spain, and the the Hamburger Bahnhof, Berlin. Neshat was included in Prospect.1, the 2008 New Orleans Biennial, Documenta XI, the 2000 Whitney Biennial, and the 1999 Venice Biennale. Neshat was awarded the Silver Lion at the 66th International Venice Film Festival (2009), the Lillian Gish Prize (2006), the Hiroshima Freedom Prize (2005), and the First International Award at the 48th Venice Biennale (1999).  OverRuled, Neshat’s commission for the fourth edition of Performa, premiered in November 2011.  A major retrospective of Neshat’s work, organized by the Detroit Institute of Arts, will open in April 2013.  Neshat currently lives and works in New York City.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/F35B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F35B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F35B-170" width="170" />
  <Karma>12.5541</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748569</Latitude>
  <Longitude>-74.004161</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/F394" href="http://www.nyartbeat.com/event/2012/F394">
  <Name>Aude Pariset, Kate Steciw &amp; Letha Wilson Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/E199761A">
    <Name>Toomer Labzda</Name>
    <Type>Gallery</Type>
    <Address>100 A Forsyth st., New York, NY 10002</Address>
    <Phone>917-488-3388</Phone>
    <Fax></Fax>
    <Access>Between Grand and Broome Sts. Subway: B/D to Grand street or J/M/Z/F to Delancey street</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</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>Also by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[toomer labzda presents its second group exhibition featuring new works by Aude Pariset, Kate Steciw and Letha Wilson, curated by David Harper. 

This exhibition focuses on the work of three artists who, despite their often radically different methodologies and disparate materials, continue to explore the untapped artistic potentialities of photographic imagery through the creation of sculpture. Departing from their two-dimensional sources, this transformational process gives each the ability to create new spatial relationships, to impart materiality on the immaterial and to attempt to challenge the existent visual language of photography. 

[Image: Late Steciw &quot;don't worry, we will all be dead soon I&quot; (2011) duraclear print, plexiglass, household items approx. 40 x 30 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/F394-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F394-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F394-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-08</DateStart>
  <DateEnd>2012-02-26</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-08" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>17</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.718231</Latitude>
  <Longitude>-73.992742</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/F445" href="http://www.nyartbeat.com/event/2012/F445">
  <Name>Michael Zelehoski &quot;Secondary Structures&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/E01C2AA1">
    <Name>DODGEgallery</Name>
    <Type>Gallery</Type>
    <Address>15 Rivington St., New York, NY 10002</Address>
    <Phone>212-228-5122</Phone>
    <Fax>212-228-5211</Fax>
    <Access>Between Bowery and Chrystie St. Subway:  J/M to Bowery, 6 to Spring Street, B/D to Grand Street,  F/V to 2nd Avenue. </Access>
    <Area areaId="lower_east_side">Lower East Side</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="0" hol="0" />
    <ScheduleDetails>sundays openinghour 12:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[In an ongoing dialogue between the deconstruction of objects and the construction of form, Michael Zelehoski transforms found, utilitarian subjects into two-dimensional works that are picture, relief and object in one. Dismantling the components of found objects, Zelehoski assembles two-dimensional compositions into minimal primary forms. Where he veers from minimalism is his interest in the nature of objects as referential artifacts, inspiring the exhibition title, Secondary Structures.

Once flattened and embedded into a picture plane, Zelehoski's objects enter the domain of aesthetic considerations and spatial illusionism. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/F445-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F445-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F445-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</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="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>10</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.721247</Latitude>
  <Longitude>-73.9926</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/F5B9" href="http://www.nyartbeat.com/event/2012/F5B9">
  <Name>&quot;Look | Sharp: Art and Fashion from the Edge&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/21254E86">
    <Name>Galerie Protégé</Name>
    <Type>Gallery</Type>
    <Address>197 9th Ave., Lower Level, New York, NY 10011</Address>
    <Phone>212-807-8726</Phone>
    <Fax>212-924-3208</Fax>
    <Access>http://www.galerieprotege.com/</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>19:30:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>fridays closinghour 18:00, saturdays closinghour 18:00, sundays openinghour 11:00, sundays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Avant-garde art and fashion have long been associated with a lifestyle radically expressive of rebellion, the rejection of complacency, and the struggle to draw strength through vulnerability. Look | Sharp: Art and Fashion from the Edge, is a group exhibition of works by five New York-based artists displaying a selection of paintings, photographs, clothing, and accessories evocative of danger, dark glamour and sensuous alternative beauty. In a time characterized by war, protest, and insurgency, these visual manifestations are both a reflection of passionate times and a respite from oppression through beauty. Look | Sharp coincides with the launch of New York Fashion Week. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/F5B9-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F5B9-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F5B9-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-08</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>28</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746039</Latitude>
  <Longitude>-74.001831</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/F5F3" href="http://www.nyartbeat.com/event/2012/F5F3">
  <Name>Tom Friedman &quot;New Work&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/4A009A1D">
    <Name>Luhring Augustine Gallery</Name>
    <Type>Gallery</Type>
    <Address>531 W 24th St., New York, NY 10011</Address>
    <Phone>212-206-9100</Phone>
    <Fax>212-206-9055</Fax>
    <Access>Between 10th and 11th Avenue. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_24">Chelsea 24th</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>In July/August open Monday-Friday, 10:00-17:30 </ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[My creative process fluctuates between an open system and closed system approach. I would characterize this new body of work as one that follows a more closed system, with ideas that are more compressed. For me, every piece has been an evolution of surprises and will continue to be until completion. – Tom Friedman

