<?xml version="1.0"?>
<Events>
 <Event xml:lang="en" id="2011/1F3C" href="http://www.nyartbeat.com/event/2011/1F3C">
  <Name>Damien Hirst &quot;The Complete Spot Paintings 1986-2011&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/BD565E74">
    <Name>Gagosian Gallery Madison Avenue</Name>
    <Type>Gallery</Type>
    <Address>980 Madison Ave., New York, NY 10075</Address>
    <Phone>212.744.2313</Phone>
    <Fax>212.772.7962</Fax>
    <Access>Between 76th and 77th St. Subway: 6 to 77th St.</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[I was always a colorist, I've always had a phenomenal love of color... I mean, I just move color around on its own. So that's where the spot paintings came from-to create that structure to do those colors, and do nothing. I suddenly got what I wanted. It was just a way of pinning down the joy of color.
-Damien Hirst
 
Gagosian Gallery is pleased to present &quot;The Complete Spot Paintings 1986-2011&quot; by Damien Hirst.
 
The exhibition will take place at once across all of Gagosian Gallery's eleven locations in New York, London, Paris, Los Angeles, Rome, Athens, Geneva, and Hong Kong, opening worldwide on January 12, 2012. Most of the paintings are being lent by private individuals and public institutions, more than 150 different lenders from twenty countries. Conceived as a single exhibition in multiple locations, &quot;The Complete Spot Paintings 1986-2011&quot; makes use of this demographic fact to determine the content of each exhibition according to locality.
 
Included in the exhibition are more than 300 paintings, from the first spot on board that Hirst created in 1986; to the smallest spot painting comprising half a spot and measuring 1 x 1/2 inch (1996); to a monumental work comprising only four spots, each 60 inches in diameter; and up to the most recent spot painting completed in 2011 containing 25,781 spots that are each 1 millimeter in diameter, with no single color ever repeated.
 
In conjunction with the exhibition will be the publication of The Complete Spot Paintings 1986-2011, a fully illustrated, comprehensive and definitive catalogue of all spot paintings made by Hirst from 1986 to the present. Published by Gagosian Gallery and Other Criteria, The Complete Spot Paintings 1986-2011 includes essays by Museum of Modern Art curator Ann Temkin, cultural critic Michael Bracewell, and art historian Robert Pincus-Witten as well as a conversation between Damien Hirst, Ed Ruscha and John Baldessari.
 
The third issue of the Gagosian App for iPad will also launch January, providing an interactive, in-depth look at the series that features more than ninety spot paintings.
 
&quot;Damien Hirst: The Complete Spot Paintings 1986-2011&quot; precedes the first major museum retrospective of Hirst's work opening at Tate Modern in London in April, 2012.
 
Damien Hirst was born in 1965 in Bristol, England. Solo exhibitions include &quot;The Agony and the Ecstasy,&quot; Museo Archeologico Nazionale di Napoli, Naples (2004); &quot;A Selection of Works by Damien Hirst from Various Collections,&quot; Museum of Fine Arts, Boston (2005); Astrup Fearnley Museet for Moderne Kunst, Oslo (2005); &quot;For the Love of God,&quot; Rijksmuseum, Amsterdam (2008); &quot;No Love Lost,&quot; The Wallace Collection, London (2009); &quot;Requiem,&quot; Pinchuk Art Center, Kiev (2009); and &quot;Cornucopia,&quot; the Oceanographic Museum of Monaco (2010). He received the Turner Prize in 1995. His work is included in many important public and private collections throughout the world.
 
Hirst lives and works in London and Devon, United Kingdom.

[Image: DAMIEN HIRST &quot;Methoxyverapamil&quot; (1991) Household gloss on canvas, 75 x 69 inches  (190.5 x 175.3 cm) © Damien Hirst and Science Ltd. All rights reserved, DACS 2011]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/1F3C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/1F3C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/1F3C-170" width="170" />
  <Karma>4.19936</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.774597</Latitude>
  <Longitude>-73.963408</Longitude>
 </Event>

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

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

 <Event xml:lang="en" id="2011/4BFD" href="http://www.nyartbeat.com/event/2011/4BFD">
  <Name>Sarah Sze &quot;Infinite Line&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/4BBB30DE">
    <Name>Asia Society and Museum</Name>
    <Type>Museum</Type>
    <Address>725 Park Ave., New York, NY 10021</Address>
    <Phone>212-288-6400</Phone>
    <Fax>212-517-8315</Fax>
    <Access>Corner of 70th St.  Subway: 6 to 68th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails>fridays closinghour 21:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[Sarah Sze: Infinite Line is the first exhibition to focus specifically on Sarah Sze's process. It is an exploration of line, literally and figuratively, across mediums from drawings to sculpture to installation. Initially trained in architecture, Sze explores the ways space is both represented and experienced in two and three dimensions. 

