<?xml version="1.0"?>
<Events>
 <Event xml:lang="en" id="2008/1BAC" href="http://www.nyartbeat.com/event/2008/1BAC">
  <Name>Rodin &quot;The Cantor Gift to the Brooklyn Museum&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/8F478E4D">
    <Name>Brooklyn Museum</Name>
    <Type>Museum</Type>
    <Address>200 Eastern Parkway, Brooklyn, NY 11238</Address>
    <Phone>718-638-5000</Phone>
    <Fax>718-501-6136</Fax>
    <Access>Subway: 2/3 to Eastern Parkway/Brooklyn Museum</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>thursdays closinghour 22:00,</ScheduleDetails>
    <ScheduleNote>First Saturday of the month 11am to 11pm</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Due to installations in the Iris and B. Gerald Cantor Gallery, twelve bronze sculptures by Auguste Rodin have been installed in the Rubin Entrance Pavilion. This newly excerpted presentation of the Museum's large holdings by Rodin includes The Age of Bronze, a signature conception from the early years of the sculptor's career, as well as other works from his most significant commissions, including The Burghers of Calais, The Gates of Hell, and the Monument to Balzac. These casts came to the Brooklyn Museum through the generosity of Iris and B. Gerald Cantor.  ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2008/1BAC-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2008/1BAC-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2008/1BAC-170" width="170" />
  <Karma>0.671296</Karma>
  <Price free="0">Suggested Contributions: Adults $10, Seniors and Students $6, Members and Children under 12 and First Saturday of the month 5pm to 11pm Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.671525</Latitude>
  <Longitude>-73.962556</Longitude>
 </Event>

 <Event xml:lang="en" id="2008/5692" href="http://www.nyartbeat.com/event/2008/5692">
  <Name>&quot;Egypt Reborn: Art for Eternity&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8F478E4D">
    <Name>Brooklyn Museum</Name>
    <Type>Museum</Type>
    <Address>200 Eastern Parkway, Brooklyn, NY 11238</Address>
    <Phone>718-638-5000</Phone>
    <Fax>718-501-6136</Fax>
    <Access>Subway: 2/3 to Eastern Parkway/Brooklyn Museum</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>thursdays closinghour 22:00,</ScheduleDetails>
    <ScheduleNote>First Saturday of the month 11am to 11pm</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[In April, 2003, the Brooklyn Museum completed the reinstallation of its world-famous Egyptian collection, a process that took ten years. Three new galleries joined the four existing ones that had been completed in 1993 to tell the story of Egyptian art from its earliest known origins (circa 3500 B.C.) until the period when the Romans incorporated Egypt into their empire (30 B.C.–A.D. 395). Additional exhibits illustrate important themes about Egyptian culture, including women's roles, permanence and change in Egyptian art, temples and tombs, technology and materials, art and communication, and Egypt and its relationship to the rest of Africa. More than 1,200 objects— comprising sculpture, relief, paintings, pottery, and papyri—are now on view, including such treasures as an exquisite chlorite head of a Middle Kingdom princess, an early stone deity from 2650 B.C., a relief from the tomb of a man named Akhty-hotep, and a highly abstract female terracotta statuette created over five thousand years ago.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2008/5692-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2008/5692-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2008/5692-170" width="170" />
  <Karma>0.903427</Karma>
  <Price free="0">Suggested Contributions: Adults $10, Seniors and Students $6, Members and Children under 12 and First Saturday of the month 5pm to 11pm Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.671525</Latitude>
  <Longitude>-73.962556</Longitude>
 </Event>

 <Event xml:lang="en" id="2008/87CA" href="http://www.nyartbeat.com/event/2008/87CA">
  <Name>Walter De Maria &quot;The Broken Kilometer&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/F4420175">
    <Name>The Broken Kilometer</Name>
    <Type>Other</Type>
    <Address>393 West Broadway, New York NY 10012</Address>
    <Phone>212-989-5566</Phone>
    <Fax></Fax>
    <Access>Between Spring St. and Broome St. Subway: C/E to Spring Street</Access>
    <Area areaId="soho">Soho</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[The Broken Kilometer, 1979, located at 393 West Broadway in New York City, is composed of 500 highly polished, round, solid brass rods, each measuring two meters in length and five centimeters (two inches) in diameter. The 500 rods are placed in five parallel rows of 100 rods each. The sculpture weighs 18 3/4 tons and would measure 3,280 feet if all the elements were laid end-to-end. Each rod is placed such that the spaces between the rods increase by 5mm with each consecutive space, from front to back; the first two rods of each row are placed 80mm apart, the last two rods are placed 580 mm apart. Metal halide stadium lights illuminate the work which is 45 feet wide and 125 feet long.

This work is the companion piece to De Maria's 1977 Vertical Earth Kilometer at Kassel, Germany. In that permanently installed earth sculpture, a brass rod of the same diameter, total weight and total length has been inserted 1,000 meters into the ground.

The Broken Kilometer has been on long-term view to the public since 1979. This work was commissioned and is maintained by Dia Art Foundation.

All images of The Broken Kilometer are copyright Dia Art Foundation and may not be reproduced in any form without written permission from Dia Art Foundation. photo credit: Jon Abbott
]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2008/87CA-170" width="170" />
  <Karma>3.34718</Karma>
  <Price free="1">Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.724333</Latitude>
  <Longitude>-74.002211</Longitude>
 </Event>

 <Event xml:lang="en" id="2008/EF3A" href="http://www.nyartbeat.com/event/2008/EF3A">
  <Name>&quot;What Is It? Himalayan Art&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/E60BEA54">
    <Name>Rubin Museum of Art</Name>
    <Type>Museum</Type>
    <Address>150 W 17th St., New York, NY 10011</Address>
    <Phone>212-620-5000</Phone>
    <Fax></Fax>
    <Access>Corner of 7th Ave. Subway: 1/2/3 to 14th Street or 1 to 18th Street</Access>
    <Area areaId="chelsea_east">East Chelsea</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails>wednesdays closinghour 19:00, fridays closinghour 22:00, saturdays closinghour 18:00, sundays closinghour 18:00</ScheduleDetails>
    <ScheduleNote>7-10pm the museum is free to all visitors, the K2 Lounge/bar is open from 6 pm. until late. Happy Hour 6–7 pm. Performances in the theater start at 7pm.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Himalayan art is new terrain for many people. This exhibition is intended to serve as a guide through this exhilarating landscape. It is organized into four sections, and each object on view contributes a partial answer to the question “What is Himalayan art?” The installation will change periodically to refocus the questions and to pose others. The museum as a whole is a journey along many paths through Himalayan art, offering intimate encounters and changing perspectives.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2008/EF3A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2008/EF3A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2008/EF3A-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Adults $10, Seniors, Students, Artists and Neighbors(zips 10011/10001 with ID) $7, Children under 12 and on Fridays 7pm-10pm Free</Price>
  <DateStart>2009-02-04</DateStart>
  <DateEnd>2013-02-04</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>361</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.739867</Latitude>
  <Longitude>-73.996903</Longitude>
 </Event>

 <Event xml:lang="en" id="2009/1792" href="http://www.nyartbeat.com/event/2009/1792">
  <Name>&quot;That Place: Selections from the Collection&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8F478E4D">
    <Name>Brooklyn Museum</Name>
    <Type>Museum</Type>
    <Address>200 Eastern Parkway, Brooklyn, NY 11238</Address>
    <Phone>718-638-5000</Phone>
    <Fax>718-501-6136</Fax>
    <Access>Subway: 2/3 to Eastern Parkway/Brooklyn Museum</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>thursdays closinghour 22:00,</ScheduleDetails>
    <ScheduleNote>First Saturday of the month 11am to 11pm</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Our home, our street, our city, our country—these are familiar locations, places that define our lives. Yet places can be more than physical. Some of the works on view in these galleries evoke a literal place, either domestic or communal. Others, however, approach the concept of place metaphorically, with evocations of a social and cultural place or references to art history that offer a point of departure, where traditions can be reworked or reconsidered. The past—both personal and collective—occupies a significant place in our memories from which we see the present and imagine the future. Not limited to dwelling, the idea of place transcends geographical and temporal boundaries to include race, ethnicity, and gender in the creation of places where past and future, illusion and reality, meet.
[Image: Nina Chanel Abney (American, b. 1982) &quot;Forbidden Fruit&quot; (2009) Acrylic on canvas, 67 x 77 1/2 in. ]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2009/1792-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2009/1792-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2009/1792-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Suggested Contributions: Adults $10, Seniors and Students $6, Members and Children under 12 and First Saturday of the month 5pm to 11pm Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.671525</Latitude>
  <Longitude>-73.962556</Longitude>
 </Event>

 <Event xml:lang="en" id="2009/840B" href="http://www.nyartbeat.com/event/2009/840B">
  <Name>&quot;Voces y Visiones&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/437D176A">
    <Name>El Museo del Barrio</Name>
    <Type>Museum</Type>
    <Address>1230 5th Ave., New York, NY 10029</Address>
    <Phone>212-831-7272</Phone>
    <Fax>212-831-7927</Fax>
    <Access>Corner of 104th St., Subway: 4/5/6 to 86th Street or 96th 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>wednesdays closinghour 21:00, sundays openinghour 13:00, sundays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Graphics</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Installation</Media>
  <Media>3D: Crafts</Media>
  <Description><![CDATA[The premiere exhibition in our new Carmen Ana Unanue Permanent Collection Galleries celebrates El Museo's 40th anniversary. Over 100 works created by a cross-section of Latino, Caribbean, and Latin American artists trace the museum's history and the artistic contributions and milestones that have been part of El Museo's four decades. Highlighting the strengths of the collections, this installation ranges from artifacts of the ancient Taíno people and their legacy to traditional objects, postwar and contemporary art, including graphics, photography and mixed media installations.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2009/840B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2009/840B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2009/840B-170" width="170" />
  <Karma>1.79289</Karma>
  <Price free="0">Suggested Donations: Adults $9, Seniors and Students $5, Members, Children under 12 and on Wednesdays Seniors Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.792911</Latitude>
  <Longitude>-73.951986</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/77E2" href="http://www.nyartbeat.com/event/2010/77E2">
  <Name>Mary and Michael Jaharis Galleries for Byzantine Art and the Medieval Europe Gallery</Name>
  <Venue href="http://www.nyartbeat.com/venue/2F6CEBC1">
    <Name>The Metropolitan Museum of Art</Name>
    <Type>Museum</Type>
    <Address>1000 Fifth Ave., New York, NY 10028</Address>
    <Phone>212-570-3951</Phone>
    <Fax>212-472-2764</Fax>
    <Access>Corner of 82nd St.  Subway: 6 to 77th Street or 4/5/6 to 86th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>09:30:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails>fridays closinghour 21:00, saturdays closinghour 21:00</ScheduleDetails>
    <ScheduleNote>Open on some holiday Mondays.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Portions of the Medieval Galleries have been renovated, thanks to the generous support of Mary and Michael Jaharis. The apse beneath the Great Hall Stairs has become part of the Mary and Michael Jaharis Galleries for Byzantine Art and features the Museum's newly acquired manuscript, the Jaharis Byzantine Lectionary, a rare masterpiece of Byzantine art from around the year 1100. An 18-foot-tall marble ciborium (altar canopy) from twelfth–century Italy is the focal point of the former Tapestry Hall that has become a new gallery of Medieval Europe devoted to works of art in all media from about 1050 to 1300.
[Image: Nicolaus Ranucius (Ranierius) and His Sons, Johannes and Guittone “Ciborium” (c. 1150) Marble, hard stone, gold glass inlays]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/77E2-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/77E2-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/77E2-170" width="170" />
  <Karma>2.01389</Karma>
  <Price free="0">Suggested Donations: Adults $25, Seniors $17, Students $12, Members and Children Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.779</Latitude>
  <Longitude>-73.962342</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/8E96" href="http://www.nyartbeat.com/event/2010/8E96">
  <Name>The Charles Engelhard Court and the Period Rooms</Name>
  <Venue href="http://www.nyartbeat.com/venue/2F6CEBC1">
    <Name>The Metropolitan Museum of Art</Name>
    <Type>Museum</Type>
    <Address>1000 Fifth Ave., New York, NY 10028</Address>
    <Phone>212-570-3951</Phone>
    <Fax>212-472-2764</Fax>
    <Access>Corner of 82nd St.  Subway: 6 to 77th Street or 4/5/6 to 86th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>09:30:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails>fridays closinghour 21:00, saturdays closinghour 21:00</ScheduleDetails>
    <ScheduleNote>Open on some holiday Mondays.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[The Metropolitan Museum of Art's American Wing—including The Charles Engelhard Court and the American period rooms—reopened on May 19, 2009. After more than two years of construction and renovation, the unparalleled collections of American furniture, sculpture, stained glass, architectural elements, ceramics, glass, silver, pewter, and jewelry returned to public view. Twelve of the Met's historic interiors were renovated, reinterpreted, and upgraded to include interactive computer touch screens offering information about the rooms and their furnishings. The opening of the galleries marked the completion of the second of three parts of a project to reconfigure, renovate, and upgrade every section of The American Wing by 2011.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/8E96-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/8E96-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/8E96-170" width="170" />
  <Karma>2.01389</Karma>
  <Price free="0">Suggested Donations: Adults $25, Seniors $17, Students $12, Members and Children Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.779</Latitude>
  <Longitude>-73.962342</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/E542" href="http://www.nyartbeat.com/event/2010/E542">
  <Name>Singular Visions</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>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[At a time when images barrage us everywhere from our televisions to our mobile phones, the latest reinstallation of the Whitney’s permanent collection galleries invites visitors to slow down and experience art in a dramatic new way. Singular Visions presents twelve postwar highlights from the museum’s holdings, each in its own space, in order to create intimate and compelling encounters with a single work of art. Each piece was chosen to convey a distinct impression and a specific sense of its maker’s vision, whether somber or celebratory, figurative or abstract, quiet or bold. Some of the works on view require their own spaces because they are large or comprise many parts, while others explore difficult topics or emotions that one might wish to consider in relative isolation. Through their variety of mediums, sizes, styles, and subjects, the works in Singular Visions encourage a range of powerful experiences and reveal how contemporary artists have stretched the very boundaries of what an artwork can be. 
[Image: George Segal, &quot;Walk, Don't Walk&quot; (1976) Plaster, cement, metal, painted wood, and electric light 109 x 72 x 74 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/E542-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/E542-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/E542-170" width="170" />
  <Karma>0.449951</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>2010-12-16</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.773411</Latitude>
  <Longitude>-73.964222</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/08B8" href="http://www.nyartbeat.com/event/2011/08B8">
  <Name>Surasi Kusolwong Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/CA14E641">
    <Name>MOMA PS1</Name>
    <Type>Museum</Type>
    <Address>22-25 Jackson Ave., Long Island City, NY 11101</Address>
    <Phone>718-784-2084</Phone>
    <Fax>718-482-9454</Fax>
    <Access>Corner of 46th Ave.  Subway: E/V to 23rd St./Ely Avenue, 7 to 45th Road, G to 21st Street</Access>
    <Area areaId="queens">Queens</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="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Surasi Kusolwong (Thai, b. 1965) makes installations and performances that reference consumer society and the economy. Through his participatory and interactive works the Bangkok-based artist encourages social interaction over economic exchange. His large-scale installation Golden Ghost (The Future Belongs To Ghosts) (2011), which was first presented in the Creative Time exhibition Living as Form, invites visitors to enter into the vast field of industrial thread waste to search for gold necklaces hidden in the piles of cotton. Visitors who are fortunate enough to find a necklace are welcome to keep it. The work suggests a sense of play in which visitors can climb the mounds of thread waste, comb through the material and explore. While the literal treasure hunt in a field of excess serves as a metaphor for consumption at the global and individual level, it also inverts standard systems of exchange—the expensive gold necklaces are not sold nor bartered, but generously given away.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/08B8-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/08B8-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/08B8-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Suggested donations: Adults $10, Students and Seniors $5, MoMA members and with MoMA admission tickets Free</Price>
  <DateStart>2011-11-20</DateStart>
  <DateEnd>2012-02-29</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>20</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.74565</Latitude>
  <Longitude>-73.946178</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/09CD" href="http://www.nyartbeat.com/event/2011/09CD">
  <Name>Lee Mingwei &quot;The Travelers and The Quartet Project&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/556D6C14">
    <Name>The Museum of Chinese in America</Name>
    <Type>Museum</Type>
    <Address>215 Centre St., New York, NY 10013</Address>
    <Phone>212-619-4785</Phone>
    <Fax>212-619-4720</Fax>
    <Access>Between Howard &amp; Grand Sts. Subway: N/R/Q/W/J/M/Z/6 to Canal Street.</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>thursdays closinghour 21:00, saturdays openinghour 10:00, sundays openinghour 10:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[For over a decade, Taiwan born American artist Lee Mingwei has been at the forefront of an artistic impulse that has gained traction in recent years: participatory art. This fall, MOCA presents a solo exhibition of Lee, including two of his participation-based projects, The Travelers, a MOCA commission, and The Quartet Project.