Luhring Augustine presents an exhibition of new work by the American artist Tom Friedman. This will be Friedman’s first solo exhibition with the gallery and his first in New York since 2005. Friedman is known for his meticulously crafted sculptures and works on paper that inhabit the intersections between the ordinary and the monstrous, the infinitesimal and the infinite, the rational and the uncanny. His work skews perception and is often deceptive, its handmade intricacy masked by a seemingly mass-produced or prefabricated appearance. Friedman’s deadpan presentation implies content and form are seamless; expectations are overturned as the viewer slowly perceives that chasm between illusion and reality.

This exhibition will include all new work, both sculptures as well as works on paper, in a wide range of materials, scales, and genres. Among the pieces to be exhibited will be a new self-portrait, a still-life sculpture, abstract wall works, text drawings, and a new large-scale stainless steel sculpture. Several works explore ideas of technology through an analog lens, such as a life-size video camera hand-crafted from wood and paint; a handmade wall collage with an upbeat futuristic pattern that mimics a high-tech flat screen; and an antiquated television screen with a pixelated static pattern made of tiny hand-applied paint tiles. Other works touch on the trials and tribulations of the artistic process itself, such as a work on paper listing the word “Verisimilitude” misspelled several times, as well as a pile of “bitten” apples sitting on the floor like an accumulation of so many failed ideas.

Tom Friedman was born in St. Louis, MO in 1965; he lives and works in Massachusetts.

[Image: Tom Friedman, &quot;Untitled (nobody)&quot; (2012) Styrofoam and paint, 13 x 16.5 x 11.5 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/F5F3-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F5F3-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F5F3-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-11</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>40.748792</Latitude>
  <Longitude>-74.004686</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/F654" href="http://www.nyartbeat.com/event/2012/F654">
  <Name>&quot;Strange Birds&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/5547BFE6">
    <Name>The Center for Book Arts</Name>
    <Type>Event Space</Type>
    <Address>28 W 27th St., Fl.3, New York, NY 10001</Address>
    <Phone>212-481-0295</Phone>
    <Fax></Fax>
    <Access>Between 6th Ave. and Broadway. Subway: W/R to 28th Street or F train to 23rd Street.</Access>
    <Area areaId="chelsea_east">East Chelsea</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails>saturdays closinghour 16:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Prints</Media>
  <Media>2D: Other</Media>
  <Description><![CDATA[This project encompasses vignettes into people’s lives through objects that hold significant personal meaning to them. Through each object on display, a conversation with its caretaker begins; visitors have the freedom to peruse the objects and listen to an accompanying audio guide conversation. It is through these stories that we connect and engage with the person behind the story and gain insight and an intimate connection to something deeper within ourselves. From Bibbe's relationship with her mom through gathering stones to a realization of home in acceptance of every moment as &quot;perfect,&quot; to SKJ's first projector providing the construction of personal and social resources that help shape his creative community. A new inspired look at timeless portraiture, weaving together personal archives and institutional archives, forgotten histories, memories, and embodied experiences in a testament and an affirmation of life and its lessons.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/F654-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F654-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F654-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-18</DateStart>
  <DateEnd>2012-03-31</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-18" start="19:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>51</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.744659</Latitude>
  <Longitude>-73.989517</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/F68A" href="http://www.nyartbeat.com/event/2012/F68A">
  <Name>&quot;Sensorial Perspectives&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/32BEF472">
    <Name>Agora Gallery</Name>
    <Type>Gallery</Type>
    <Address>530 W 25th St., New York, NY 10001</Address>
    <Phone>212-226-4151</Phone>
    <Fax>212-966-4380</Fax>
    <Access>Between 10th and 11th Ave.  Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[In Sensorial Perspectives, we are introduced to sophisticated, eclectic and often joyful representations of life, the world and everything in it. Pulsing with authenticity, these works reflect the acutely honed observational skills of the artists who made them, combined with a sense of creativity and innovation that each one brings to their art. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/F68A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F68A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F68A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-10</DateStart>
  <DateEnd>2012-03-01</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-16" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>21</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749267</Latitude>
  <Longitude>-74.004028</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/F7FD" href="http://www.nyartbeat.com/event/2012/F7FD">
  <Name>&quot;Paperazzi&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/F453B680">
    <Name>Galeria Janet Kurnatowski</Name>
    <Type>Gallery</Type>
    <Address>205 Norman Ave., Brooklyn, NY 11211</Address>
    <Phone>718-383-9380</Phone>
    <Fax></Fax>
    <Access>Corner of Moultrie St.  Subway: G to Nassau Avenue</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>13:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="1" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 12:00, sundays closinghour 18:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/F7FD-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F7FD-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F7FD-170" width="170" />
  <Karma>1.77979</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.72735</Latitude>
  <Longitude>-73.945939</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/F80C" href="http://www.nyartbeat.com/event/2012/F80C">
  <Name>Josh Alexander &quot;INWARD&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/6704514F">
    <Name>Giacobetti Paul Gallery</Name>
    <Type>Gallery</Type>
    <Address>111 Front St. #220, Brooklyn, NY 11215</Address>
    <Phone>917-548-8107</Phone>
    <Fax></Fax>
    <Access>Corner of Washington St. Subway: F train to York Street </Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</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>2D: Painting</Media>
  <Description><![CDATA[New York based artist Josh Alexander unveila his most recent work at the Giacobetti Paul gallery in Brooklyn next month. In his latest exhibition, INWARD, Alexander presents a visual narrative of human emotions through the use of color, texture and shapes. The show will include several series of work, including collections of emotions, scars, and abstract figures. In his new works, Alexander captures honesty in introspection ­­ and reveals his continual influence from human nature.