Known for her installations, Sze utilizes everyday materials such as disposable plastic eating utensils, notepads, scissors and ladders, among other objects. The exhibition comprises two-dimensional works on paper and a new, large-scale site-specific installation in which she creates a complex web of materials that visually engages the architectural dynamic of a space and invites viewers to reevaluate their relation to their surroundings.

[Image: Sarah Sze &quot;Guggenheim as a Ruin&quot; (2009) Ink, string, collage on paper]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/4BFD-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/4BFD-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/4BFD-170" width="170" />
  <Karma>4.32318</Karma>
  <Price free="0">Adults $10, Seniors $7, Students $5, Children under 16, Memebers and Fridays 6-9pm  Free</Price>
  <DateStart>2011-12-13</DateStart>
  <DateEnd>2012-03-12</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>32</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.76985</Latitude>
  <Longitude>-73.964481</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/C94E" href="http://www.nyartbeat.com/event/2011/C94E">
  <Name>Damien Hirst &quot;The Complete Spot Paintings 1986-2011&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/F35D4C50">
    <Name>Gagosian Gallery 24th Street</Name>
    <Type>Gallery</Type>
    <Address>555 W 24th St., New York, NY 10011</Address>
    <Phone>212-741-1111</Phone>
    <Fax>212-741-9611</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_24">Chelsea 24th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[I was always a colorist, I've always had a phenomenal love of color... I mean, I just move color around on its own. So that's where the spot paintings came from-to create that structure to do those colors, and do nothing. I suddenly got what I wanted. It was just a way of pinning down the joy of color.
-Damien Hirst
 
Gagosian Gallery presents &quot;The Complete Spot Paintings 1986-2011&quot; by Damien Hirst.
 
The exhibition will take place at once across all of Gagosian Gallery's eleven locations in New York, London, Paris, Los Angeles, Rome, Athens, Geneva, and Hong Kong, opening worldwide on January 12, 2012. Most of the paintings are being lent by private individuals and public institutions, more than 150 different lenders from twenty countries. Conceived as a single exhibition in multiple locations, &quot;The Complete Spot Paintings 1986-2011&quot; makes use of this demographic fact to determine the content of each exhibition according to locality.
 
Included in the exhibition are more than 300 paintings, from the first spot on board that Hirst created in 1986; to the smallest spot painting comprising half a spot and measuring 1 x 1/2 inch (1996); to a monumental work comprising only four spots, each 60 inches in diameter; and up to the most recent spot painting completed in 2011 containing 25,781 spots that are each 1 millimeter in diameter, with no single color ever repeated.
 
In conjunction with the exhibition will be the publication of The Complete Spot Paintings 1986-2011, a fully illustrated, comprehensive and definitive catalogue of all spot paintings made by Hirst from 1986 to the present. Published by Gagosian Gallery and Other Criteria, The Complete Spot Paintings 1986-2011 includes essays by Museum of Modern Art curator Ann Temkin, cultural critic Michael Bracewell, and art historian Robert Pincus-Witten as well as a conversation between Damien Hirst, Ed Ruscha and John Baldessari.
 
The third issue of the Gagosian App for iPad will also launch January, providing an interactive, in-depth look at the series that features more than ninety spot paintings.
 
&quot;Damien Hirst: The Complete Spot Paintings 1986-2011&quot; precedes the first major museum retrospective of Hirst's work opening at Tate Modern in London in April, 2012.
 