The Travelers began in 2010 when Lee and MOCA released 100 artist-designed notebooks to family, friends and acquaintances, inviting each recipient to write his or her own stories of “leaving home”. Once finished, the participant was asked to pass it on like a chain letter. The last person to write in the book will send it back to MOCA by September 12, 2011, after a year of travelling. All books that make their way back to the museum will become part of an installation in Lee’s exhibition.

The Quartet Project, an interactive sound installation also invites participation and revolves around the experience of displaced people. Each of the four parts of Antoine Dvorak's American String Quartet is recited on one of the four monitors in a darkened gallery. Viewers’ movements dictate in real time how the piece is orchestrated, activating or muting parts of the music depending on their distance from the monitors.

Both pieces in the exhibition emphasize Lee’s artistic practice which is grounded in generosity, the elevation of everyday activities, and the exploration of human interactions.


Related Events:

Discussion with Lee Mingwei and Eugenie Tsai, moderated by Herb Tam
Thursday, October 27, 6:30pm

Brooklyn Museum curator Eugenie Tsai and artist Lee Mingwei talk about conceptual art practices, generosity, and how experiences of being Chinese shape artistic and curatorial work. Lee Mingwei’s Moving Garden is being presented at the Brooklyn Museum from October 5, 2011 to January 22, 2012.

Family Workshop: Finding Home
Saturday, November 12, 2011 &amp; Saturday, Feb 11, 2012, 1:30pm -2:30pm
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/09CD-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/09CD-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/09CD-170" width="170" />
  <Karma>0.412257</Karma>
  <Price free="0">Adults $7, Seniors and Students $4, Children under 12 in groups less than 8 and MOCA Members and on Thursdays Free. </Price>
  <DateStart>2011-10-20</DateStart>
  <DateEnd>2012-03-26</DateEnd>
  <ScheduleNote>See description</ScheduleNote>
 <Party type="1" date="2011-10-20" start="19:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>46</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.719194</Latitude>
  <Longitude>-73.999008</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/1E6D" href="http://www.nyartbeat.com/event/2011/1E6D">
  <Name>&quot;Material Lab&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>3D: Installation</Media>
  <Media>3D: Product</Media>
  <Media>3D: Other</Media>
  <Description><![CDATA[Explore a multitude of materials in our latest interactive space. In the lab, visitors of all ages can touch, assemble, and create. Experiment with painting techniques using a new digital painting program from Microsoft. Stop by before or after visiting MoMA’s galleries! ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/1E6D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/1E6D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/1E6D-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>2011-02-19</DateStart>
  <DateEnd>2012-06-30</DateEnd>
  <ScheduleNote>Material Lab is open Sunday, Monday, Tuesday, and Wednesday, 10:30–17:00; Thursday, Friday, and Saturday, 10:30–20:00. Free with Museum admission.</ScheduleNote>
  <DaysBeforeEnd>142</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.761072</Latitude>
  <Longitude>-73.977008</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/2749" 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>
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  <Latitude>40.746167</Latitude>
  <Longitude>-74.0062</Longitude>
 </Event>

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

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

 <Event xml:lang="en" id="2011/4BFD" 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="2011/5C35" href="http://www.nyartbeat.com/event/2011/5C35">
  <Name>Dennis Oppenheim &quot;Salutations to the Sky&quot; </Name>
  <Venue href="http://www.nyartbeat.com/venue/C0FC248C">
    <Name>The Gabarron Foundation Carriage House Center for the Arts</Name>
    <Type>Other</Type>
    <Address>149 E 38th St., New York, NY 10016</Address>
    <Phone>212-573-6968</Phone>
    <Fax></Fax>
    <Access>Between Lexington and 3rd Ave. Subway: 7 to Grand Central</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>09:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Dennis Oppenheim (1938-2011) exhibited his work in museums and galleries worldwide since 1968. During four decades his practice has employed all available methods; writing, action, performance, video, film, photography, and installation. He has used mechanical and industrial elements, fireworks, common objects and traditional material, materials of the earth, sky, his own or another's body. He has created works for interior, exterior, and public spaces.

The close working relationship and friends hip between the Dennis Oppenheim studio and The Gabarron Foundation was initiated in 1997 with &quot;Stage Set for a Film&lt;&quot; commissioned fro Dennis Oppenheim by the City of Valladolid (Spain), completed in 1998. The studio and the foundation continued to work together on multiple projects between 1997 and 2011, fostered by mutual understanding. The Foundation is please to present the most recent project, &quot;Salutations to the Sky.&quot;

The exhibition at the Carriage House is three projects which focus on the artist's use of the intangible connection, earth to sky. This connection was alluded to often, beginning with Land Art. In &quot;Annual Rings,&quot; (1968) the schemata of annual tree rings cut in snow is severed by the river forming the boundary between the US and Canada. This work could be considered the definition of site-specificity. With &quot;Salutations,&quot; inscriptions are cut in land adjoining a river in Sacramento, California, though any river with adjoining flat land is a potential site. Both works are experienced through photography, the first realized but temporal, the second unrealized, existing in proposal form. It is in aerial photography, which places the viewer in the sky and looking at the earth, by which one best experiences these works. The second work in this exhibition is photo documentation of the project, &quot;Formula Compound, A Combustion Chamber, An Exorcism.&quot; In this work the artist made the connection between earth and sky using lines of light. Through projection, the sculpture is drawing in air, it becomes a fireworks projection machine.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/5C35-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/5C35-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/5C35-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-12-16</DateStart>
  <DateEnd>2012-02-15</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2011-12-15" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>6</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748725</Latitude>
  <Longitude>-73.977383</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2011/87B3" href="http://www.nyartbeat.com/event/2011/87B3">
  <Name>&quot;Soto: Paris and Beyond, 1950–1970&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/D1E743C4">
    <Name>Grey Art Gallery</Name>
    <Type>Museum</Type>
    <Address>100 Washington Sq. East, New York, NY 10003</Address>
    <Phone>212-998-6780</Phone>
    <Fax>212-995-4024</Fax>
    <Access>Corner of Washington Pl.  Subway: A/B/C/D/E/F/V to West 4th Street or R/W to 8th Street</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails>wednesdays closinghour 20:00, saturdays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Comprised of some 50 works, Soto: Paris and Beyond, 1950–1970 is the first largescale exhibition dedicated to this major Venezuelan artist to be held at a New York institution in more than 35 years. Featuring works produced after Jesús Rafael Soto's move to Paris, the show highlights his visionary investigations into notions of movement, displacement, and instability. Drawing inspiration from optics, color theory, and phenomenology, Soto (1923–2005) developed a radically new relationship between the artwork and the viewer. The exhibition also explores reciprocal influences between Soto and other members of the Parisian avant-garde—such as Yves Klein and Jean Tinguely. Soto's groundbreaking achievements in the fields of perception and interactive art established his reputation as both one of the foremost proponents of kinetic art and one of the most influential 20th-century Latin American artists. Curated by Estrellita B. Brodsky, the exhibition is accompanied by a fully illustrated catalogue.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/87B3-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/87B3-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/87B3-170" width="170" />
  <Karma>1.84895</Karma>
  <Price free="0">Suggested Donations: $3, NYU Students, Facutly, Staff Free</Price>
  <DateStart>2012-01-10</DateStart>
  <DateEnd>2012-03-31</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>51</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.730206</Latitude>
  <Longitude>-73.995983</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2011/9B2C" href="http://www.nyartbeat.com/event/2011/9B2C">
  <Name>&quot;Foreign Bodies&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/1FEF4D0D">
    <Name>SET Gallery</Name>
    <Type>Gallery</Type>
    <Address>287 3rd Ave., Brooklyn, NY 11215</Address>
    <Phone>718-852-7609</Phone>
    <Fax></Fax>
    <Access>Between Carroll and President Sts., Subway: R to Union Street.</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[We first “make Other” by seeing, by encountering physically. Looking at the body, we begin to categorize it. Othering is one of the first steps to identifying the self; one learns who she is in relation to/ against another. It's a method of self-identification, a construction of roles, a learning of boundaries. But it is also a way to discriminate, stigmatize, demonize, condemn. We exoticise, eroticize, fetishize and objectify what seems foreign. The process of making other applies to female bodies, ethnic bodies, queer bodies, immigrant bodies. It's a mode of exclusion and alienation, of fascination tempered by disgust, a desire covered over by fear.

Each artist in this exhibition is evoking a body or a stand in for the body, and the bodies on view are ethnic, distorted, chaotic, ambiguously gendered. But each artist examines the body through his or her own lens. At times, an overt dialogue of Otherness is made visible; in other cases, it is merely a whisper heard through the layers of multiple voices.

When encountering the video work of Vydavy Sindikat, the audience is a voyeur to a dialogue. The video is of a private conversation where participants are ethnically ambiguous, the language is not English, the state is indistinctly tense. Introduced to this foreign situation, the viewer is simultaneously estranged from and placed into the role of the objectfier. One is invited to view in order to decide how to partake.

Looking at Yevgeniya Baras’s work, one comes in contact with the skin of paint, the crustiness, scarring, dryness, and layering of material, the many different modes that define the process of painting. Sometimes, she weaves the surface out of thin strips of canvas or sheets; occasionally, it’s papier-mâché that composes the initial layer. She draws with yarn, sewing a pattern, gluing glass, foil, and paper onto canvas, or cuts and rips canvas before she begins the application of oil and acrylic paint. These works dance between sculpture and painting. They talk about an uneasy kind of beauty: unsettling and slightly repulsive. They are small and overloaded, sullied, dingy, burdened, compact, demanding bodies, loved and loathed in equal measure.


Irina Danilina’s work is created using hair. The cutting of hair is ceremonial, performative; it marks time, the stages of transformation. Hair is associated with crimes against humanity; it is what is left of the massacred. It is as much an element of beauty as it is what marks the body as ethnic. Hair both repulses and attracts, connoting desire and seediness. These braids on display are traces of a female mourning. These photographs provide context , documentation of performances passed, while the objects are contained in a scientific manner. They are trapped: the ethnic body made safe, nonthreatening, disarmed, limp.