Josh Alexander uses art to manifest truth. More commonly known for his paintings of the figure, still life’s, and self­portraits, the artist has recently taken a new direction with his work in pursuit of finding truth through imagery. “I don't set out to produce art about one subject or another. I'm never without a sketchbook so I am constantly drawing. Sometimes the drawings are left in the book and other times they develop into more in­depth ideas. A few months ago, I found myself drawing visual representations of emotions. This led to an exploration of art in a deeper and more personal level,” says Alexander. Alexander studied figure drawing under John Thrasher at The Ohio State University where he earned a degree in Architecture in 2000. After moving to New York in 2002, he studied painting under Robert Neffson at The Art Students League of New York before joining Madarts where he works from his studio in Brooklyn.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/F80C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F80C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F80C-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-02-29</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>20</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.702653</Latitude>
  <Longitude>-73.988995</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/F860" href="http://www.nyartbeat.com/event/2012/F860">
  <Name>&quot;Matchmaker&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/A9CA140E">
    <Name>Soho20 Chelsea Gallery</Name>
    <Type>Gallery</Type>
    <Address>511 W 25th St., #605, New York, NY 10001</Address>
    <Phone>212-367-8994</Phone>
    <Fax>212-367-8994</Fax>
    <Access>Between 10th and 11th Aves. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_25">Chelsea 25th</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: Prints</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Curated by gallery director Jenn Dierdorf, the selected works demonstrate each artist’s interest in joining disparate parts and seeking a new balance with the whole. To varying degrees their work can be viewed as reinterpretations of social paradigms in relation to sex, communication, meme and myth. As each artist scrambles these familiar motifs we eventually arrive at a new and poignant vantage from which to look at ourselves.

Amanda Buonocore’s piece, Someone for Everyone, examines the public nature of the newspaper versus the privacy of the bedroom. Through various interventions Buonocore pushes the original intention of the author’s post far beyond the pages of the newspaper and into the world itself. Her playful, yet mischievous insights riffle through the uncomfortable space of exposed privacy.

The interactive sculpture Whisper Down the Lane, by Ginny Huo invites guests to look at the origin and transference of cultural myth. Placing themselves inside large yellow ducts, participants read tales of cautionary myths from a card in a directed game of “telephone”. Huo’s playful approach gives us a fast-forward look at the distortion of these tales and perhaps their skewed origin.

Naoko Ito’s sculpture points to the poetics of the relationship between nature and technology. Her work seeks to rearrange conventional thoughts and question rational categorization. In Flora, Ito has compartmentalized and recomposed a tree branch using dozens of glass jars. Her careful dissection all but sterilizes the once living thing.

Printmaker Krista Peters’ work is a visceral collage of human and non-human parts. Initially lithograph prints from hand drawn images of bones, feathers and string, Peters’ recomposes and layers the prints into original works. The selected works from Bone Mobile series features collage on Japanese paper stitched back together in uncanny formations.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/F860-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F860-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F860-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-31</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749125</Latitude>
  <Longitude>-74.003533</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/F973" href="http://www.nyartbeat.com/event/2012/F973">
  <Name>Wilhelm Lehmbruck Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/16C8A466">
    <Name>Michael Werner Gallery</Name>
    <Type>Gallery</Type>
    <Address>4 E 77 St., New York, NY 10075</Address>
    <Phone>212-988-1623</Phone>
    <Fax>212-988-1774</Fax>
    <Access>Corner of 5th Ave. Subway: 6 to 77th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Michael Werner Gallery presents an exhibition of works by Wilhelm Lehmbruck (1881-1919). The first major Lehmbruck exhibition in the United States in more than two decades, Wilhelm Lehmbruck provides a unique opportunity to view significant works by a European artist rarely seen in America.