Damien Hirst was born in 1965 in Bristol, England. Solo exhibitions include &quot;The Agony and the Ecstasy,&quot; Museo Archeologico Nazionale di Napoli, Naples (2004); &quot;A Selection of Works by Damien Hirst from Various Collections,&quot; Museum of Fine Arts, Boston (2005); Astrup Fearnley Museet for Moderne Kunst, Oslo (2005); &quot;For the Love of God,&quot; Rijksmuseum, Amsterdam (2008); &quot;No Love Lost,&quot; The Wallace Collection, London (2009); &quot;Requiem,&quot; Pinchuk Art Center, Kiev (2009); and &quot;Cornucopia,&quot; the Oceanographic Museum of Monaco (2010). He received the Turner Prize in 1995. His work is included in many important public and private collections throughout the world.
 
Hirst lives and works in London and Devon, United Kingdom.

[Image: DAMIEN HIRST &quot;Eucatropine&quot; (2005) Household gloss on canvas, 34 x 34 inches  (86.4 x 86.4 cm) © Damien Hirst and Science Ltd. All rights reserved, DACS 2011]]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2011/C94E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/C94E-170" width="170" />
  <Karma>10.7317</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749122</Latitude>
  <Longitude>-74.005472</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/0EB1" href="http://www.nyartbeat.com/event/2012/0EB1">
  <Name>Weegee &quot;Naked City&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/DEBF7504">
    <Name>Steven Kasher Gallery</Name>
    <Type>Gallery</Type>
    <Address>521 W 23rd St., New York, NY 10011</Address>
    <Phone>212-966-3978</Phone>
    <Fax>212-226-1485</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_23">Chelsea 23rd</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Steven Kasher Gallery presents “Weegee: Naked City” in conjunction with two major specifically-Focused Weegee exhibitions, “Weegee: Naked Hollywood” at MQCA and “Weegee: Murder is My Business” at the ICP. With over I25 Weegee prints we explore the Full emotional and satirical and aesthetic ranges of Weegee’'s photographs of New Yorkers and other urbaites. The exhibition features multiple prints each of Weegee’s basic subjects: Song and Dance. Drink, Party, Spectacle, Circus, Love and Sex. Crime and Disaster.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0EB1-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0EB1-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0EB1-170" width="170" />
  <Karma>8.48837</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
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  <Latitude>40.748008</Latitude>
  <Longitude>-74.004558</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="2012/56AF" href="http://www.nyartbeat.com/event/2012/56AF">
  <Name>&quot;New Photographers&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/4BB02AB7">
    <Name>Danziger Gallery</Name>
    <Type>Gallery</Type>
    <Address>527 W 23rd St., New York, NY 10011</Address>
    <Phone>212-629-6778</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street, or L to 8th Avenue.</Access>
    <Area areaId="chelsea_23">Chelsea 23rd</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[&quot;New Photographers&quot; presents five artists exhibiting in New York for the first time. The artists are not linked thematically or stylistically, but what they have in common is their distinctive approach to photography and the originality of their images. In this show, each body of work creates its own context. 

[Image: Chris Levine &quot;Lightness of Being&quot; pigment print (2004) 30 x 24 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/56AF-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/56AF-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/56AF-170" width="170" />
  <Karma>7.60417</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748039</Latitude>
  <Longitude>-74.004625</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/6C22" href="http://www.nyartbeat.com/event/2012/6C22">
  <Name>&quot;Portraits/Self-Portraits&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/7D8487D4">
    <Name>Sperone Westwater</Name>
    <Type>Gallery</Type>
    <Address>257 Bowery  New York, NY 10002</Address>
    <Phone>212-999-7337</Phone>
    <Fax>212-999-7338</Fax>
    <Access>Between Houston and Stanton St. Subway: F/V to 2nd Avenue.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Description><![CDATA[Sperone Westwater presents an exhibition of portrait and self-portrait paintings by notable European and American artists from the sixteenth century to the present. This survey includes Old Master paintings from Italy, France, England, and The Netherlands, as well as works by modern and contemporary artists.

The breadth of the works in &quot;Portraits/Self-Portraits&quot; demonstrates that portraiture has been an on-going and reoccurring theme in art history, especially in Western culture, for centuries. The earliest portraits were created to illustrate physical or material attributes of the sitter, which historically included nobility, family, friends, lovers, and the self. According to Angus Trumble, Senior Curator of Paintings and Sculpture at the Yale Center for British Art – who has written the essay for the Portraits/Self-Portraits catalogue – in the seventeenth century, the focus of portraiture shifted to capturing the character or essence of the person. Since the Renaissance, there has been a dichotomy between what portraits – many of which were commissioned – represent or elucidate versus the “likeness” of the sitter. Portraits can depict a person’s wealth, power, piety, occupation, time period, cultural and personal interests, as well as emotional states.