Alina and Jeff Bliumis’s sculpture of bones overtly references the body. The bones are arranged in a circle, used as formal elements to create a composition. It is a mandala, a fragmented body reaching towards wholeness. The wooden sculptures are ambiguously gendered. They hint at masculinity and femininity but they can easily switch, can easily role-play. They make sense as a pair. As a couple, they are less vulnerable, their surface queer but armed, challenging heteronormativity. Unlike the seemingly fleeting material of Danilova’s work, these pieces are heavily present; they repeatedly reaffirm themselves. There is a density, a core of materiality in them. All three sculptures are firmly present, one in its fragmentation and two in their union. All three waver between body and spirit.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/9B2C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/9B2C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/9B2C-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-07</DateStart>
  <DateEnd>2012-02-19</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-07" start="19:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>10</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.677139</Latitude>
  <Longitude>-73.986055</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/9D45" href="http://www.nyartbeat.com/event/2011/9D45">
  <Name>Lee Mingwei &quot;The Travelers&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/556D6C14">
    <Name>The Museum of Chinese in America</Name>
    <Type>Museum</Type>
    <Address>215 Centre St., New York, NY 10013</Address>
    <Phone>212-619-4785</Phone>
    <Fax>212-619-4720</Fax>
    <Access>Between Howard &amp; Grand Sts. Subway: N/R/Q/W/J/M/Z/6 to Canal Street.</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>thursdays closinghour 21:00, saturdays openinghour 10:00, sundays openinghour 10:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[On the day of the Chinese Moon Festival, September 22, 2010, MOCA launched Lee Mingwei’s artist project, The Travelers. Lee custom-made 100 blank notebooks for the project. Released into the world from MOCA, the books will travel around the world for one year. The books are passed from person to person like a chain letter, with each participant adding a personal story about “leaving home” at some point in their lives. Did they have a call to adventure? Did they leave willingly? Did they overcome setbacks? Did they ever return home? Each book becomes a “Traveler” in the project, who leaves the MOCA “home village” to embark on a long journey.

The project was commissioned by MOCA to launch on the first anniversary of its new home at 215 Centre Street, designed by Maya Lin. Inspired by the museum’s mission to document the epic journey of Chinese to America, and the ongoing journeys we make as Americans, the project was envisioned to actively engage the public in the spirit of MOCA’s approach over the past 30 years as a “dialogic museum”.

Participants are asked to send the books back to MOCA by the next Moon Festival, on September 12, 2011. The books that make it back to the museum, each transformed by their individual journeys, will be displayed in an evocative installation by Lee Mingwei, with all the accumulated stories accessible for visitors to read. How many Travelers return home? What kinds of stories will they be filled with on their return?

A companion website to the project (http://traveler.mocanyc.org) tracks all the books as they travel around the world. Project participants are asked to upload the current geographical location of the books, and 5 images that illustrate the story they’ve written in the book.

About the Artist:
Born in Taiwan and currently living in New York City, Lee Mingwei creates both participatory installations, where strangers can explore issues of trust, intimacy, and self-awareness on their own, and one-on-one events, where visitors explore these issues with the artist himself through eating, sleeping, walking and conversation. Lee’s projects are often open-ended scenarios for everyday interaction, and take on different forms depending on the participants. Time is central to this process, as Lee’s installations often change during the course of an exhibition.


]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/9D45-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/9D45-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/9D45-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Adults $7, Seniors and Students $4, Children under 12 in groups less than 8 and MOCA Members and on Thursdays Free. </Price>
  <DateStart>2011-10-20</DateStart>
  <DateEnd>2012-03-26</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>46</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.719194</Latitude>
  <Longitude>-73.999008</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/AAF8" href="http://www.nyartbeat.com/event/2011/AAF8">
  <Name>&quot;Micro Museum's 25 Years on Smith Street&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/F3C19A11">
    <Name>Micro Museum</Name>
    <Type>Event Space</Type>
    <Address>123 Smith St., Brooklyn, NY 11201</Address>
    <Phone>718-797-3116</Phone>
    <Fax></Fax>
    <Access>Between Dean and Pacific St. Subway: A/C/G to Hoyt-Schermerhorn, 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="1" fri="1" sat="0" sun="1" hol="1" />
    <ScheduleDetails>Weekdays Micro Museum is a living art center focusing on performing arts, creative training, and more</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Media>Screen: Digital</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[Kathleen and William Laziza, founding artists of Micro Museum now celebrate the museum's 25 year on Smith Street in an ongoing showcase of their interactive interdisciplinary and visual art works.  This progressive exhibition is adding new works every few months until December 2013.
New additions - VIDEOSCOPO  - features a multi-channel TV installation that has sound and visual components that viewers can alter as they walk around the art work.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/AAF8-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/AAF8-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/AAF8-170" width="170" />
  <Karma>0.079344</Karma>
  <Price free="0">$2</Price>
  <DateStart>2011-01-08</DateStart>
  <DateEnd>2013-12-01</DateEnd>
  <ScheduleNote>Fortunes Told JANUARY 8 - MAY 30 - where Kathleen will read your tarot cards for $20 + videodance and drawings on exhibition.</ScheduleNote>
  <DaysBeforeEnd>661</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.687622</Latitude>
  <Longitude>-73.989833</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/B121" href="http://www.nyartbeat.com/event/2011/B121">
  <Name>&quot;Make Art (In) Public&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/B0B0AF5D">
    <Name>Children's Museum of the Arts</Name>
    <Type>Museum</Type>
    <Address>103 Charlton Street, New York, NY 10014</Address>
    <Phone>212-274-0986</Phone>
    <Fax>212-274-1776</Fax>
    <Access>Between Hudson &amp; Greenwich Sts. Subway: C/E to Spring Street.</Access>
    <Area areaId="soho">Soho</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>monday closinghour 17:00, wednsday closinghour 17:00, saturday openinghour 10:00, sunday openinghour 10:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[The Children’s Museum of the Arts presents the exhibition Make Art (In) Public, a survey of art in the public realm. As the inaugural show in CMA’s new, larger facility on Charlton Street, Make Art (In) Public speaks to qualities with which CMA closely identifies: the accessibility of the arts; being a product of and a contributor to the cultural fabric of New York City; and the impact of the arts on building and bettering communities. At this pivotal moment in the museum’s history, we can think of no better art form to honor in our new space and new gallery.

Make Art (In) Public presents a survey of artists past and present whose work collectively demonstrates a variety of methods artists employ to stage their art in the public realm. Participating artists include Keith Haring, Swoon, Christo &amp; Jeanne-Claude, Friedensreich Hundertwasser, Remed, Tranqui Yanqui and Moondog. Going above and beyond the call of duty to make art more accessible to the public, these artists affect positive change within the communities they work. They further the dialogue between artist and audience and through the immensity of their vision and talent they inspire new generations of artists to turn their dreams into reality.

Through this exhibition, museum visitors will engage with ideas about how the arts can bring communities together, foster dialogue, and contribute to the beauty of daily life, as well as the ways in which early public artists continue to inform the efforts of contemporary artists.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/B121-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/B121-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/B121-170" width="170" />
  <Karma>0.169315</Karma>
  <Price free="0">General Admission $10,  Thursdays 4-6pm Pay-As-You-Wish.</Price>
  <DateStart>2011-10-01</DateStart>
  <DateEnd>2012-03-31</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2011-10-01" start="10:00:00" end="15:00:00">Opening Reception</Party>
 <DaysBeforeEnd>51</DaysBeforeEnd>
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  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.727491</Latitude>
  <Longitude>-74.007593</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/CA58" href="http://www.nyartbeat.com/event/2011/CA58">
  <Name>&quot;Looking Back / The 6th White Columns Annual&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/FB499DDF">
    <Name>White Columns</Name>
    <Type>Gallery</Type>
    <Address>320 W 13th St., New York, NY 10014</Address>
    <Phone>212-924-4212</Phone>
    <Fax>212-645-4764</Fax>
    <Access>Between 8th Ave. and Hudson St. Subway: A/C/E to 14th Street or L to 8th Avenue.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Selected by Nick Mauss and Ken Okiishi

‘Looking Back’ is the sixth installment of the White Columns Annual. The exhibition is now an annual fixture on White Columns’ calendar. Each year, an individual or a collaborative team (e.g. an artist, a curator, a writer, etc.) is invited to make an exhibition at White Columns based on their personal experience of looking at art in New York in the previous year. For the sixth ‘Annual’ exhibition, White Columns has invited the New York-based artists Ken Okiishi and Nick Mauss to make the selection. 

In a very straightforward sense, the ‘Annual’ exhibition hopes to reveal something of the complexities involved in trying to negotiate - and engage with - New York’s constantly shifting cultural landscape. The format of the exhibition inevitably encourages highly subjective and deeply personal responses to the realities of viewing art in New York. The ‘Annual’ exhibition series hopes to illuminate aspects of the specific, yet highly idiosyncratic routes – geographical, intellectual, historical, social, etc. – that individuals follow in an increasingly expansive and fragmented cultural environment.
Through the re-contextualization of artworks encountered in other circumstances and contexts, the exhibition hopes to establish – albeit temporarily – a new ‘narrative’, a conversation, of sorts, amongst artists and artworks, that seeks to illuminate and/or explore certain underlying tendencies, conditions, or connections that perhaps might otherwise have remained elusive or obscured. In re-thinking the (fairly) recent past the exhibition hopes to provoke something akin to a sense of deja-vu, establishing a scenario that is at once both reflective and forward thinking. 

There are no restrictions as to what type of work can be included. ‘Looking Back’ seeks to eliminate any categorical or hierarchical distinctions we might place upon artworks (e.g. based upon the circumstances in which they were originally seen, or the seniority of an individual artist, etc.) These works might have been originally encountered in exhibitions at institutions, galleries, and not-for-profit spaces, or at performances, readings, during visits to artists’ studios, or online, etc.
]]></Description>
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-12-10</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2011-12-10" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
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 </Event>

 <Event xml:lang="en" id="2011/EBFC" href="http://www.nyartbeat.com/event/2011/EBFC">
  <Name>&quot;Projects 96: Haris Epaminonda&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>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[The museum presents the first solo exhibition in the United States of Berlin-based artist Haris Epaminonda.

Epaminonda is internationally known for her photographic assemblages constructed from found books and magazines of the 1960s, and for her video installations, in which television footage culled from Greek soap operas that she used to watch as a child on Sunday afternoons in Cyprus, are reshot and re–edited in new sequences, creating a web of elusive associations. This exhibition presents Epaminonda's three–channel video installation &quot;Tarahi IIII, V, VI&quot; (2007), part of an ongoing series that enlists the use of reverse shooting, montage, cuts, superimposition, and repetition of motifs to address the permeability of memory.

[Image: Haris Epaminonda. Video still from Tarahi V from Tarahi IIII, V, VI. 2007. Three-channel video installation, color, sound, 7:36 mins. Courtesy the artist &amp; Rodeo, Istanbul. © 2011 Haris Epaminonda]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/EBFC-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2011/EBFC-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>2011-11-17</DateStart>
  <DateEnd>2012-02-20</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>11</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
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  <Latitude>40.761072</Latitude>
  <Longitude>-73.977008</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/ECCB" href="http://www.nyartbeat.com/event/2011/ECCB">
  <Name>New Galleries for the Art of the Arab Lands, Turkey, Iran, Central Asia, and Later South Asia</Name>
  <Venue href="http://www.nyartbeat.com/venue/2F6CEBC1">
    <Name>The Metropolitan Museum of Art</Name>
    <Type>Museum</Type>
    <Address>1000 Fifth Ave., New York, NY 10028</Address>
    <Phone>212-570-3951</Phone>
    <Fax>212-472-2764</Fax>
    <Access>Corner of 82nd St.  Subway: 6 to 77th Street or 4/5/6 to 86th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>09:30:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails>fridays closinghour 21:00, saturdays closinghour 21:00</ScheduleDetails>
    <ScheduleNote>Open on some holiday Mondays.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[More than one thousand works from the preeminent collection of the Museum's Department of Islamic Art—one of the most comprehensive gatherings of this material in the world—will return to view this fall in a completely renovated, expanded, and reinstalled suite of fifteen galleries. The organization of the galleries by geographical area will emphasize the rich diversity of the Islamic world, over a span of thirteen hundred years, by underscoring the many distinct cultures within its fold.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/ECCB-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2011/ECCB-170" width="170" />
  <Karma>0.525454</Karma>
  <Price free="0">Suggested Donations: Adults $25, Seniors $17, Students $12, Members and Children Free</Price>
  <DateStart>2011-11-01</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
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  <Datum>wgs84</Datum>
  <Latitude>40.779</Latitude>
  <Longitude>-73.962342</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" />
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  <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>
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  <Latitude>40.74875</Latitude>
  <Longitude>-74.004292</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/024F" href="http://www.nyartbeat.com/event/2012/024F">
  <Name>&quot;Méré Humd(r)um&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/F86F2FF2">
    <Name>Aicon Gallery</Name>
    <Type>Gallery</Type>
    <Address>35 Great Jones St., New York, NY 10012</Address>
    <Phone>212-725-6092</Phone>
    <Fax></Fax>
    <Access>Between Lafayette St. and Bowery. Subway: 6 to Bleecker Street or to Astor Place.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Aicon Gallery New York presents Méré Humd(r)um, a group exhibition of Contemporary art from a new wave of young Pakistani artists. The Urdu word Humdum, one syllable removed from its mundane English cousin, means someone who is so close that their breath and yours are one. The word Méré, with even less separating it from the minimal, almost pejorative, “mere” of the English language, is infused with belonging - it means mine. Together, Méré Humdum becomes a term of endearment for a mentor, a friend or a lover. But in a linguistic coincidence it is just a syllable away from the English “mere humdrum.” Today, more than sixty years after Pakistan’s independence, the ordinary, the everyday, the humdrum, remains an object of longing for most Pakistanis - the type of longing one might reserve for a lover. A day when there is no bombing, no violence on the streets - a day when the school bus is delayed only by traffic is a day of thanksgiving and celebration. The twelve artists in this exhibition have created work in direct response to the chaos and violence surrounding them, yet much of this work is imbued with an intrinsic and eternal optimism that stands in defiant contrast to the instability and uncertainty from which it has emerged.