Wilhelm Lehmbruck is an important figure in the development of modernism and the first German sculptor of the twentieth century to significantly impact art on an international scale. A contemporary of Auguste Rodin and Aristide Maillol, Lehmbruck's contribution to sculpture was distinctly modern. His achievement was of particular importance to a later generation of sculptors, chief among them Joseph Beuys, who openly credited his predecessor's work as the inspiration to begin his own work in sculpture.

In 1895, at the age of 14, Lehmbruck entered the School of Arts and Crafts in Düsseldorf and later received specialized studies at the Düsseldorf Academy - training typical for aspiring sculptors of the time. He adhered to tradition during his Academy years, though he remained mindful of modern developments in painting and sculpture, vis a vis Rodin and other artists working in Paris at that time. A major Rodin exhibition, presented in Düsseldorf in 1904, made a deep impression on Lehmbruck and allowed him to conceive of a break with the traditions that had guided him during his student years. Beginning in 1907 Lehmbruck made several trips to Paris and eventually settled there in 1910. It was in Paris that his unique style began to emerge. Gradually moving away from the neoclassical foundations of his work, he began to fuse elements from his traditional formal vocabulary with a range of sources including Romanticism and the Gothic.

Lehmbruck's specifically modern contribution to sculpture lay in an innovative approach to materials, notably in his use of cast stone, a recently developed industrial material. This experimentation encouraged his interest in fragmentation, another important quality of the artist's modern sensibility. Lehmbruck often preferred to rework or recast elements from his existing sculptures, rather than to conceive of entirely new forms. Figures could be recast in stone or terracotta, for example, and given various patinas; or, the head or torso from a larger figure could be isolated and recast in different media. Lehmbruck exploited his experiments with materials and form to augment the emotional tenor of his works, all in an effort to achieve the deepest possible feeling.

Lehmbruck participated in the famous Armory Show of 1913 and had his first solo exhibition in 1914, at Galerie Levesque in Paris. With the outbreak of World War I, he returned to Germany, arriving first in Cologne and Düsseldorf and later Berlin. During the war he worked briefly in a field hospital. His already fragile sensibility, fraught with self-doubt and prone to melancholy, did not withstand the horrors of war. Tragically, he took his own life in 1919 at the age of 38, leaving no immediately apparent successor. While the Nazis would later denounce Lehmbruck as &quot;degenerate&quot;, his work became for many a symbol of creative freedom. Joseph Beuys, in a moving acceptance speech given on the occasion of being awarded the Lehmbruck Prize in 1986, honored the artist as his inspiration and mentor. As his biographer Paul Westheim wrote in 1922, describing the artist's sadly truncated legacy, &quot;Lehmbruck's art remains a torso...He has given us much that is significant, but, judging from his beginnings, we had the right to expect more...&quot;

Wilhelm Lehmbruck features more than a dozen sculptures by the artist, including several rare lifetime bronze and stone casts as well as unique plaster and terracotta figures. Also included in the exhibition is a large selection of related etchings, many of them unique impressions. The graphic works are remarkable for their physicality and, like his sculptures, they exploit the emotive qualities of their material to reach beyond mere depiction toward something deeper.

Wilhelm Lehmbruck is accompanied by a fully illustrated catalogue featuring a text by art historian and curator Annabelle Ténèze.

[Image: Wilhelm Lehmbruck &quot;Small Female Torso (Hagener Torso)&quot; (1911) Cast stone, 27 3/4 x 10 1/4 x 9 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/F973-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F973-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F973-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.775625</Latitude>
  <Longitude>-73.9646</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/F996" href="http://www.nyartbeat.com/event/2012/F996">
  <Name>David Goerk &quot;Recent Works&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/6B368230">
    <Name>Howard Scott Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., 7 Fl., New York, NY 10011</Address>
    <Phone>646-486-7004</Phone>
    <Fax>646-486-7005</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street or A/C/E to 14th Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_20">Chelsea 20th</Area>
    <OpeningHour>10:30:00</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[Howard Scott Gallery presents an exhibition of recently completed works by the New York artist, David Goerk.  This will be his second solo exhibition with Howard Scott Gallery.      

The works which will compose the forthcoming exhibition are characterized by an economy of means.  Their scale is decidedly intimate, with dimensions rarely exceeding twelve inches. Perforce, passages of the declarative colors which he tends to favor (often in combination with white) can occupy only a small area, but because of the manner in which the color interacts with his carefully articulated shapes, the works achieve a physical presence which far outweighs their scale  -  allowing an individual work to hold a sizable wall, even when viewed at a considerable distance. ( It was perhaps a period of restricting his palette to black and white in combination  which honed his understanding of the optical properties of color.)

The artist spoke recently about the importance to him of achieving &quot;a simple clarity&quot; in his work  -  wall-sited constructs to which he refers specifically as &quot;sculpture&quot;, but &quot;sculpture informed by painting and drawing&quot;.  He places great value in the role of intuition in his working process, wanting the work to unfold in a direct and natural manner  -  not laborious, not endlessly deliberated upon… .  Crucially important to him is that his work not be fully comprehended in a brief viewing.  For this reason, he structures the work so that it possesses &quot;multiple and variable perspectives&quot; and also contains ambiguities which gradually explain themselves via prolonged viewing.