The exhibition also acknowledges new scholarship on works from the sixteenth and seventeenth century. Portrait of a Gentleman from the mid-sixteenth century was recently attributed to Michele di Ridolfo del Ghirlandaio (Florence 1503-1577), the Italian painter of the Renaissance and Mannerist style whose workshop was one of the most important artist’s shops in Florence during this time. In contrast, the painting Portrait of a Young Gentleman by Jacopo Negretti called Palma the Younger (Venice 1548-1628) has a warmer palette, reminiscent of Tintoretto or Titian’s works. A primary portraitist for the Florentine court in the sixteenth century, Jacopino del Conte’s Portrait of a man with gloves is a half-length frontal view of an austere looking man holding gloves, and it has a refined and elegant dark palette. A Young Solider (1624) by Theodor Rombouts (Antwerp 1597 – 1637) is one of the artist’s few dated paintings, and it captures the soldier’s emotional state. Other historical masterworks include those by Leandro da Ponte known as Leandro Bassano (Bassano 1557 – Venice 1622), Nicolas de Largillière (Paris 1656 – 1746), Richard Van Bleeck (The Hague 1670 – 1733 London), to name a few.

Juxtaposed with these paintings are contemporary works that reflect movements in portraiture painting over the last century. Francis Picabia’s Portrait de Suzanne (1942) depicts his lover in a view that was perhaps taken from a photograph. Her makeup and hair indicate the fashion of the time, while her face and posture indicate an emotional state of unease. Pablo Picasso’s Tête de Femme (1943) is painted with vibrant colors and bold brushstrokes in the artist’s signature flat, Cubist style. Andy Warhol’s Self-Portrait (1986) illustrates the artist’s characteristic “fright wig” and his exploration of identity including artist as star, while Kim Dingle’s Group Portrait (2011) explores multiple depictions of the artist.  In Susan Rothenberg’s Memory of 1951 (Self-Portrait), 2011, the artist identifies herself with a toy blue monkey she was given by her parents when she was hospitalized as a child. Tom Sachs’ Krusty (2011) elevates the status of a cartoon character from Pop culture as it becomes the subject of not only a portrait, but a self-portrait painting.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6C22-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6C22-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6C22-170" width="170" />
  <Karma>6.08333</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
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  <Latitude>40.723239</Latitude>
  <Longitude>-73.992725</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/7B9B" href="http://www.nyartbeat.com/event/2012/7B9B">
  <Name>Motoyuki Daifu &quot;Lovesdy&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/AD9ABBF6">
    <Name>Lombard-Freid Projects</Name>
    <Type>Gallery</Type>
    <Address>518 W 19th St., New York, NY 10011</Address>
    <Phone>212-967-8040</Phone>
    <Fax>212-967-0669</Fax>
    <Access>Between 10th and 11th Avenue. Subway: C/E to 23rd Street or A/C/E, or L to 14th Street/ 8th Avenue</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 11:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Lombard Freid Projects presents Lovsody, Motoyuki Daifu’s first solo show with the gallery. The young Japanese photographer, based in Tokyo, uses photography to document the highly personal chaos of domestic life with his family and loved ones. Motoyuki’s portraits of people, rooms and objects are filled with energy and color, all of which intermix to generate a natural narrative that feel simultaneously honest and unlikely. Motoyuki’s subjects are unfazed by the continuous presence of his camera, offering up their most intimate moments for documentation and presentation to the outside world.
 
Lombard Freid premiered Motoyuki’s work in the US as part of last year’s critically acclaimed group show Minor Cropping May Occur. His 2009 Family series, made of lovingly shot portraits of Motoyuki’s cramped and hectic life in the Tokyo apartment with his parents and five siblings, was highlighted in the New York Times, The New Yorker, Art Review and ID Online. Lovesdy is an intimate follow up that looks to the more romantic and mournful side of personal relationships.