Much like Germany’s Weimar Republic of the 1930s, an odd dichotomy is in place with today’s generation of young Pakistani artists. While on the one hand, their political, economic and social situations are spinning out of control, the visual arts, in this landscape of circumscribed opportunities, is undergoing a transformation and creative flowering never before seen. This younger generation largely departs from the more traditional methods of their artistic heritage, such as miniature painting, and combines local materials and themes with progressive modes of post-colonial art practice, offering new interpretations and posing new questions for a society mired in political turmoil, social upheaval and violence both foreign and domestic.

Abdullah M. I. Syed’s Flying Rug works arise from Oriental myths and legends of the flying carpet and our desire for instant gratification. Made of folded U.S. dollar bills and box-cutter blades assembled into squadrons of drone-like airplanes, the rugs reference the dark and multilayered political implications of terrorism, capitalism and American hegemony, yet are intertwined with a poetic counterpoint that transmutes them and charges the works with the phenomenal capability of a magic carpet or the sublime stillness of a prayer rug. The works question not only the roots and consequences of 9/11 and the ongoing War on Terror through the prism of oversimplified Eastern and Western perceptions of one another, but also the complex relationship between capital and Contemporary art.

Cyra Ali’s haunting sculptures of disembodied intertwined limbs adorned in bright fabrics obtained from Karachi bazaars are a daring subversion of the overtly clad female body of Islamic tradition. The work stems from her desire to overturn the conventional trappings of femininity in Pakistani society and combat longstanding patriarchal desires to repress female sexuality. Ali’s bizarre doll-sized mash-ups of female legs blur the line between the most ordinary of body parts and the sinister and monstrous proportions they are capable of taking on when continually contextualized as taboo objects of desire to be both coveted and suppressed. More straightforwardly, Sarah Khan’s art is born from her resolute devotion to Pakistan, her beloved State, and her desire to see its artistic traditions, mainly miniature painting, evolve to address the socio-political complexities of its contemporary reality. She addresses her humdum (her Pakistan) for its charm and fading glory as she fortifies her wish for its resurrection from a negative entity to a positive one. 

Ehsan Ul Haq creates Duchampian assemblages of found everyday objects in which the individual components, though ordinary enough, are re-contextualized as dysfunctional or symbolic elements in what he calls “flawed systems.” Ul Haq sees his installations as operating “on a plane where art and life exist as parallels within ambiguous forms.” Through installations such as Fan and Water, man-made objects are stripped of their utility and repurposed in creations demonstrating both man’s god-like ambition to create new systems of life and the resulting absurdities brought into being when such attempts misfire.

Ultimately, this exhibition presents an examination of how a new generation of Contemporary Pakistani artists, through a range of disparate media and practices, continue to develop new methods of questioning the space between art and life in the often violent and chaotic reality they are faced with every day. Their work addresses not only the chasm and interstices between the two, but the extraordinary possibilities of art created in extraordinary surroundings.

[Image: Seher Naveed &quot;EVENING CONVERSATIONS&quot; (2011) Paper cuts, 15 x 18 in.]]]></Description>
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
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 </Event>

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

 <Event xml:lang="en" id="2012/060D" href="http://www.nyartbeat.com/event/2012/060D">
  <Name>James Busby &quot;Wingspan&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/BB53F343">
    <Name>Stux Gallery</Name>
    <Type>Gallery</Type>
    <Address>530 W 25th St., New York, NY 10011</Address>
    <Phone>212-352-1600</Phone>
    <Fax>212-352-0302</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[One of the enigmatic centerpieces of James Busby’s fourth exhibition at Stux Gallery is attempting an escape. A meticulously polished black painting rests on a cart that appears as if it emerged from an ancient shipwreck. Gnarly fiberglass growth threatens to consume the pristine surface from all sides as the rusty cart wheels the piece away to a determined but indecipherable destination.

Poets have been comparing artworks to wings that transport the artist and viewer to the realm of aesthetic imagination since the Romantic Era. Works in “Wingspan”, on the other hand, remind us that in addition to the ability to sponsor intellectual flight, various properties of the figurative “wings” themselves are fascinating in their own right. Influenced by Russian Constructivism, Suprematism and the works of Robert Ryman, Donald Judd and Richard Tuttle, amongst others, Busby’s new paintings are also inspired by the physical, temporal, and interactive process of art creation. They raise important questions about the way visual art initiates dialogue with its viewers and influences—or becomes influenced by—its surrounding environment.

The effects of Busby’s obsessive attention to surface texture and geometric relations are magnified in his new works of unprecedentedly large scale, for the artist. Created by sanding thick layers of gesso, his already low reliefs become vanishingly subtle amidst the enlarged overall dimensions. However, up close the viewer will discover forms that hover above or sink below one another in their new spacious habitat, creating frictions and spatial tensions that echo beyond the visual field. Oddly, the compounded complexity renders his works even more intimate as Busby’s trademark techniques dazzle in in their expanded venue.

The three-dimensionality and variations in surface quality allow Busby to paint with the light cast upon them to create ephemeral colors and textures unachievable by applying paint alone. Viewing his larger works requires viewers to completely immerse themselves in Busby’s meticulous world of visual and spiritual poetry, and engage thoroughly with the newly acquired wingspan before taking off.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/060D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/060D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/060D-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749336</Latitude>
  <Longitude>-74.004122</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/0CEF" href="http://www.nyartbeat.com/event/2012/0CEF">
  <Name>&quot;New City&quot; Art Fair</Name>
  <Venue href="http://www.nyartbeat.com/venue/65007A7F">
    <Name>Hpgrp Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., 2W, New York, NY 10011</Address>
    <Phone>212-727-2491</Phone>
    <Fax>212-727-7030</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street Station</Access>
    <Area areaId="chelsea_20">Chelsea 20th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails>sundays openinghour 12:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[H.P. FRANCE NY, Inc presents the launch of the NEW CITY ART FAIR, the first art fair dedicated solely to contemporary Japanese art in New York.

Open from March 7-11, 2012—dates that coincide with SCOPE, VOLTA, ADAA, and The Armory Show - the event will include booths by eleven premiere galleries from Tokyo, Osaka, and Kyoto.

 The New City Art Fair will benefit the Japanese art world, which has been deeply affected by the traumas of the earthquake and tsunami that devastated the coastline in early 2011. Additionally, it will expose new Japanese art to a Western audience.

Exhibitors: Aisho Mura Arts, eitoeiko, FOIL GALLERY, GALLERY KOGURE, hpgrp GALLERY TOKYO, Shonandai MY Gallery, TEZUKAYAMA GALLERY, unseal contemporary, waitingroom, YOD Gallery, and YUMIKO CHIBA ASSOCIATES.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0CEF-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0CEF-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0CEF-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-03-07</DateStart>
  <DateEnd>2012-03-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-03-08" start="17:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>31</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746264</Latitude>
  <Longitude>-74.006225</Longitude>
 </Event>

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

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

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

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

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

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

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

 <Event xml:lang="en" id="2012/208A" href="http://www.nyartbeat.com/event/2012/208A">
  <Name>&quot;Foreclosed: Rehousing the American Dream&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>3D: Architecture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Foreclosed: Rehousing the American Dream is an exploration of new architectural possibilities for cities and suburbs in the aftermath of the recent foreclosure crisis. During summer 2011, five interdisciplinary teams of architects, urban planners, ecologists, engineers, and landscape designers worked in public workshops at MoMA PS1 to envision new housing and transportation infrastructures that could catalyze urban transformation, particularly in the country’s suburbs. Responding to The Buell Hypothesis, a research report prepared by the Buell Center at Columbia University, teams—lead by MOS, Visible Weather, Studio Gang, WORKac, and Zago Architecture—focused on a specific location within one of five “megaregions” across the country to come up with inventive solutions for the future of American suburbs. This installation presents the proposals developed during the architects-in-residence program, including a wide array of models, renderings, animations, and analytical materials.

[Image: WORKac &quot;Rendering of Nature-City, Salem-Keizer, Oregon&quot; (2011) computer rendering]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/208A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/208A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/208A-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>2012-02-15</DateStart>
  <DateEnd>2012-07-30</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>172</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.761072</Latitude>
  <Longitude>-73.977008</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="2012/24FF" href="http://www.nyartbeat.com/event/2012/24FF">
  <Name>&quot;Cheat Chains and Telephone&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/B61547DB">
    <Name>Kansas</Name>
    <Type>Gallery</Type>
    <Address>59 Franklin St., New York, NY 10013</Address>
    <Phone>646-559-1423</Phone>
    <Fax></Fax>
    <Access>Between Broadway and Lafayette St. Subway: 6/N/R/Q/W to Canal Street.</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[KANSAS presents Cheat Chains and Telephone, a group exhibition featuring new works by Fabienne Lasserre, Elisa Lendvay, John Newman and B. Wurtz.
 
By obscuring material hierarchy and challenging the codification of an art object, the artists in Cheat Chains and Telephone expose the pluralism of sculptural assemblage. Together, these works enumerate a spectrum of approaches to parallel concerns: collection, found objects, the currency of labor, economics of material content and the general multiplication of visual assemblage.  
 
Fabienne Lasserre's practice involves the use of pliable materials such as linen, wood, handmade felt and paint, and the work represents what the artist calls an &quot;excluded middle&quot; - the part that is left out when things are named or divided into categories. To achieve this hybridity, Lasserre stretches and elongates forms, arriving at shapes and volumes through pressure and touch that evoke the language of furniture, playground equipment and commercial signage, among others. Reflecting the artist's interest in science fiction and mythology, these works take on the shape and stance of a familiar yet ethereal form.
 
Elisa Lendvay's work absorbs ideas about the underlying poetics of natural phenomena, and combines with formal considerations about art making to create a byproduct of what she terms &quot;colliding forces.&quot; She depicts this force or surge in her work as dispersal - each of the works seem to simultaneously come together and break apart. Studio detritus and found objects are cohered into composed sculptures based on their formal attributes and their allegorical imperatives.
 
John Newman's tabletop sculptures are involved with a rich vernacular of materials and components, both found and fabricated, that obscure the categories to which each belongs. Newman's inexhaustible and ever changing list of materials - bronze, wicker, stone, paper, glass, fabric to name a few - are meticulously and laboriously composed. Impossible couplings of material, shape, color and techniques pile up and offer a dizzying constellation of effects both specific and otherworldly. Forms are imbued with a language connected to a cultural world of object specificity including votive and historical relics and the belongings of a &quot;wunderkammer&quot; - a strange intersection of oddity, craft and artifact.
 
Since the early 70's, B. Wurtz has limited his involvement with found materials to three fundamental categories: Food, Clothing and Shelter. With a lightness of touch, Wurtz adopts and fashions those qualifying items in a manner that suggests other familiar forms while preserving and emphasizing the utilitarian origin of the found object. The artist transforms plastic bags, shoelaces, wood, yogurt tops, buttons and other orphaned scraps into lowly but charming sculptural objects and wall hanging compositions in an effort that's part &quot;green&quot; and part fetishistic.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/24FF-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/24FF-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/24FF-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-14</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-14" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.717086</Latitude>
  <Longitude>-74.002854</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/2700" href="http://www.nyartbeat.com/event/2012/2700">
  <Name>Ai Weiwei, Wang Xingwei, Ding Yi &quot;Persona 3&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/951E6DE5">
    <Name>Chambers Fine Art</Name>
    <Type>Gallery</Type>
    <Address>522 W 19th St., New York, NY 10011 </Address>
    <Phone>212-414-1169</Phone>
    <Fax>212-414-1169</Fax>
    <Access>Between 10th and 11th Aves. Subway: C/E and L to 14th Street/ 8th Avenue</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Chambers Fine Art presents Persona 3, a cooperative work by Ai Weiwei, Wang Xingwei and Ding Yi. First exhibited in Beijing in 2004, Persona 3 is an audacious experiment in which the three artists agreed temporarily to exchange artistic profiles in a demonstration of their mutual admiration for the Chinese art scholar Hans van Dijk who had died in 2002. Resident in China since 1986, van Dijk was actively involved in the documentation and promotion of contemporary Chinese art at a particularly important time in its development.

As described by Britta Erickson: “Mature artists with widely recognized signature styles, Ai Weiwei, Ding Yi, and Wang Xingwei resolved to turn the iconic nature of each unique body of work on its head. Each artist would produce works of art to be exhibited as the creations of the others. This exercise required serious stretching of both artistic imagination and technical skills, and it was brought off with great aplomb….. Each artist worked in great secrecy, revealing the works to one another only immediately prior to the installation of the exhibition. It was a challenge among the three artists, to fathom the depths of each other’s artistic approach, and then to capture that spirit in concrete form.”