After a seven-year (1980-86) immersion in new music in Philadelphia (as one of four members of the band, Bunnydrums), Mr Goerk began exhibiting publicly as a visual artist, primarily in Philadelphia, where he continued living until moving to New York City.  His work has been juried into numerous museum and university gallery exhibitions by such admired &quot;eyes&quot; as Diane Waldman, Neal Benezra and Ned Rifkin.  Works are included in private and public collections in this country and in Europe, including the Philadelphia Museum of Art; Rutgers University, New Jersey; and the Panza di Biumo Collection in Milan.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/F996-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F996-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F996-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-19" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746167</Latitude>
  <Longitude>-74.0062</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/FB3E" href="http://www.nyartbeat.com/event/2012/FB3E">
  <Name>&quot;End of Days&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/74C7ECF2">
    <Name>Mixed Greens Gallery</Name>
    <Type>Gallery</Type>
    <Address>531 W 26th St., New York, NY 10001</Address>
    <Phone>212-331-8888</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Avenue. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>Open 11:00-18:00 on Saturday</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[As an introduction to our 2012 schedule, this exhibition explores the notion of revelation—both apocalyptic and transcendent. Each artwork functions as a moment of suspended time, capturing the world in a state of silent reflection, imagined ecstasy, mangled deterioration, or a complicated combination of all three. In a nod to Bosch’s Garden of Earthly Delights and the dozens of end-of-the world scenarios circulating around the year 2012, this exhibition focuses on visual anxieties, and considers an end scenario that is for some a paradise, and for others a paradise lost.	

Brian A. Kavanaugh’s large-scale piece, Three Gardens, depicts three states of the afterlife. The chaotic, collaged scenes use Bosch’s painting structure to re-imagine contemporary imagery in a satirical and over-the-top display of what awaits us on the other side. In a similar fashion, Hilary Pecis’s Kingdom presents an ecstatic version of heaven. The digitally collaged fantasyland combines castles in the clouds with fluffy kittens and doves. Using the results of Internet image searches, Pecis’s paradise is idealized to the point of hysterical whimsy. Erin Dunn’s video is an animated, anxiety-filled journey through a hallucinogenic garden. She presents an alternate otherworld in which vibrant color, painting, unidentified creatures, and plastic bobbles coexist. 

Sophia Narrett and Patrick Jacobs present ambiguous scenes suggestive of the hereafter. Narrett’s painterly embroidery illustrates a gathering of people in a garden. Her elegant and diverse characters are inexplicably brought together in a collective experience 
of the sublime. They appear frozen, suspended in endless anticipation of an imminent event. Jacobs’s sculpture is a glowing porthole onto a landscape depicting an impossible infinity beyond the gallery’s wall. Both works suggest a moment of otherworldly transcendence—both physical and metaphysical. 

A large-scale installation by Valerie Hegarty overtakes a portion of the front gallery and a seemingly long-neglected gallery wall succumbs to overgrowth. Tree branches, foliage, and water damage rupture and rot the artwork-adorned surface. In a similar depiction of growth and its aftermath, Dana Sherwood’s photographic series captures a picture-perfect tableau of cakes and pastries, floating on a pond. The viewer is given glimpses of the Dionysian banquet and subsequent deterioration. In addition, Sherwood presents a vitrine holding a decadent cake and its inhabitants—white mice. Over the course of the opening and then the entirety of the show, the mice will eat through the cake and transform its structure into a functional habitat. What remains of Hegarty’s and Sherwood’s worlds are clues to the overindulgence and exhilaration before collapse. 

Bonnie Collura’s Prince 2 is a large, mixed media sculpture skillfully merging historical figures, pop icons, fairy tales, and Greek mythology into a hybrid character. Seth Scantlen’s mixed media on panel represents a similar conglomeration of bodies. The melting, dancing, tumbling visions of flesh and limbs in both paint and plaster conjure up visions of an Inferno-esque slush in the land of the Gluttons. They both speak to the conflation of religious and secular imagery in our hyper-saturated world.

Jessica Cannon’s acrylic on paper, Echoes of the Future, is a sprawling landscape dotted by bursts of white light. The ambiguous imagery is at once representative of rock concerts, explosions, ghosts of fallen buildings, or perhaps the afterimage one might leave when departing the earth in rapture. Melanie Schiff’s similarly figureless photographs use light, tunnels, bodies of water, and landscape to reference a moment of quiet transcendence where the subject of the photo is bathed in unearthly, meditative light. Finally, Susan Hamburger’s papier-mâché urns are a more direct memento mori. While first appearing to be a banquet full of pitchers and vases, the white funerary vessels, embellished with roaming lizards and other creatures, stand in as markers of existence.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/FB3E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/FB3E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/FB3E-170" width="170" />
  <Karma>2.57081</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749975</Latitude>
  <Longitude>-74.003653</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/FC1A" href="http://www.nyartbeat.com/event/2012/FC1A">
  <Name>Howard Buchwald Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/AF00D4EA">
    <Name>Nancy Hoffman Gallery</Name>
    <Type>Gallery</Type>
    <Address>520 W 27th St., New York, New York 10001 </Address>
    <Phone>212-966-6676</Phone>
    <Fax>212-334-5078</Fax>
    <Access>Between 10th and 11th Aves. Subway: E/C to 23rd Street</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Nancy Hoffman Gallery presents a show of recent works of Howard Buchwald.  This exhibition includes a wide range of work created during the past five and a half years since his last exhibition at this gallery.