I met her when she was only twenty years old.
She already had a two-year-old boy and was pregnant again.
I fell in love with her at first sight.
A girl - and a mother.
She had two characters in herself.
I had never met a girl like her- a girl full of motherly love.
This is our six month lovesody.
- Motoyuki Daifu

Lovesody (a portmanteau of love and rhapsody) documents Motoyuki’s brief and potent relationship with a single young mother and her two children. In this series, Motoyuki steps away from the comfort of his family, and presents his own volatile coming of age tale. The resulting narrative is suffused with joy and melancholy, capturing all the intimacies of young love. The frenetic quality seen in his previous work continues to create a fully tactile experience where nothing is concealed; the children’s snot and grime and their mothers’ exhaustion carry the viewer though Motoyuki’s reality where chaos and imbalance reign. The young girl and her small children are portrayed through a loving lens while the viewer looks on aware that the affair ended after only six months. The brevity of the relationship adds to the intimacy of the series with the narrative exposing a series of kinetic emotions that burnt out faster then they could be realized. 
 
Following the photo diary tradition within Japanese photography, a clear timeframe and narrative is presented even as Motoyuki’s gaze repeatedly shifts from amorous admirer, to protective father, and to the child within himself. The order, structure, and stoicism often associated with contemporary Japan are absent, marking Motoyuki as an accurate recorder of a new, uncertain time where generations are shifting and values changing on a daily basis. Added to this, in a country with a staggering age imbalance and birth rates at a critical low, Motoyuki’s Lovesody is a pure anomaly.
 
The exhibition coincides with the release of a limited edition publication of the same name. Published by Little Big Man, 300 copies of Lovesody, along with 10 special editions with a hand-numbered photographic print, will be released on January 25th.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/7B9B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7B9B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7B9B-170" width="170" />
  <Karma>9.5393</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
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  <Latitude>40.745333</Latitude>
  <Longitude>-74.006564</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="2012/90C6" href="http://www.nyartbeat.com/event/2012/90C6">
  <Name>&quot;Blind Cut&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/246CDAF6">
    <Name>Marlborough Chelsea</Name>
    <Type>Gallery</Type>
    <Address>545 W 25th St., New York, NY 10001</Address>
    <Phone>212-463-8634</Phone>
    <Fax>212-463-9658</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Marlborough Chelsea is pleased to present Blind Cut, a group exhibition curated by Jonah Freeman and Vera Neykov. The works included address diverse notions surrounding the themes of fiction or deception. This collection, spanning several generations from Dada to the present, poses questions regarding identity, authorship, originality and reality. The practices and methodologies range from: depictions of fictional places, imagined personas, inaccurate histories, invented language, urban utopias and complex, unrevealed material gestures.

The tradition of art as trickery or deception is rich and varied. Whether it is the fantastical architecture imagined by Piranesi, the Surrealist’s use of trompe l’oeil, or the Cottingley Fairies photographic series by Elsie Wright and Frances Griffiths, much of the significant art over the last century has approached questions of authenticity through methods of appropriation, re-contextualization, and critique. Examples in expanded culture are equally numerous, ranging from Luis Buñuel’s faux ethnographic film Land Without Bread (exhibited), and Orson Welles’ 1938 fake radio news presentation of H.G. Welles’ War of the Worlds, as well as in recent years: Clifford Irving’s fake biography of Howard Hughes, the false journalism of former New York Times writers Judith Miller and Jayson Blair and the late capitalist trends of credit default swaps and phantom wealth.

Anchoring the exhibition is the work of Marcel Broodthaers, whose short yet diverse artistic career employed fiction as its principle medium. In projects such as Musée d’Art Moderne, Department of Aigles (1968-74), and Décor (1974-75), Broodthaers presented a situation in which objects and environments framed as ‘fictions’ revealed the layered and often dubious conditions of our so-called ‘real’ institutions.

Accompanying the exhibition will be a fully illustrated catalogue that along with documentation of the work exhibited will also include interviews, writings, and ephemera surrounding the themes of fiction and deception. A viewing schedule for the films will be released on the gallery website in conjunction with the show.]]></Description>
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  <Karma>5.10381</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
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 </Event>

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

 <Event xml:lang="en" id="2012/A856" href="http://www.nyartbeat.com/event/2012/A856">
  <Name>Zimoun &quot;Volume&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/C2CAA62C">
    <Name>Bitforms Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., 2 Fl., New York, NY 10011</Address>
    <Phone>212-366-6939</Phone>
    <Fax>212-366-6959</Fax>
    <Access>Between 10th Ave. and West Side Highway. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_20">Chelsea 20th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[bitforms gallery presents Volume, the first solo exhibition in New York by Swiss artist Zimoun. On view will be an immersive, site-specific sound installation based on prepared dc-motors and cardboard boxes. 