For this exercise, Ai Weiwei produced Appearance of Crosses, a sculptural form in iron that is derived from Ding Yi’s series of paintings Series of Crosses on which he had been working since 1988. One of the very few abstract painters to have emerged with the remarkable growth of contemporary Chinese art in the 1990s, Ding Yi narrowed the focus of his investigations to the repetition of cross forms in endless variations and on a wide variety of supports including ready-made fabrics such as tartans. In deciding to perforate a sheet of iron with rows of crosses, Ai Weiwei produced a sculpture of the type that Ding Yi might have produced if he had ever decided to work in three dimensions.

Known for his ironic use of a naturalistic painting style to comment on a wide variety of social and cultural issues, Wang Xingwei chose to channel Ai Weiwei in his Long Ring Tea-Table, a rosewood painting table reconfigured as a round tea-table. Unlike Ai Weiwei who uses furniture and architectural members surviving from the Ching dynasty and later in his ongoing series of three-dimensional works in wood, Wang Xingwei designed a circular table that does not resemble earlier forms and the Shanghai-based carpenters who executed it used new wood.

For Morning in Shanghai, painted in oil on corrugated board in the style of Wang Xingwei, Ding Yi reverted to the representational style that he had abandoned with the emergence of his signature abstract style in 1988. As in his own works which are frequently characterized by their composite nature, Ding Yi juxtaposes four sections of board in his dramatic Shanghai cityscape in which the celebrated buildings on the Bund are dwarfed by new developments in Pudong.

Enriching the artistic dialog between these three old friends in their hybrid creations will be works by Wang Xingwei and Ding Yi on loan from the Uli Sigg collection as well as by Ai Weiwei in which the artists speak in their own voices.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/2700-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2700-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2700-170" width="170" />
  <Karma>2.53472</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.745361</Latitude>
  <Longitude>-74.006631</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/27F7" href="http://www.nyartbeat.com/event/2012/27F7">
  <Name>Musa Hixson &quot;Time Harvest&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/60B7653D">
    <Name>FiveMyles</Name>
    <Type>Gallery</Type>
    <Address>558 St. Johns Pl., Brooklyn, NY 11238</Address>
    <Phone>718-783-4438</Phone>
    <Fax></Fax>
    <Access>Between Classon and Franklin Aves.  Subway: 2/3/4/5 to Franklin Avenue</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>13:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[The sphere, an important theme in the artist’s work, is here presented by eight large weather balloons that fill up half of the gallery space. The balloons are an undecided presence; their density is as much of a menace as their soft roundness gives comfort. 

As the viewer maneuvers around the balloons, a vista opens up and reveals a spider-web like installation made of barbed wire. For the artist it represents a birth process. The outline of a figure hangs on its ambil. Cord in mid-air. The cord opens up and spreads out its barbed wire tentacles into the open space around it. 

Musa Hixson describes himself as an installation artist. He has repeatedly used the weather balloons to add volume to a space or to condense it. In the gray space at FiveMyles the white whether balloons become a separate environment that serves to heighten the unexpected discovery of the barbed wire installation. 

Musa Hixson received an MFA degree from Pratt University in 1998. He recently returned from a residency at the 3-D foundation in Verbier Switzerland, and in 2010 spent some time in at a residency in Obama, Japan. Locally his work has been seen at the Sundaram Tagore Gallery in Chelsea, the Mocada Museum, the Skylight Gallery and Long Island University in Brooklyn, and he exhibited both in Japan and in Switzerland.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/27F7-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/27F7-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/27F7-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-11</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.672714</Latitude>
  <Longitude>-73.959474</Longitude>
 </Event>

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

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

 <Event xml:lang="en" id="2012/31C5" href="http://www.nyartbeat.com/event/2012/31C5">
  <Name>&quot;You never look at me from the place from which I see you&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/D5D33496">
    <Name>SculptureCenter</Name>
    <Type>Event Space</Type>
    <Address>44-19 Purves St., Long Island City, NY, 11101</Address>
    <Phone>718-361-1750</Phone>
    <Fax>718-786-9336</Fax>
    <Access>Corner of Jackson Ave.  Subway: E/V to 23rd Street/Ely Avenue, G to Court Square, 7 to 45th Road/ Court Square</Access>
    <Area areaId="queens">Queens</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[SculptureCenter presents the In Practice program exhibition You never look at me from the place from which I see you. Featuring works by A.K. Burns, Yve Laris Cohen, Michael DeLucia, Aleksandra Domanović, Takashi Horisaki, Sean Raspet, Christine Rebet, and Keith Connolly, Ethan Ham, and Tom Thayer, the exhibition is curated by Kristen Chappa, SculptureCenter's Curatorial Associate.

You never look at me from the place from which I see you is organized around investigations into vision and location within our present moment, characterized by dispersed attention and spatial deterritorialization. In this current era of technological, cultural, and geopolitical exchange, what constitutes a site is more in flux than ever before, and the act of looking has perhaps never been more fragmented. This constellation of artists engages with scattered states that are prismatic and overwhelmed as a contextual given and an appropriate lens through which to consider contemporary relationships, interactions, and identities, and a means to arrive at revised notions of sculptural phenomenology.

SculptureCenter's In Practice program supports the creation and presentation of new work by emerging artists and reflects diverse approaches to contemporary sculpture. Artists are selected through a call for proposals and are provided with an honorarium, production budget, fabrication and installation assistance, as well as invaluable curatorial and administrative support. This year SculptureCenter received over 850 applications from artists worldwide. 

Artist Biographies: 
Aleksandra Domanović is a multimedia artist from the former Yugoslavia currently working in Berlin. Her art is informed by archival models and her observation of collective history and shared memories. Most of her works are derived from online sources and inflected by her transnational experience living in Serbia, Slovenia, Japan, Austria, and Germany. She has recently completed residencies at Tobacna 001 (Ljubljana), Western Front (Vancouver), and is currently in residence at Kunstlerhaus Bethanien. 

A.K. Burns is a New York-based interdisciplinary artist whose practice encompasses sculpture, video, collage, and social performances. Her work is engaged with queer and feminist politics exploring such themes as fetish, power relations, assimilation, and separatism. Burns received a BFA from RISD and an MFA from Bard College. She is a founding member of W.A.G.E. (Working Artists and the Greater Economy), and co-editor of RANDY, an annual trans-feminist arts magazine. 

Yve Laris Cohen recently received his MFA from Columbia, and is currently a resident at Movement Research in New York. Cohen is an interdisciplinary artist, whose performances and sculptures address shifting subjectivities and power relationships among human bodies and objects. Influenced by the Judson Theater and his training as a classical ballet dancer, Cohen's dance pieces explore ballet as a form of manual labor rather than an elite spectacle. 

Michael DeLucia received his MFA from the Royal College of Art, London, and a BFA from RISD. His current artistic practice comprises relief panels, sculptures, and drawings modeled with 3D CAD software. These objects, digitally designed and mechanically painted with geometric patterns in industrial hues, reevaluate sculptural phenomenology. He has recently exhibited at Eleven Rivington (New York) and Luce Gallery (Torino). 

In his sculptures, performances, and community-based, socially engaged projects, Japanese-born and New York-based artist Takashi Horisaki investigates subjects ranging from urban development and social architectures, to political and environmental crises, to the intertwined nature of virtual and physical experiences. Relating landscape to the preserved surfaces of the built environment, Horisaki seeks an awareness of the ephemerality of our constructions and their incorporation within systems of the natural world. He has previously exhibited at Socrates Sculpture Park and ABC No Rio. 

Sean Raspet's work focuses on circularities of time and logic that operate across multiple spheres of everyday life. Most of his projects explore late-capitalist culture, and are composed of fragmented, rearranged, and repeated images and reflections of banal spaces. He is currently pursuing an MFA at UCLA. Raspet's past solo exhibitions include Societe (Berlin), The Kitchen (New York), and Daniel Reich Gallery (New York). 

Christine Rebet is a French artist living in New York, whose practice combines drawing, film, sculpture, and performance. In her brand of social critique, Rebet addresses the traumas of personal and collective histories; she comments on spectacle, spectatorship, and the intersection of public and private spheres. Rebet completed an MFA at Columbia in 2011. She is also a recent recipient of the Lotos Foundation Prize in the Arts and Sciences. 

The Spaniard and the Hudson Eel will be the first artistic collaboration by Keith Connolly, Ethan Ham, and Tom Thayer. Keith Connolly is a founding member of The No-Neck Blues Band (NNCK), a seven piece improvised music collective based in New York for the past 15 years. Ethan Ham is a visual artist and former game developer teaching new media at the City College of New York. Tom Thayer is a visual artist currently working in New York City; he has most recently exhibited at The Kitchen. 

[Image: Christine Rebet &quot;Instruction Manual for Civilian Resistance (detail)&quot; (2011-2012) Courtesy the artist.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/31C5-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/31C5-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/31C5-170" width="170" />
  <Karma>0.667255</Karma>
  <Price free="0">Suggested donation: $5</Price>
  <DateStart>2012-01-15</DateStart>
  <DateEnd>2012-03-19</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-15" start="17:00:00" end="19:00:00">Opening Reception</Party>
 <DaysBeforeEnd>39</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747197</Latitude>
  <Longitude>-73.941269</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/3637" href="http://www.nyartbeat.com/event/2012/3637">
  <Name>&quot;St. Sebastian: 1530 to 2011&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/142980FE">
    <Name>Edelman Arts</Name>
    <Type>Gallery</Type>
    <Address>136 E 74th St., New York, NY 10021</Address>
    <Phone>212-472-7770</Phone>
    <Fax>212-472-7709</Fax>
    <Access>Between Lexington and Park Ave. Subway: 6 to 77th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Cutting edge artists juxtapose renown sixteenth century Titian masterpiece in Edelman Arts' provocative exhibition St. Sebastian 1530 – 2011.

This inspiring exhibition explores a fresh perspective of St. Sebastian from the Renaissance to the present. St. Sebastian, the universal icon and figure, came into prominence as a visual canon in the early Renaissance as the bound, sensuously semi-nude figure impaled with Roman arrows. This exhibition is anchored by Titian’s portrait from c. 1530, a striking illustration of the artist’s virtuosic abilities to work with light and color to infuse St. Sebastian with life and emotion. In direct view of Titian’s masterpiece are contemporary depictions of St. Sebastian by Doug Argue, Red Grooms, Carlos Betancourt, Eric Rhein, Marcia Grostein, Cynthia Karalla, Cathy McClure, Michael Murphy and Christopher Winter.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3637-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3637-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3637-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-17</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-17" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.771728</Latitude>
  <Longitude>-73.961594</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/372F" href="http://www.nyartbeat.com/event/2012/372F">
  <Name>&quot;Beauty in All Things: Japanese Art and Design&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/EB18574C">
    <Name>Museum of Arts &amp; Design</Name>
    <Type>Museum</Type>
    <Address>2 Columbus Circle, New York, NY 10019</Address>
    <Phone>212-299-7777</Phone>
    <Fax></Fax>
    <Access>At 58th St. and 8th Ave.  Subway: B/C/D to 59th Street/Columbus Circle</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="0" hol="1" />
    <ScheduleDetails>thursdays closinghour 21:00</ScheduleDetails>
    <ScheduleNote>In the Summer opened on Tuesdays.  Check with the venue for details.</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Media>3D: Crafts</Media>
  <Description><![CDATA[In Japan, beauty can be found in objects from the most refined to the most humble, often with standards very different from those in the Western world. Drawn largely from the MAD collection, &quot;Beauty in All Things&quot; features contemporary Japanese artists and designers who create innovative works within these ideals of beauty. Some push traditional techniques and materials in new directions, and others experiment with new technologies and materials within the context of historical practice.   In this exhibition, specific works are highlighted that exemplify Japanese concepts of beauty, including shizen, wabi sabi, and datsuzoku.   The term shizen implies a reverence for the beauty found in nature, a recurring theme in Japanese art.