From the beginning, Buchwald’s work has engaged the visual aspects of painting—ALL that is visible, as opposed to all other aspects (verbal or literary, etc.) that are “after the fact” and “interpretative”.  In his recent works, there is a new approach to scale, surface, color and organization of the painting’s structure, evoking a new range of emotional response for the viewer.

His earlier work was de-centered, dispersed as an over-all vista.  The conflict between internal shape and overall unitary surface (as a whole activated field or fabric) was central to these paintings and drawings.

In his new works, Buchwald employs shape differently—the challenge being to evade
the unwanted consequences and/or associations to a particular shape.  The appeal of a shape (or figuration) lies in its clarity and simplicity, tending to fix and pause the eye as it roams the larger field of the work.  It deflects an overall involvement, slowing down, blocking the rhythmic activity of the eye.

The artist has written:

“Painting is not in the service of some purpose, objective, image or idea residing outside, prior to, and independent of the specific work you see.  There is, in my work, no preconceived image, color scheme, composition or arrangement.  The process of invention, discovery and “working out” is part of the work’s meaning.  Painting, for me, is not an instrument of executing, through craft or otherwise, an idea or image.  There is no story, fable, myth or concatenation of material that needs translation and in any case is, if not irrelevant, always after the fact.  I understand the anxiety that direct looking and feeling still produce, it is just that the need to seek resemblances, analogies, or labels is an attempt to overcome this feeling by supplementing what is right there in front of one to be looked at, and is largely beside the point.  It is almost always unnecessary.”

Howard Buchwald was born in Brooklyn, New York in 1943.  He received a B.F.A.
from Cooper Union in 1964 and an M.A. from Hunter College in 1972.  He has been awarded grants from Creative Artists Program Services (CAPS); The Elizabeth Foundation for the Arts; Adolph and Esther Gottlieb Foundation; The Pollock-Krasner Foundation; a fellowship from John Simon Guggenheim Memorial Foundation; and was twice awarded a grant from the National Endowment for the Arts.

The artist’s work has been shown at Arkansas Arts Center, Little Rock; Art Museum, Princeton University, New Jersey; Charlotte and Philip Hanes Art Gallery, Wake Forest University, Winston-Salem, North Carolina; Contemporary Arts Museum, Houston, Texas; Danforth Museum of Art, Framingham, Massachusetts; Hudson River Museum, Yonkers, New York; Hunter College, New York; Lehman College Art Gallery, Bronx, New York; Los Angeles County Museum of Art, California; McNay Art Museum, San Antonio, Texas; Minneapolis Institute of Arts, Minnesota; New Jersey State Museum, Trenton; Philbrook Museum of Art, Tulsa, Oklahoma; University of Virginia Art Museum, Charlottesville, Virginia; and Whitney Museum of American Art, New York.

His work is included in the collections of William Benton Museum of Art, University of Connecticut, Storrs; The Butler Institute of American Art, Youngstown, Ohio; Evansville Museum of Arts, History and Science, Indiana; Flint Institute of Arts, Michigan; Gulbenkian Foundation; Lannan Foundation, Palm Beach; Mead Art Museum, Amherst College, Massachusetts; Miami-Dade Community College Art Gallery, Florida; Whitney Museum of American Art, New York; and Yale University Arts Library, New Haven, Connecticut.

Howard Buchwald resides in New York City.

[Image: Howard Buchwald &quot;Mapped (Large Red)&quot; (2010) acrylic on canvas, 84 x 90 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/FC1A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/FC1A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/FC1A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750414</Latitude>
  <Longitude>-74.003178</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/FC47" href="http://www.nyartbeat.com/event/2012/FC47">
  <Name>Rashid Johnson &quot;Rumble&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/DB4C7EE5">
    <Name>Hauser &amp; Wirth</Name>
    <Type>Gallery</Type>
    <Address>32 E 69th St., New York, NY 10021</Address>
    <Phone>212-794-4970</Phone>
    <Fax></Fax>
    <Access>Between Park and Madison Ave. Subway : 6 to 68th Street Hunter College.</Access>
    <Area areaId="upper_east_side">Upper East Side</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[[Image: Rashid Johnson &quot;Star&quot; (2011) Branded red oak flooring, black soap, wax, gold paint 73-3/4 x 2-3/4 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/FC47-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/FC47-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/FC47-170" width="170" />
  <Karma>2.01361</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-11</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-11" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.769861</Latitude>
  <Longitude>-73.966542</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/FCA0" href="http://www.nyartbeat.com/event/2012/FCA0">
  <Name>Susan Dory &quot;Persistent Mutualism&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/E9D35000">
    <Name>Winston Wachter Fine Art</Name>
    <Type>Gallery</Type>
    <Address>530 W 25th St., New York, NY 10001</Address>
    <Phone>212-255-2718</Phone>
    <Fax></Fax>
    <Access>Between 10th Ave. and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</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[In Dory's newest body of work, she leaves behind the capsule form that has been traditionally seen in her brilliantly composed paintings for more than a decade. Her new works are hard edged yet fluid. Dory's palette evokes mood and memory, while gradually establishing its own sense of autonomy that evolves from a formal hybrid of personal associations and perceptual phenomena.
 
