<?xml version="1.0"?>
<Events>
 <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="2011/078B" 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="2011/0D08" href="http://www.nyartbeat.com/event/2011/0D08">
  <Name>&quot;Gifted: Collectors and Drawings at MoMA, 1929–1983&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/AE192502">
    <Name>The Museum of Modern Art</Name>
    <Type>Museum</Type>
    <Address>11 W 53rd St., New York, NY 10019</Address>
    <Phone>212-708-9400</Phone>
    <Fax></Fax>
    <Access>Between 5th Ave. and 6th Ave.  Subway: V/E to 53rd Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:30:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>fridays closinghour 20:00</ScheduleDetails>
    <ScheduleNote>Summer Hours through Sept. 3: Sunday through Wednesday, 10:30 a.m.–5:30 p.m. Thursday through Saturday, 10:30 a.m.–8:30 p.m.</ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[This exhibition examines the history of MoMA’s drawings collection through key gifts from donors whose connections with the Museum helped shape the institution from its earliest days. Lillie P. Bliss and Abby Aldrich Rockefeller, founders of MoMA, gave numerous masterworks to the new museum, including some of its most prized drawings. In later decades bequests by influential collectors such as James Thrall Soby continued to augment the holdings of works by artists the Museum had already shown a commitment to, while other collections, like that of Joan and Lester Avnet, were formed with MoMA’s needs specifically in mind. More idiosyncratic collections, such as Ruth Vollmer’s bequest to the Museum, accepted in 1983, reflect the life and activities of individual art enthusiasts during key moments in art history. Gifted is a reevaluation of the drawings collection, reflecting not only the richness of MoMA’s holdings, but also the diverse forces that have shaped it and the corresponding history it represents.

[Image: Georges-Pierre Seurat &quot;Stone Breaker, Le Raincy&quot; (c. 1879–81) Conté crayon and graphite on paper 30.8 x 37.5 cm. The Museum of Modern Art. Lillie P. Bliss Collection]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/0D08-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/0D08-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/0D08-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Adults $25, Seniors $18, Students $14, Children and Members and on Friday 4pm–8pm Free. Film Admission as of September 1, 2011: $12 adults; $10 seniors, 65 years and over with I.D.; $8 full-time students with current I.D. (for admittance to film program</Price>
  <DateStart>2011-10-19</DateStart>
  <DateEnd>2012-02-13</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>4</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.761072</Latitude>
  <Longitude>-73.977008</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="2011/2EAC" 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>
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  <Latitude>40.728667</Latitude>
  <Longitude>-73.998688</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>
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  <Latitude>40.745961</Latitude>
  <Longitude>-74.005825</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/4FE6" href="http://www.nyartbeat.com/event/2011/4FE6">
  <Name>&quot;Three Landscapes: A Film Installation by Roy Lichtenstein&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/04C0543A">
    <Name>The Whitney Museum of American Art</Name>
    <Type>Museum</Type>
    <Address>945 Madison Ave., New York, NY 10021</Address>
    <Phone>212-570-3600</Phone>
    <Fax></Fax>
    <Access>Corner of 75th St. Subway: 6 to 77th 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="0" hol="0" />
    <ScheduleDetails>fridays openinghour 13:00, fridays closinghour 21:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>Screen: Film</Media>
  <Description><![CDATA[This exhibition presents Three Landscapes, a little-known triple screen film installation by Roy Lichtenstein, unseen since its showing at the Los Angeles County Museum in 1971 as part of the groundbreaking exhibition Art and Technology. The result of a short residency at Universal Studios in Hollywood, the films, newly restored by the Whitney on their original 35mm format, are testimony to Lichtenstein’s experimentation with form and his fascination with cinema.

[Image: Roy Lichtenstein (1923–1997) &quot;Detail from Three Landscapes&quot; (1970–71) Three-screen 35mm-film installation, color, silent; one minute (looped).]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/4FE6-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/4FE6-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/4FE6-170" width="170" />
  <Karma>0.785396</Karma>
  <Price free="0">General admission: $18; Ages 19-25, 62+, and students: $12; Ages 18 &amp; under: FREE; Fridays 6-9pm are pay what you wish.</Price>
  <DateStart>2011-10-06</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.773411</Latitude>
  <Longitude>-73.964222</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/6037" href="http://www.nyartbeat.com/event/2011/6037">
  <Name>&quot;Real/Surreal&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/04C0543A">
    <Name>The Whitney Museum of American Art</Name>
    <Type>Museum</Type>
    <Address>945 Madison Ave., New York, NY 10021</Address>
    <Phone>212-570-3600</Phone>
    <Fax></Fax>
    <Access>Corner of 75th St. Subway: 6 to 77th 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="0" hol="0" />
    <ScheduleDetails>fridays openinghour 13:00, fridays closinghour 21:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[This exhibition, drawn entirely from the deep holdings of the Whitney Museum’s permanent collection, will focus on the tension and overlap between two strong currents in twentieth century art. Although the term “realism” has many facets, a basic connection to the observable world underlies all of them; the subversion of reality through the imagination and the subconscious lies at the heart of Surrealism. Yet there are convergences in these different and even oppositional approaches to experience, and they encourage new ways of looking at the art of the twenties, thirties, and forties in America. For example, Edward Hopper, famous for chronicling New York urban life, is also a painter whose own subjectivity and imagination are integral to his work. Many artists who developed imagery based on new and very specific, concrete conditions of industrial American, such as Charles Sheeler, were essentially interested in artificial worlds and presented these as distillations of reality. Even totally abstract painters such as Yves Tanguy depended on techniques developed from traditional, realist art to render bizarre worlds. By willfully distorting such techniques, Helen Lundeberg and Mabel Dwight could quietly undercut our sense of stability even while showing us recognizable and even mundane objects and settings. Understanding surrealism as above and beyond the real necessarily ties it to representation and reality, just as realist painting can be imaginative and bizarre without breaking with rational observation. The exhibition will feature approximately 120 works in painting, drawing, photography, and printmaking juxtaposed in ways that elucidate how artists developed qualified degrees of reality where the imagination held more or less sway, depending on intention and influence.