[Image: Kyohei Fujita &quot;Untitled (Box)&quot; (1995) glass, silver, gold leaf, silver leaf 5.5 x 4.75 x 4.75 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/372F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/372F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/372F-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Adults $15, Students and Seniors $12, Members and Children under 12 Free, Thursdays 6 - 9pm Pay What You Wish</Price>
  <DateStart>2011-11-22</DateStart>
  <DateEnd>2012-06-03</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>115</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.767589</Latitude>
  <Longitude>-73.982067</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/3B6B" href="http://www.nyartbeat.com/event/2012/3B6B">
  <Name>&quot;Notations: Cage Effect Today&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/C3ACA17C">
    <Name>Hunter College Times Square Gallery</Name>
    <Type>University or School</Type>
    <Address>450 W 41st St., New York, NY 10036</Address>
    <Phone>212-772-4991</Phone>
    <Fax></Fax>
    <Access>Between 9th and 10th Ave. Subway: A/C/E at 42nd Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>13:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[Notations: The Cage Effect aims to serve as a timely platform upon the centennial of John Cage's birth. The exhibition will examine his diverse and widespread influence throughout America, Asia, Europe and Latin America not only through the artists directly following Cage but also those in successive generations to the present. By taking a chronological and geographic survey it may be possible to elucidate why Cage has been hailed as an “authorizing factor” and how his influence is manifest to such a widespread and significant degree.  The exhibition will include some 30 artists including William Anastasi, Ushio Shinohara, Rivane Neuenschwander, Kaz Oshiro and Fred Sandback among many others, and will be supplemented by a full schedule of inter-disciplinary public programming. The exhibition will also be accompanied by a comprehensive exhibition catalogue with essays by Dr. Pissarro, Julio Grinblatt and Bibi Caldero, and contributions by participating graduate students at Hunter College. ]]></Description>
  <Image src="http://www.nyartbeat.com/resources/images/nopic" width="30" />
  <Image src="http://www.nyartbeat.com/resources/images/nopic_80" width="80" />
  <Image src="http://www.nyartbeat.com/resources/images/nopic_170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-17</DateStart>
  <DateEnd>2012-04-21</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-16" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>72</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.758522</Latitude>
  <Longitude>-73.994881</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/3FEE" 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="2012/4FEE" href="http://www.nyartbeat.com/event/2012/4FEE">
  <Name>&quot;See My Voice, Hear My Vision&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/EC3901AE">
    <Name>Westside Gallery</Name>
    <Type>Gallery</Type>
    <Address>133/141 W 21st St., New York, NY 10011</Address>
    <Phone>212-592-2145</Phone>
    <Fax></Fax>
    <Access>Between 6th and 7th Ave. Subway: 1 or F/V to 23rd Street</Access>
    <Area areaId="chelsea_21">Chelsea 21st</Area>
    <OpeningHour>09:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 10:00, saturdays closinghour 18:00</ScheduleDetails>
    <ScheduleNote>Closed on federal holidays.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Installation</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[An exhibition of selected work by second-year students in the MPS Art Therapy Department and the clients they work with at their internship sites. Curated by faculty member Liz DelliCarpini. ]]></Description>
  <Image src="http://www.nyartbeat.com/resources/images/nopic" width="30" />
  <Image src="http://www.nyartbeat.com/resources/images/nopic_80" width="80" />
  <Image src="http://www.nyartbeat.com/resources/images/nopic_170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-11</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-15" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.74205</Latitude>
  <Longitude>-73.994825</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/530E" 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="2012/5762" href="http://www.nyartbeat.com/event/2012/5762">
  <Name>Alison Owen &quot;Shelf Life&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/861ABFD2">
    <Name>Cuchifritos</Name>
    <Type>Gallery</Type>
    <Address>120 Essex St., New York, NY 10002.</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between Delancey and Rivington St.  Subway: J/M/Z/F to Delancy/ Essex Street</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Alison Owen’s installation Shelf Life came out of close observation of the Lower East Side neighborhood and its continual transformation, as well as respective functions, appearances and usual daily operations of both the Essex Street Market and Cuchifritos gallery. The work is inspired by the distinctions, similarities, overlaps and interactions of these two environments. Similar to Owen’s other works, this site-specific installation responds to the particular architectural properties—formal qualities as well as spatial patterns—of the Market and the gallery space, and is constructed out of modest and/or ephemeral materials, which seemingly grow from and within the architecture. It combines previously used art display furniture with the objects given to the artist by the Market vendors, along with the various materials found in situ. The installation seems like a half-finished store, simultaneously emerging from the context of the market and melting back into it.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5762-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5762-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5762-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-21</DateStart>
  <DateEnd>2012-03-04</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-21" start="16:00:00" end="18:30:00">Opening Reception</Party>
 <DaysBeforeEnd>24</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.719503</Latitude>
  <Longitude>-73.987686</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/64AB" 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="2012/68D1" href="http://www.nyartbeat.com/event/2012/68D1">
  <Name>Eric Wesley &quot;2 new works&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/A6550E82">
    <Name>Bortolami</Name>
    <Type>Gallery</Type>
    <Address>520 W 20th St. New York, NY 10011 </Address>
    <Phone>212-727-2050</Phone>
    <Fax>212-727-2060</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_20">Chelsea 20th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Bortolami gallery presents Eric Wesley's third solo show at the gallery.
 
The first work, &quot;The Improbability of Intentionally Creating Shock&quot;, is comprised of four individually presented elements constituting an elaborate machine. The artist confronts issues of success and failure, and initiates a conversation about the nature of &quot;shock&quot; by literally attempting to &quot;shock&quot; the audience. The primal intent of the work involves one person, the artist, touching another, the viewer: an electrical and biological exchange of energy. The first element is an exaggerated rubber band acting as power supply and storage of energy. Then there is the anchoring system that fixes the machine to a stable point within the space. The center piece of the apparatus is a 200-pound solid-steel chrome-plated square wheel. The final element is the point at which static electricity interacts with the observer, creating a tickling mild zap, or simply the sense of anticipation. The shock is merely implied and not made explicit, derived from physical form and phenomenon, or lack thereof.
 
Presented in the smaller gallery, the second work is a temporary room which demonstrates a paradox of time and space. A three-by-five foot representation of the continent of Europe floats in the room. The likeness of the EU is rendered in great detail according to multiple sources of information. The artist trusted established topological maps, images from space (NASA, ESA), as well as instinct and memory. The viewer walks into this room in New York City from 10am to 6pm to encounter the waning of daylight into darkness of Europe, designed to accurately portray the present reality on the other side of the Atlantic.
 
Eric Wesley was born in Los Angeles, California in 1973, where he continues to live and work. Wesley has held solo exhibitions in galleries internationally as well as at the Museum of Contemporary Art, Los Angeles and Foundation Morra Greco, Naples, Italy. Wesley has participated in group shows at the Hammer Museum in Los Angeles; Musée d'Art Contemporain, Bordeaux, France; Fundación/Colección, Jumex, Mexico; Museo d'Arte, Benevento, Italy; The Prague Biennial in 2007; Institute of Contemporary Art, London; P.S.1, New York; and the Studio Museum in Harlem. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/68D1-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/68D1-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/68D1-170" width="170" />
  <Karma>1.09848</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.745964</Latitude>
  <Longitude>-74.006244</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6ABF" href="http://www.nyartbeat.com/event/2012/6ABF">
  <Name>Hans-Peter Feldmann Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/AA2A3256">
    <Name>303 Gallery (547 W 21st Street)</Name>
    <Type>Gallery</Type>
    <Address>547 W 21st Street, New York, NY 10011</Address>
    <Phone>212-255-1121</Phone>
    <Fax></Fax>
    <Access>Between 10th Ave. and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_21">Chelsea 21st</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Hans-Peter Feldmann was the recipient of the 2010 Hugo Boss Award, and displayed this prize in its entirety as his exhibition at the Guggenheim Museum, New York. His work has recently been featured in exhibitions at Malmö Konsthall in Sweden Reina Sofia, Madrid, Kempner Art Museum St. Louis, and MOCAD, Detroit. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6ABF-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6ABF-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6ABF-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-24</DateStart>
  <DateEnd>2012-03-31</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>51</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747047</Latitude>
  <Longitude>-74.006278</Longitude>
 </Event>

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

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

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

 <Event xml:lang="en" id="2012/6F35" href="http://www.nyartbeat.com/event/2012/6F35">
  <Name>Pia Myrvold  &quot;FLOW&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/FF21D842">
    <Name>.No Gallery</Name>
    <Type>Gallery</Type>
    <Address>251 East Houston St., NY, NY 10002</Address>
    <Phone>646-580-6535</Phone>
    <Fax></Fax>
    <Access>Between Norfolk and Suffolk Sts., Subway: F to 1st Avenue.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>saturdays openinghour 13:00, sundays openinghour 13:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Media>Screen: Digital</Media>
  <Description><![CDATA[.NO – a nonprofit gallery on the Lower East Side presents Pia MYrvoLD: FLOW,  the third incarnation of a multidisciplinary concept that debuted in Venice during last year’s Biennale and is currently on view at the Los Angeles Center for Digital Art through February 24.  
Pia MYrvoLD: FLOW &quot;While engaging with Flow the immersive experience of emergent technologies is carefully guided by the artist. The ever-changing abstract images, rhythmic textures and chromatic structures of light are inspired by higherminded aspirations. Myrvold’s ongoing research in 3D virtual space engenders a unique mental and aesthetic awareness, as the artist plays with virtual space alongside actual physical space to illuminate what we have not been able to see in traditional media. We are not put in front of a console as is common in many interactive works; rather Flow builds parallel or tangent references between the realms of physical and imaginative presence. 

Stemming from her lifelong work as a painter, Norwegian artist Pia Myrvold creates new work that branches out into a formidable interdisciplinary undertaking using electronic media as a springboard for the intermingling of forms. The pulsing, looping animations and sound are unmistakable in their musical quality, the structure of the installation utilizes large scale sculptural form and there is an architectural aspect as the viewer engages the work by walking through it. The end result is an immersive and interactive environment where the viewer encounters a multi-dimensional interface that is a product of emergent technology.” Rex Bruce, Artweek.LA, Jan 9 2012

Professionally active as a visual artist since her teens, the Paris-based Pia Myrvold has shown extensively all over the world. Her work in a wide range of media has been exhibited at Sotheby London, London; Centre Pompidou, Paris; The Center of Architecture, New York; The Henie/Onstad Art Center; Oslo; Sala 1, Rome, just to name a few. During the Venice Biennale 2011, Myrvold staged Flow as a parallel to the Biennale on the Zattere in Venice. Caroline Langill, Associate Dean of OCAD University, Toronto, said the following of the exhibit: &quot; (…) this body of work was a rare new media offering in what one expects to be a festival that highlights art at the vanguard of contemporary practice. At a time when institutions are grappling with the almost weekly emergence of new digital platforms, MYrvoLD points to the necessity of bridging the analogue/digital divide by producing highly technical work that is both rearward and forward looking. The potentially immersive installation evidences the breadth of her practice as well as her situatedness within contemporary art. Not a technologist, MYrvoLD adopts the digital in order to dispel preconceptions about what art is and can be.  Clearly, she is a pioneer and will continue to shape the future of art&quot;.]]></Description>
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  <Karma>1.35198</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-03" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.721708</Latitude>
  <Longitude>-73.985342</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/7062" 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>
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  <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>
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  <Latitude>40.72385</Latitude>
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 </Event>

 <Event xml:lang="en" id="2012/70A3" href="http://www.nyartbeat.com/event/2012/70A3">
  <Name>Greg Sholette &quot;Fifteen Islands for Robert Moses&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/8049BA8A">
    <Name>Queens Museum of Art</Name>
    <Type>Museum</Type>
    <Address>Queens Museum of Art, Meridian Rd., Flushing, NY 11368</Address>
    <Phone>718-592-9700</Phone>
    <Fax></Fax>
    <Access>Ten-minute walk through the park to the Unisphere, where the museum is located. Follow the yellow signs. Subway: 7 to Willets Point/Shea Stadium</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="1" />
    <ScheduleDetails>saturdays openinghour 12:00, sundays openinghour 12:00</ScheduleDetails>
    <ScheduleNote>Closed Monday &amp; Tuesday With the exception of Learning Programs &amp; Workshops.  Also closed on New Year’s Day, Thanksgiving, and Christmas Day.</ScheduleNote>
  </Venue>
  <Media>3D: Architecture</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Media>3D: Product</Media>
  <Media>3D: Crafts</Media>
  <Description><![CDATA[Fifteen Islands for Robert Moses is a site-specific art infiltration into the Panorama of the City of New York, which was built for the 1964 World’s Fair by urban planner Robert Moses and is now a centerpiece of the Queens Museum of Art. Artist and theorist Greg Sholette made and placed new islands about the Panorama’s waterways, where they exist as silent, post-9/11 observers of the City’s past, present, and future. Modeled in the same style as the Panorama, each island represents Sholette’s interpretation of a question he posed to a group of other artists and art theorists: “If you could add an island to New York City, what would that new landmass be like?” Touching on issues from environmental and economic justice to the overflowing archives of human memory and immigrant’s rights, the new fantasy islands interrupt the familiar geography of the Panorama, subtly haunting a favorite destination for students, tourists, and urban planners. Surrounding the Panorama is a series of posters about the project’s participating collaborators: Hana Shams Ahmed, Brett Bloom, Larry Bogad, Marc Fischer, Aaron Gach/Center for Tactical Magic, Libertad Guerra, Dara Greenwald, Marisa Jahn, Karl Lorac/Themm!, Ann Messner, Ted Purves, Rasha Salti, Dread Scott and Jenny Polak, Jeffrey Skoller, and Nato Thompson. ]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2012/70A3-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Suggested donations: Adults $5, Seniors and Children $2.50, Members and Children under 5 Free</Price>
  <DateStart>2012-02-05</DateStart>
  <DateEnd>2012-03-20</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-04" start="18:00:00" end="22:00:00">Opening Reception</Party>
 <DaysBeforeEnd>40</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.744969</Latitude>
  <Longitude>-73.84685</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/7668" href="http://www.nyartbeat.com/event/2012/7668">
  <Name>David Maljkovic and Lucy Skaer &quot;Scene, Hold, Ballast&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/D5D33496">
    <Name>SculptureCenter</Name>
    <Type>Event Space</Type>
    <Address>44-19 Purves St., Long Island City, NY, 11101</Address>
    <Phone>718-361-1750</Phone>
    <Fax>718-786-9336</Fax>
    <Access>Corner of Jackson Ave.  Subway: E/V to 23rd Street/Ely Avenue, G to Court Square, 7 to 45th Road/ Court Square</Access>
    <Area areaId="queens">Queens</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[SculptureCenter presents Scene, Hold, Ballast a two person exhibition with David Maljkovic and Lucy Skaer, artists whose work shares an engagement with sculpture, film, and distinct approaches to exhibition design. Scene, Hold, Ballast conceived as a dialog, will feature new works by Maljkovic and Skaer commissioned through SculptureCenter's Artist in Residence program. This exhibition is guest curated by Fionn Meade. 