Susan Dory holds a BA from Iowa State University and has been the recipient of many awards including: The Neddy Award from the Behnk Foundation Artist Fellowship, the Seattle Arts Commission Artist Grant, The Pollock-Krasner Foundation Grant and most recently the Espy Foundation Artist-in-Residence Fellowship in Oysterille, Washington. Dory currently lives and works in Seattle.
 
We hope that you find an interest in this new body of work by Susan Dory and will consider reviewing or featuring her latest paintings in your upcoming publication.  If you would like further information, please do not hesitate to contact me.  It would be a pleasure to work with you.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/FCA0-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/FCA0-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/FCA0-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749267</Latitude>
  <Longitude>-74.004028</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/FCAD" href="http://www.nyartbeat.com/event/2012/FCAD">
  <Name>Michele Kong &amp; Yosuke Ito &quot;Circulation&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/A97C5B22">
    <Name>M55 Art</Name>
    <Type>Gallery</Type>
    <Address>44-02 23rd St., Long Island City, NY 11101</Address>
    <Phone>718-729-2988</Phone>
    <Fax></Fax>
    <Access>Between 44th Ave. and 44th Rd. Subway: E/F to 23rd Street/ Ely Avenue</Access>
    <Area areaId="queens">Queens</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>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[With upheaval spreading around the world, what can we make of our current global situation? Like looking in a mirror every morning, we may check numerous sources of information. On one hand, in Japan we witnessed that everybody could experience weakness, loss and suffering from unexpected circumstances – the great earthquake and tsunami. More recently we saw the Occupy protests spreading from Wall Street to locations all over the world. They seem to cry out for recovering some common ground, both material and spiritual.

These incidents show images in a mirror that is not always stable and flat. Fact was not reflected in the mirror, more perhaps somewhere between the incidents and the reflections. If the mirror that we look into each morning does not reflect fact, then is the mirror even real? Now, everything is in interconnected, circulating on a global scale and has the possibility to be upset.

Art has a function to rouse people to look at the structures of the current world and show something in between. This two-person show creates a dialogue and exchange of ideas between artists Michele Kong (NY) and Yosuke Ito (Tokyo).

This light-based exhibition is best viewed after sunset.


Michele Kong
For several years, Michele Kong created large-scale sculptural installations inspired by structures in nature and focusing attention on things found in plain sight. Such works have been included in exhibitions at a variety of art venues including: PS 1 Contemporary Art Center (NY), Bemis Center for Contemporary Art (NE), Arlington Arts Center (VA), Maryland Art Place (MD), Delaware Center for the Contemporary Arts (DE), to name just a few. In 2009, Kong expanded her artistic practice and began experimenting with narrative in short video projects. Several fellowships including the Fine Arts Work Center, Yaddo, Virginia Center for the Creative Arts, and other programs supported this new body of work. Additionally a 2009 Creative Artist Exchange Fellowship, awarded by the Japan-US Friendship Commission/NEA, contributed to the production of collaborative works including the work on view in this exhibition, The Space Between.


Yosuke Ito
A Tokyo-based artist and international exhibitor, is interested in the mechanism of self-reflection. He refers to this process as a connection between gaze and glance to memory and record. As Artistic Director of the international exchange project, Puddles, Ito has collaborated with intermedia artist Phill Niblock, a Minimal sound master. The inspiration from these collaborations has broadened Ito’s work, reaching beyond the visual to include other senses. From 2009 at M55 Art, Ito develops his ideas into a visual narrative. The dispersal of light is transferred to the circular motion of propellers powered by solar cells, suggesting the far-reaching implications regarding current global environmental issues.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/FCAD-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/FCAD-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/FCAD-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-27</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748986</Latitude>
  <Longitude>-73.944494</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/FD1B" href="http://www.nyartbeat.com/event/2012/FD1B">
  <Name>&quot;Mic-Check&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/7FEF44CA">
    <Name>Sideshow Gallery</Name>
    <Type>Gallery</Type>
    <Address>319 Bedford Ave., Brooklyn, NY 11211</Address>
    <Phone>718-486-8180</Phone>
    <Fax>718-486-8180</Fax>
    <Access>Between S 2nd St. and S 3rd St.  Subway: L to Bedford Avenue</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="1" thu="1" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment.</ScheduleNote>
  </Venue>
  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/FD1B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/FD1B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/FD1B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-07</DateStart>
  <DateEnd>2012-02-26</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-07" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>17</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.713008</Latitude>
  <Longitude>-73.962208</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/FE63" href="http://www.nyartbeat.com/event/2012/FE63">
  <Name>“The End&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/D8672E08">
    <Name>Vogt Gallery</Name>
    <Type>Gallery</Type>
    <Address>526 W 26th st., #911, New York, NY 10001</Address>
    <Phone>212-255-2671</Phone>
    <Fax>212-255-2827</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Vogt Gallery presents the group exhibition “The End,” featuring works by mostly New York-based artists ranging from sculpture over drawing and painting to video and installation. The show is curated by Michael Bühler-Rose and John Connelly.