[George Tooker (1920–2011) &quot;The Subway&quot; (1950) Egg tempera on composition board 18 1/8 × 36 1/8 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/6037-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/6037-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/6037-170" width="170" />
  <Karma>1.03297</Karma>
  <Price free="0">General admission: $18; Ages 19-25, 62+, and students: $12; Ages 18 &amp; under: FREE; Fridays 6-9pm are pay what you wish.</Price>
  <DateStart>2011-10-06</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.773411</Latitude>
  <Longitude>-73.964222</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="2011/9578" 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" />
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  <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>
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  <Latitude>40.702694</Latitude>
  <Longitude>-73.988936</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" />
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  <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/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>
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  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747592</Latitude>
  <Longitude>-74.005639</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="2012/0635" 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="2012/077A" 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="2012/0EA2" 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.


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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="2012/11B7" 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="2012/150D" 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="2012/1679" 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="2012/1963" 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="2012/1D5F" 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="2012/1DBB" 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="2012/20B7" 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="2012/24C0" 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="2012/285C" 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="2012/2F4C" 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="2012/3072" 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="2012/38FD" 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="2012/3FEE" 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="2012/43E4" 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="2012/4594" 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="2012/4A97" 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="2012/4D1A" 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="2012/4D8E" 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="2012/52E6" 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="2012/5530" 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="2012/5CE4" 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="2012/5FF0" 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="2012/6194" 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="2012/64AB" 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="2012/676D" href="http://www.nyartbeat.com/event/2012/676D">
  <Name>&quot;Black &amp; White&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/B4C260C3">
    <Name>Salmagundi Art Club</Name>
    <Type>Cultural Center</Type>
    <Address>47 5th Ave., New York, NY</Address>
    <Phone>212-255-7740</Phone>
    <Fax></Fax>
    <Access>Between 11th and 12th Sts. Subway: 4/5/6/L/N/Q/R/W to 14th Street/Union Square.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>13:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Held annually since 1878, the Black &amp; White Exhibition has in the past included great American artists such as William M. Chase, Thomas Moran, John Singer Sargent, and James M. Whistler. 
 
This exhibition in the Upper Gallery of black &amp; white or sepia monochromatic drawings, graphics, photographs, paintings, and sculpture by artist members.  

[Image: Thomas Shelford &quot;Camp Hero Montauk View&quot; Monotype print on paper]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/676D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/676D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/676D-170" width="170" />
  <Karma>0</Karma>
  <Price free="0"></Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-02-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-03" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>1</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.734286</Latitude>
  <Longitude>-73.994664</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/7062" 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="2012/73E6" 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="2012/785C" 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="2012/7923" 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="2012/7A5A" 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="2012/8652" 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="2012/8818" 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="2012/8B94" 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>
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  <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>
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  <Latitude>40.749852</Latitude>
  <Longitude>-74.003766</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="2012/9050" href="http://www.nyartbeat.com/event/2012/9050">
  <Name>&quot;Banquet for America&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/1728903F">
    <Name>Flux Factory </Name>
    <Type>Event Space</Type>
    <Address>39-31 29th Street, Queens, NY 11101</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between 39th and 40th Aves. Subway: N/W to 39th Avenue </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></ScheduleNote>
  </Venue>
  <Media>3D: Crafts</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[Flux Factory announces Banquet for America, an experimental utopian village centered around a banquet table. Our artist-built town-within-a-gallery will be complete with a theater, specialized shops, and more; come experience a village equipped with bakers, jewelers, barbers, puppeteers, and smørrebrød-makers! Artists will inhabit the space for the duration of the show, eating and living with each other in the structures made from reclaimed materials within gallery. We have a dynamic group of performance and conceptual artists, and the experience will shift and grow as the show goes on.

Banquet for America will include four special event nights: an opening reception with Jean Barberis &amp; Mark Krawczuk on February 3rd; Flux Thursday on February 9th; a cabaret and puppet show night on February 11th; and, to close, A Bacchanalian Banquet with Giustina Surbone on February 12th.

Participating artists: Adam Ende; Adrian Owen, Ian Montgomery, &amp; Jason Eppink; Alison Ward; Andy Ralph; Angela Washko; Georgia Muenster; Giustina Surbone; Hector Canonge; Jean Barberis &amp; Mark Krawczuk; Jesper Aabille; Kerry Cox; LuLu LoLo; Stephanie Avery; and Veronica Dougherty. Curated by Alison Ward and Georgia Muenster.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9050-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9050-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9050-170" width="170" />
  <Karma>0</Karma>
  <Price free="0"></Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote>Closing Banquet: Sunday, February 12th, 6-9pm</ScheduleNote>
 <Party type="1" date="2012-02-03" start="19:00:00" end="22:00:00">Opening Reception</Party>
 <DaysBeforeEnd>3</DaysBeforeEnd>
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  <Latitude>40.753011</Latitude>
  <Longitude>-73.93475</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>
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 </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>
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  </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" />
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  <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="2012/9F8C" 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/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>
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  <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/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" />
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  <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/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/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/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/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/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>
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  <Latitude>40.750125</Latitude>
  <Longitude>-74.003686</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>
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  <Latitude>40.721219</Latitude>
  <Longitude>-73.993861</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" />
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  <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/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/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/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/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/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" />
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  <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/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" />
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  <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/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/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/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/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/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/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/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/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>

</Events>