Scene, Hold, Ballast will feature new works by Maljkovic and Skaer that further explore affinities and correspondences in their respective practices. In an ongoing series Temporary Projections Cycle, David Maljkovic's retrospective mode of tracing and negotiation is turned toward his own studio practice, its history, and imagined futures, including new works in film, painting, and sculpture. And Lucy Skaer continues her transformation of existing artifacts and architecture with a new 35mm film, a photographic series and related sculptures. Both artists have repeatedly explored what it means to inhabit and give spatial contour to their references. For example, Maljkovic gained access to the guarded test track of Peugeot headquarters in order to cast retired company workers in out-of-time embraces alongside futuristic automobile prototypes (Out of Projections, 2009), and Skaer's placed the heft of a sperm whale skeleton behind partitioned walls to enact the interval nature of the moving image (Leviathan Edge, 2009). 

Lucy Skaer's installations subject the conventional classification of objects and historical references to scrutiny, shifting meaning toward the symbolic and absurd. Often working with pre-existing imagery and found forms, Skaer's sculptures, films, and works on paper emphasize repetition and variation even as they retain a gestural immediacy. Her surrogate adaptations of Constantin Brancusi'sýsculptures, for example, use familiar forms as a decoy for exploring faltering modes of industrial production and distribution, resulting in the collapse of image and object into a shared psychological space a characteristic of much of her work. Skaer's work re-animates the power of the symbolic that lies beyond obsolescence, as in a recent 35mm film that imagines the memory of a film projector from an abandoned cinema in Leeds, England. 

Film, video, and stage scenography likewise play a central role in David Maljkovic's work and his ongoing critical engagement with the legacy of modernism. Constructing future histories via diverted glimpses onto overlooked moments of past innovation, Maljkovic's sculpture, collage, painting, drawing, and architectural mis-en-scene often refer to Yugoslav socialism and the aesthetics of international modernism. Maljkovic mines a rift between the utopian aspirations of former avant-garde strategies, their frequently cataclysmic results, and the present moment. The film Images With Their Own Shadows (2008), for example, is set in the villa and former studio of the influential Croatian artist and architect Vjenceslav Richter (1917-2002), and combines sound clips from Richter's last interview with highly suggestive tableaux vivant of young people, open mouthed in their attempt to speak. Here, the sounds and imagery of the past irrevocably darken the present but the future is made equally contingent through embodied, participatory rehearsal. 

Artist Biographies 
David Maljkovic was born in Rijeka, Croatia, in 1973, and lives in Zagreb, Croatia. After studying at the Academy of Fine Arts, Zagreb, Maljkovic participated in the artists' residency program of the Rijksakademie, Amsterdam. He has had solo exhibitions at Museo Reina Sofia, Madrid, Whitechapel Gallery, London, and the Museum of Contemporary Art, Zagreb, among other venues. He has participated in numerous international group exhibitions, including the 29th Sao Paolo Biennial, the 11th Istanbul Biennial, and the 5th Berlin Biennial. Maljkovic's solo exhibition at Secession, Vienna, is on view December 2, 2011 to February 5, 2012. 

Lucy Skaer was born in Cambridge, England, in 1975, and lives in New York. Skaer works primarily in sculpture, painting, film, and installation works. She studied at the Glasgow School of Art and has had solo exhibitions at the Fruitmarket Gallery, Edinburgh, Scotland, Kunsthalle Basel, Basel, Switzerland, and Chisenhale Gallery, London, among other venues. She has been included in numerous international exhibitions, including the 52nd Venice Biennale, the 5th Berlin Biennale, and recent group exhibitions at the Carnegie Museum of Art, Pittsburg, PA, Centre Georges Pompidou, Paris, France, and K21 Dusseldorf, Germany. Skaer was a Turner Prize finalist in 2009. 

[Image: David Maljkovic &quot;Temporary Projections&quot; (2011) Courtesy the Artist and Georg Kargl Fine Arts, Vienna.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/7668-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7668-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7668-170" width="170" />
  <Karma>1.36787</Karma>
  <Price free="0">Suggested donation: $5</Price>
  <DateStart>2012-01-15</DateStart>
  <DateEnd>2012-03-19</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-15" start="17:00:00" end="19:00:00">Opening Reception</Party>
 <DaysBeforeEnd>39</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747197</Latitude>
  <Longitude>-73.941269</Longitude>
 </Event>

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

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

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

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

 <Event xml:lang="en" id="2012/7C9D" href="http://www.nyartbeat.com/event/2012/7C9D">
  <Name>Natasza Niedziolka &quot;White Shadow&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/BDB8A1B6">
    <Name>Horton Gallery</Name>
    <Type>Gallery</Type>
    <Address>504 W 22nd St., Parlor Level, New York, NY 10011</Address>
    <Phone>212-243-2663</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave.  Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Gallery Closed: Independence Day, July 3 &amp; 4, August 24 – September 7, 2009.</ScheduleNote>
  </Venue>
  <Media>2D: Other</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Horton Gallery, Chelsea presents White Shadow, the first New York solo exhibition by Berlin based artist Natasza Niedziolka.

Natasza Niedziolka's abstract fabric and thread works intuitively integrate enigmatic shapes and evocative colors. Following in the tradition of Dada artists such as Jean Arp, Niedziolka's fabric panels embrace the irrational. While the artist's use of quilting and sewing connect her work with historical, democratized expressive acts, Niedziolka decidedly rejects traditional craft-art guidelines such as functionality and pictorial coherence.

While her compositions are at times vaguely representational, it is Niedziolka's technique itself that recalls the simplicity and clarity of folk-art. Though powerful, Niedziolka's colors and shapes have a random, scavenged appearance to them like early American &quot;crazy-quilts&quot; which were mended and added to generation after
generation, resulting in visually abstract records of time. Where her shapes do approach specificity, glimpses of Picasso-esque collaged, still-lives demonstrating his experimentation with stitching together common objects and substrates may be recognized as well.

On the harsher side of Niedziolka's spontaneous technique, sometimes described as &quot;punk painterly,&quot; her work relates to Dada art-forms not only because of its close association with Arp, but also because of its deconstructed appearance. The work's cut-and-paste quality makes reference to the aggression of collage promoted by radical interwar artists working in Berlin who cut and reassembled magazine and newspaper images. Particularly in works where thread bleeds from the fabric ground and where punctures are emphasized is this attitude most evident. 

At times benign, at others aggressive, Niedziolka's work demonstrates the complicated relationship between Fine Art and pedestrian materiality that artists continue to examine. 

Natasza Niedziolka (b. 1978, Miedzychod, Poland) lives and works in Berlin, Germany. Her work has been exhibited throughout Germany and Europe. White Shadow is the artist's first solo exhibition with Horton Gallery.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/7C9D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7C9D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7C9D-170" width="170" />
  <Karma>0</Karma>
  <Price free="0"></Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-19" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747075</Latitude>
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 </Event>

 <Event xml:lang="en" id="2012/83F8" href="http://www.nyartbeat.com/event/2012/83F8">
  <Name>DUOX &quot;DUOX4Larkin&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/88719A99">
    <Name>Artists Space</Name>
    <Type>Cultural Center</Type>
    <Address>38 Greene St., 3rd Fl.,  New York, NY 10013</Address>
    <Phone>212-226-3970</Phone>
    <Fax>212-966-1434</Fax>
    <Access>Corner of Grand St. Subway: A/C/E to Canal Street or N/R to Canal Street</Access>
    <Area areaId="soho">Soho</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>Wednesdays open until 8pm, Saturdays open until 5pm</ScheduleDetails>
    <ScheduleNote>Closed on July 4th</ScheduleNote>
  </Venue>
  <Media>2D: Graphics</Media>
  <Media>2D: Other</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/83F8-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/83F8-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/83F8-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-29</DateStart>
  <DateEnd>2012-03-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-28" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>38</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.721553</Latitude>
  <Longitude>-74.002064</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/86D1" 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="2012/890D" href="http://www.nyartbeat.com/event/2012/890D">
  <Name>Willie Alexander &quot;Wall Works&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/8D07E91F">
    <Name>Esopus Space</Name>
    <Type>Cultural Center</Type>
    <Address>64 W 3rd St., #210, New York, NY 10012</Address>
    <Phone>212-473-0919</Phone>
    <Fax>212-473-7212</Fax>
    <Access>Between LaGuardia Pl. and Thompson St. Subway: D/B/F/V/A/C/E to West 4th Street</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>16:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="1" thu="0" fri="1" sat="1" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Other</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[An exhibition of never-before-exhibited large-scale collages by rock-and-roll musician Willie Alexander, whose five-decades-long musical career includes stints with The Velvet Underground, The Bagatelle, The Lost, and The Boom Boom Band. For the past 25 years, Alexander has used thousands of yards of packing tape to affix newspaper clippings, ephemera from concert tours, personal photographs, cat litter packaging, and virtually every other material to the walls of his house in Gloucester, Massachusetts. These &quot;crazy quilts from a truly amazing creative consciousness&quot; (John Jacob) will be shown to the public for the first time at this exhibition, which represents Alexander's New York debut.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/890D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/890D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/890D-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-13</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-15" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>33</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.72935</Latitude>
  <Longitude>-73.998255</Longitude>
 </Event>

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

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

 <Event xml:lang="en" id="2012/8DA4" href="http://www.nyartbeat.com/event/2012/8DA4">
  <Name>&quot;Swept Away: Dust, Ashes, and Dirt in Contemporary Art and Design&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/EB18574C">
    <Name>Museum of Arts &amp; Design</Name>
    <Type>Museum</Type>
    <Address>2 Columbus Circle, New York, NY 10019</Address>
    <Phone>212-299-7777</Phone>
    <Fax></Fax>
    <Access>At 58th St. and 8th Ave.  Subway: B/C/D to 59th Street/Columbus Circle</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="0" hol="1" />
    <ScheduleDetails>thursdays closinghour 21:00</ScheduleDetails>
    <ScheduleNote>In the Summer opened on Tuesdays.  Check with the venue for details.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[MAD has explored the intersection of traditional or unusual materials and techniques as viewed through the lens of contemporary art and design in a series of exhibitions that include &quot;Radical Lace and Subversive Knitting;&quot; &quot;Second Lives: Remixing the Ordinary;&quot; &quot;Slash: Paper Under the Knife;&quot; &quot;Dead or Alive: Nature Becomes Art;&quot; and &quot;Otherworldly: Optical Delusions and Small Realities.&quot;

The next investigation into unusual mediums features an international group of artists whose major materials are dust, ashes, dirt, and sand. &quot;Swept Away: Dust, Ashes, and Dirt in Contemporary Art and Design&quot; will highlight works that deal with issues such as the ephemeral nature of art and life, the quality and content of memory, issues of loss and disintegration, and the detritus of human existence. Sculptures made from ash by Chinese artist Zhang Huan, life-size sculptures of unfired dirt by American artist James Croak, and works created from city smog by American artist Kim Abeles, among others, illustrate the transformative potential of humble, overlooked, and discarded materials.

[Image: Phoebe Cummings &quot;Flora&quot; (2010) unfired clay Photo: Sylvain Deleu]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8DA4-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8DA4-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8DA4-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Adults $15, Students and Seniors $12, Members and Children under 12 Free, Thursdays 6 - 9pm Pay What You Wish</Price>
  <DateStart>2012-02-07</DateStart>
  <DateEnd>2012-08-12</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>185</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.767589</Latitude>
  <Longitude>-73.982067</Longitude>
 </Event>

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

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

 <Event xml:lang="en" id="2012/962A" href="http://www.nyartbeat.com/event/2012/962A">
  <Name>John Miserendino &quot;Pavilion&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/19B58D63">
    <Name>Recess Art</Name>
    <Type>Event Space</Type>
    <Address>41 Grand St., New York, NY 10013</Address>
    <Phone>646-863-3765</Phone>
    <Fax></Fax>
    <Access>Between W Broadway and Thompson Sts. Subway: N/ R/ W/ A/ C/ E to Canal Street</Access>
    <Area areaId="soho">Soho</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>thursdays openinghour 14:00, thursdays closinghour 20:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[
On January 10th, John Miserendino will begin work on his project, Pavilion, as part of Recess’s signature program, Session. Session invites artists to use its public space as studio, exhibition venue and grounds for experimentation.

For Pavilion, Miserendino will reinterpret Dan Graham’s original plans for his architectural structures. The artist, who sees himself as a collaborator with Graham and other prominent players—who may remain unaware of the joint venture—will stage a series of three reenactments inside his Pavilion to translate existing artworks into personal terms.

Using discarded studio materials from several well-known artists, Miserendino will use Pavilion as a recording studio to make an audio facsimile of Sonic Youth’s Daydream Nation, an album he has never heard personally. He will rely on visitors’ descriptions of the band and their memories of the music to approximate the album.

Pavilion will also become the set for a third version of Michael Haneke’s film, Funny Games. Miserendino worked as a PA for Haneke’s shot-by-shot 2008 American remake of his own movie, originally shot in 1997 in Austria. Using the original film as his guide and sourcing trashed costumes from the 2007 version, Miserendino will serve as actor, director, production designer, and editor for his 2012 iteration.

Finally, Pavilion will be used a stage for the artist to learn discarded choreography from the Broadway show Spider-Man: Turn Off The Dark. Miserendino will work with a dancer from the cast to learn dance sequences that have been cut from the present version of the musical.

In each case, Miserendino hopes to capture a discarnate likeness of the existing artworks, providing an additional layer of commentary to the original productions through new collaborations.