&quot;The End&quot; is an open and layered interpretation of the metaphorical meaning of the concluding of one event, affair or matter being a possible beginning of another. What is voided and what is created by change, culmination, destruction, cancellation, etc... The works in the exhibition touch upon broad themes like modernism, classicism, historic preservation, manifest destiny, technological innovation, geography, popular culture, death and spirituality. In &quot;The End,&quot; a narrative and physical construct that suggests finality and permanence becomes a catalyst for change, renaissance and growth. One final event or frontier becomes it’s own dead end or the possible beginning of something unknown but adventurous, a new avenue reflected in basic and broad historical gestures of both fear and relief.

[Image: The Pennsylvania Railroad Station, New York City. 1906-1910]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/FE63-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/FE63-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/FE63-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-06</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-06" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749852</Latitude>
  <Longitude>-74.003766</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/FE74" href="http://www.nyartbeat.com/event/2012/FE74">
  <Name>Stan Narten Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/A1BF27F3">
    <Name>Kravets/Wehby Gallery</Name>
    <Type>Gallery</Type>
    <Address>521 W 21st St., New York, NY 10011</Address>
    <Phone>212-352-2238</Phone>
    <Fax>212-352-2239</Fax>
    <Access>Between 10th Ave. and West Side Highway. Subway: A/C/E to 14th Street or C/E to 23rd Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_21">Chelsea 21st</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[The Kravets/Wehby Gallery presents a solo exhibition of new paintings by Stan Narten.

In this latest series, Stan’s paintings have become increasingly dense and intricate. All are composed as portraits, each comprised of a solitary ‘character’ within a mass of abstract forms. They invoke spatial and figural illusions, visual anomalies and architectural elements. Inspired by references from Classical European portraiture, Narten utilizes the style of classical painting with glazes to create the luminance reminiscent of the old masters. The title of the exhibition is inspired by a concept in philosophy and neuroscience. The Three Pound Universe is a metaphor for the known universe existing as a sole construct of the brain, culminating in all feeling, perception, distortion, and illusion. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/FE74-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/FE74-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/FE74-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746647</Latitude>
  <Longitude>-74.005653</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/FF63" href="http://www.nyartbeat.com/event/2012/FF63">
  <Name>&quot;The World of Duncan Phyfe&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/371E0BC8">
    <Name>Hirschl &amp; Adler</Name>
    <Type>Gallery</Type>
    <Address>730 Fifth Avenue, Fl. 4, New York, NY 10019</Address>
    <Phone>212-535-8810</Phone>
    <Fax>212-772-7237</Fax>
    <Access>Between 56th and 57th Sts. Subway: 4/5/6 to 59th Street, N/R/W to 60th Street, F to 57th Street.</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>09:30:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays closinghour 16:45</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Furniture</Media>
  <Description><![CDATA[Hirschl &amp; Adler presents &quot;&quot;The World of Duncan Phyfe: the Arts of New York, 1800-1847&quot;.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/FF63-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/FF63-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/FF63-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-12-15</DateStart>
  <DateEnd>2012-02-17</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>8</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.762707</Latitude>
  <Longitude>-73.966781</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/FFCB" href="http://www.nyartbeat.com/event/2012/FFCB">
  <Name>Amee J. Pollack &amp; Laurie Spitz &quot;The Inheritance&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/3DFCE83B">
    <Name>Ceres Gallery</Name>
    <Type>Gallery</Type>
    <Address>547 W 27th St., Suite 201, New York, NY 10001</Address>
    <Phone>212-947-6100</Phone>
    <Fax>212-947-6100</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>thursdays closinghour 20:00</ScheduleDetails>
    <ScheduleNote>August 9-August 31, 2009   Gallery Closed for the summer break, to reopen September 1, 2009.</ScheduleNote>
  </Venue>
  <Media>2D: Prints</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[One-of-a-Kind Constructions and Artists' Books
Pushing the boundaries of what a book can be, we use bookboard as an armature to build constructions  in the form of furniture and household objects whose drawers, flaps and movables tell a new kind of women's history.  Mounted on the wall or freestanding, the structures join our pop-up and carousel books to offer a variety of formats and more than a little wry commentary hidden within.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/FFCB-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/FFCB-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/FFCB-170" width="170" />
  <Karma>1.43236</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-31</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750694</Latitude>
  <Longitude>-74.003639</Longitude>
 </Event>

 <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>