Part of a series that received its U.S. debut in a solo exhibition at the Ringling Museum of Art this Fall, the installation emphasizes the grid as a method of visual organization. Precariously balanced rows of cardboard boxes form an architectural space containing a rumbling din produced by mechanical motors humming in unison. 

Pulsing rhythmically, each unit in the system reverberates with its own sense of purpose and timing. Temporal microstructures emerge and shift, made visible by collective behavior. With minimalist and low-tech means, Zimoun constructs a blank zone of play utilizing repetition and the physical pressure of vibration.

As an author, Zimoun uses scale and tools of amplification to transform our associations with commonplace industrial objects. Tuned into kinetic and acoustic detail, his obsessive displays of collected materials unlock emotional potential in otherwise banal and chaotic gestures. In his work static volume permeates a space, yielding reductive clocklike operas of the everyday.

For the duration of the show, the gallery’s project room on the 6th floor will also feature four mechanical works by the artist and a video.]]></Description>
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  <Karma>4.02439</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:30:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
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 </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>
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  <Karma>3.9</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-06</DateStart>
  <DateEnd>2012-02-11</DateEnd>
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 </Event>

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

 <Event xml:lang="en" id="2012/E632" href="http://www.nyartbeat.com/event/2012/E632">
  <Name>&quot;Sound of Silence: Art During Dictatorship&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/17610F30">
    <Name>EFA Project Space</Name>
    <Type>Gallery</Type>
    <Address>323 W 39th St., 11 Fl., New York, NY 10018</Address>
    <Phone>212-563-5855</Phone>
    <Fax>212-563-1875</Fax>
    <Access>Between 8th and 9th Ave. Subway: A/C/E to 42th Street or A/C/E to 34th Street.</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Prints</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Curated by Belarus-born Olga Kopenkina, this exhibition brings together nine of the most active young artists from Belarus, and their videos, posters, paintings and installations created in solidarity with popular protests against the December 2010 rigged election and state-sanctioned crime that unfolded in its aftermath. Belarus President Lukashenka usurped governmental control seventeen years ago, and proceeded to turn Belarus, a once culturally vibrant country re-establishing its identity after the fall of the Soviet Union, into a repressed and stagnant dictatorship. In December 2010, accusations against falsified presidential elections brought rise to a wave of peaceful protests throughout the country, which were reacted strongly against by the police and the government through violence, mass arrests, unlawful trials for the oppositional leaders and activists, and long jail terms. 
 
Young artists in Belarus responded strongly to the fast growing protest movement with new and bold expression-actions that have been gaining visibility throughout Europe despite the governments efforts to silence them. This is the generation of artists who grew up under the dictatorship of Lukashenka and now many of them have found brazen voices that enable them to take giant risks, challenging the status quo while faced with the constant threat of arrest and the fate of political exile. &quot;Sound of Silence&quot; is the first exhibition in New York City that surveys the recent and powerful activities coming from this generation of Belarusian artists. It presents a range of installation, documentation and objects: from the work generated by the collective www.antibrainwash.net, an artists-run activist website, which features radical protest posters and materials that can be downloaded, printed and distributed; to Marina Naprushkina's constantly morphing installation &quot;The Office of Anti-Propaganda,&quot; that presents images, objects, slogans and video footage exploring the illusory reality the Belarus government created through public campaign; to documentation of Ales Pushkin's outlandish staged performance protests delivered to the President, police, and other officials that led him to immediate and constant arrest; to the Minsk-based group FAU's &quot;Monopoly: The Belarusian Edition&quot;  that addresses the dominance of economics over politics and culture, when the players assume the roles of government officials and winning depends upon being the most corrupt; to Yauheni Shadko's expressionistic narrative paintings of recent political events.

[Image: antibrainwash.net &quot;Tortures #3 and #6&quot; (2011) (from series of 9 downloadable posters]]]></Description>
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  <Karma>4.3769</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-27</DateStart>
  <DateEnd>2012-03-10</DateEnd>
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 <Party type="1" date="2012-01-27" start="18:00:00" end="20:00:00">Opening Reception</Party>
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 <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>

</Events>