Artist Bio:
About the Artist: John Miserendino was born in 1980 in New Jersey and now lives and works in New York City. He received a BA in architecture from Cornell University in 2003. Earlier this year, his project “A Selection of Snapshots taken by Felix-Gonzalez Torres and John Miserendino” was published for Printed Matter in New York. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/962A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/962A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/962A-170" width="170" />
  <Karma>1.15885</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-10</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.722467</Latitude>
  <Longitude>-74.004267</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9675" href="http://www.nyartbeat.com/event/2012/9675">
  <Name>&quot;From Iceland&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8C69B816">
    <Name>Luise Ross Gallery</Name>
    <Type>Gallery</Type>
    <Address>511 W 25th St., #307, New York, NY 10001</Address>
    <Phone>212-343-2161</Phone>
    <Fax>212-343-2468</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Some years ago, Icelandic artists would have been a category unfamiliar to the American art public. It would have seemed a category without discernible unity or order, thus devoid of the kind of meaning that would allow itself to be turned into myth.  By connecting all the dots we have the beginnings of a myth centering  on a society precariously poised between the civilized and savage, urban and rural, self-deprecation (How do you like Iceland?) and dreams of world domination.
 
Typically, the Icelandic artists included in this survey both conform to this myth and render it meaningless. All of them have close ties to the countryside; they use it as a refuge or incorporate its features and legends into their art, both of which is true of Gudbjorg Lind, Gudrun Kristjansdottir and Niels Hafstein. At the same time they are ready to fly to New York, Paris or Beijing at a moments notice. Their approach to their work may be firmly centered on the physicality of the body, as is the case with Gudny Kristmanns, or it may be predicated on the dissolution of materiality, which is the kind of thing we find in the work of Gustav Geir Bollason. Or they may take up a position midway between sense and big time sensuality, as happens in the highly literate and knowing work of Jon Laxdal and Thordis Alda. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9675-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9675-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9675-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-10" start="15:00:00" end="18:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749125</Latitude>
  <Longitude>-74.003533</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/99AF" href="http://www.nyartbeat.com/event/2012/99AF">
  <Name>Yuka Otani Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/F7553928">
    <Name>Camel Art Space</Name>
    <Type>Event Space</Type>
    <Address>722 Metropolitan Ave., Brooklyn, NY 11211</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Corner of Graham Ave.  Subway: L to Graham Avenue</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="1" fri="1" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[In the Project Space Yuka Otani will be showing a new installation inspired by “Hojoki”, an essay by Chomei Kamono: a Japanese 13th century poet who expresses the sense of mujokan(impermanence) during the medieval age of wars and disasters.

Bio:
Yuka Otani’s sculptures and installations incorporate transparent and fluid materials such as glass, water, melted sugar and light to invoke a shift in a viewer’s perception of physical and cognitive spaces. The vulnerable materials change their appearance over time, thereby simultaneously emphasizing both presence and absence. Her work has been featured in venues including Museum of Art and Design, Whitney Museum of American Art, Contemporary Art Museum Houston, Wight Gallery at UCLA.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/99AF-30" width="30" />
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  <Karma>0</Karma>
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  <DateStart>2012-02-10</DateStart>
  <DateEnd>2012-03-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-10" start="18:00:00" end="21:00:00">Opening Reception</Party>
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  <Latitude>40.714325</Latitude>
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 </Event>

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

 <Event xml:lang="en" id="2012/9A7B" href="http://www.nyartbeat.com/event/2012/9A7B">
  <Name>&quot;New Selections: South Asia&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/1C82646F">
    <Name>Thomas Erben Gallery</Name>
    <Type>Gallery</Type>
    <Address>526 W 26th St., 4 Fl., New York, NY 10001</Address>
    <Phone>212-645-8701</Phone>
    <Fax>212-645-9630</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street or A/C/E to 34th Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Thomas Erben Gallery presents work by a selection of artists related to the larger South Asian field, whose wide variety of concerns, media, and practices have recently garnered our attention.

Ehsan ul Haq’s (b. 1983, Lahore, Pakistan) sculptures, installations and videos are carefully considered arrangements of simple elements like rubble, cinderblocks, furniture, houseplants, light bulbs and, occasionally, live animals. His work transcends the symbolic and avoids flippancy, creating empathic poetry from everyday objects, which he organizes into flawed systems. The photographs included in the show document studio installations. One features a donkey, whose ability to roam is hampered by a tethered weight; the other, a rooster tied by the ankle to a feed-covered floor, resulting in a perfect circle of empty floor space over time. 

Ul Haq received his BFA from the Beacon House National University, Lahore (2008). Most notably, his work was included in Resemble/Reassemble, Devi Art Foundation, New Delhi (2010) curated by Rashid Rana. He had solo shows with Rohtas (2009) and the National College of Art Gallery (2010), both in Lahore, and has been included in exhibitions in the UK, Pakistan, and Germany.

The primary concern of interdisciplinary artist Sreshta Rit Premnath (b. 1979, Bangalore, India) is how “political and economic power produces [an] unequal distribution of knowledge” and “how paradigms of power produce and constitute our relationship to objects and events in the world.” Rhizome – a photo series of manipulated roots, linked together with crimped metal inserts - focuses on the ginger rhizome, a household cooking ingredient with locally well know medicinal uses in India and China, whose genes have been patented by pharmaceutical corporations for commercial use. The ways in which systems of knowledge have been, and continue to be colonized is an underlying theme.

Premnath, founder and editor of Shifter Magazine, is based in New York. He completed his BFA at The Cleveland Institute of Art (2003), his MFA at Bard College (2006), and attended the Whitney Independent Study Program (2008). Solo shows include: Galerie Nordenhake, Berlin (2011) and Gallery SKE, Bangalore (2004, 2008, 2010), which also presented his work at Statements, Art Basel (2010).

Schandra Singh’s (b. 1977, Suffern, NY) saturated, large-scale oil paintings executed on linen, feature lounging tourists enclosed in their own watery paradise. Built of faceted shapes as if their muscles and fascia were exposed, her figures threaten to disintegrate into the surrounding, equally fractured pool water. Singh’s work, incongruously full of buzz and anxiety, exposes an agitation resulting from the psychological, and subsequently political, implications of leisure in an era of global crisis.

Singh completed her BFA (1999) at the Rhode Island School of Design and went on to receive her MFA in Painting (2006) at Yale. She had solo exhibitions at Nature Morte, Berlin (2011), Bose Pacia, New York (2010), Galerie Bertrand &amp; Gruner, Geneva (2008) and has shown internationally, most notably in The Empire Strikes Back, Saatchi Gallery, London (2010).

Vinod Balak (b. 1982, Kerala, India) are excessive in terms of aesthetics as well as social norms. Constructing his social allegories in the tilted, flattened space of miniature painting, Balak’s human and/or animal protagonists are rendered in - and surrounded by - a brash, synthetic palette and jarring patterns. Loud yet static, the classical compositions allow for the hedonist impulse of contemporary consumerism to be perceived on a more reflective level.

Balak received his BFA from The Government College of Fine Arts, Thrissur, Kerala (2007) and his MFA from the S.N. School of Fine Arts, Hyderabad (2009). His work was included in Roots in the Air, San Jose Museum of Art, CA (2011) and a solo-exhibition was held at Galerie Mirchandani + Steinruecke, Mumbai (2010). He currently lives and works in Hyderabad.

Koshal Hamal’s (b. 1988, Mugu, Nepal) works are engaged in a synthesis of appropriation, combining Western art with the historical format of miniature painting. Working in oil, he copies Western art historical works (and their gilded frames), in diminutive size, onto larger scale primed canvases. He grants these works the specialness of singularity, while simultaneously reevaluating and taking ownership – conceptually as well as culturally – through the act of appropriation and miniaturization.

Hamal received his BFA from Beaconhouse National University, Lahore (2011) on a South Asia Foundation Scholarship. His graduating exhibition was reviewed by Atteqa Ali: “The star of the show is a Nepalese artist Koshal Hamal. […] His paintings examine complicated concepts; however, Koshal does not reduce the significance of the form. Instead, his visually compelling technique is a kind of foil for heavy ideas. It’s a powerful trait found in the most interesting art made in Pakistan.” Hamal lives and works in Kathmandu, Nepal.

Faiza Butt (b. 1973, Lahore, Pakistan) composes her midsize drawings from collages of journalistic, personal and advertising images, touching on issues of cross-cultural integration, including sex/gender, religion, and aesthetics. She works slowly, incrementally growing imagery through innumerable colored felt-tip-pen dots on Mylar, which are then exhibited backlit, akin to advertisements. At the core of her practice is the hybridization of media – for example, a meticulous handmade drawing resembles a coarse offset print of a photographic image, glowing in a public ad display.

Faiza Butt received her BFA from the National College of Arts (1993) and her MFA from the Slade School of Art (1999), both in London. Her work was exhibited in Hanging Fire: Contemporary Art from Pakistan, Asia Society, New York (2009) as well as at venues in the UK, France, Hong Kong, Dubai, Pakistan, and India. Solo exhibitions include: Grosvenor Vadhera Gallery, in London (2010) and at Art Dubai (2011); Rohtas Gallery, Lahore (2009, 2008, 1996); Green Cardamom, London (2008). She lives and works in London.

The densely patterned, abstract paintings of Anoka Faruqee (b. 1972, Ann Arbor, MI) are composed of tripods and asterisks. Her chromatically gradated, hand painted surfaces recall warped pixelated spaces, Islamic tile geometry, and abstract color-fields. Adhering to a diligently methodical process, Faruqee has supplanted spontaneity and dramatic gesture through controlled repetition, thus finding self-expression within the potential of geometric space.

Faruqee received her BA from Yale (1994) and her MFA from Tyler School of Art (1997). She attended the Whitney Independent Study Program, the Skowhegan School of Art, and the PS1 National Studio Program. Her work has been exhibited at Hosfelt Gallery, PS1, Max Protetch and Apexart, among others.

Hasan Elahi (b. 1972, Bangladesh) is perhaps best known for his ongoing FBI tracking project. Ten years ago, Elahi was detained by the FBI for suspicion of housing explosives in a Florida storage unit. After an exhaustive investigation, the agents were convinced of their error. To avoid future “complications,” Elahi has since documented every detail of his life by providing a real time map with financial data, communication records and transportation logs. In our exhibition, a photograph of airplane meals demonstrates his interest in the public and investigative value of an overwhelming amount of personal information.

Elahi is currently Associate Professor of Art at the University of Maryland as Director of Digital Cultures and Creativity. Over the past years, his work has been included in exhibitions at venues such as SITE Santa Fe, Centre Georges Pompidou, Sundance Film Festival, Kassel Kulturbahnhof, The Hermitage, and at the Venice Biennale.

[Image: Ehsan ul Haq]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9A7B-30" width="30" />
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  <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="2012/9BA2" href="http://www.nyartbeat.com/event/2012/9BA2">
  <Name>Kay Rosen &quot;Wide and Deep&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/306D8265">
    <Name>Sikkema, Jenkins &amp; Co</Name>
    <Type>Gallery</Type>
    <Address>530 W 22nd St., New York, NY 10011</Address>
    <Phone>212-929-2262</Phone>
    <Fax>212-929-2340</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street, A/C/E to 14th Street, L to 8th Avenue.</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Sikkema Jenkins &amp; Co. presents Wide and Deep, an exhibition of two series of recent works by Kay Rosen.
 
Kay Rosen’s paintings, drawings, editions, collages, and installations on walls, billboards and buildings are best known for using language as their imagery. Understanding language as a visual and malleable form, Rosen explains in a 2010 interview: “When it comes to reading my work, throw out all the rules you ever learned: spelling, spacing, capitalization, margins, linear reading, composition…all your old reading habits will be useless.”
 
The first series of Wide and Deep consists of: gray-toned paintings, which use enamel sign-paint on canvas, and two wall paintings. The wall paintings, Between a Rock and a Hard Place and Wideep (detail), enlist the limits of the basic architecture of the space and the possibilities of everyday language. 
 
Challenging normal left to right reading on both the canvas and the walls, the works in this series convey their message in a number of ways: horizontally, vertically, upside-down, as a detail or a fragment. 
 
Rosen’s second series of works—gouache and pencil drawings on watercolor paper, a wall drawing and an illuminated stained-glass edition—grew out of her investigation of words whose letters are layered on top of each other (deep), instead of sequentially (wide).  These works are abstract and function more like objects than as readable text.  In some, like Sweet Jesus, the stacked letters are transparent, revealing the lines of the underlying letters; while in others, like Open Kimono, the letters are semi-transparent, producing a kind of verbal sandwich.  The third type of work, which includes Kiss on the Cheek, depicts only the outer contours of the words, appearing only as opaque silhouettes.
 
Rosen applied three rules to this second series: the word images must begin and end with the same letter, creating a closed-end, self-contained verbal unit; the letters are to be layered on top of each other; and the strategy (transparent, sandwiched, opaque) should correspond to some aspect of the text’s meaning.
 
Born in Texas, Kay Rosen is a Midwest-based artist whose language-based work has been exhibited in museums and institutions both nationally and internationally for several decades.  Her work has previously been exhibited at The Museum of Contemporary Art, Los Angeles, where she had a retrospective exhibition in 1998-99; the Linde Family Wing at The Museum of Fine Arts, Boston; MASS MOCA, North Adams, Massachusetts; the Whitney Biennial (2000); The Art Institute of Chicago; inaugural exhibition commission for The Contemporary Jewish Museum, San Francisco; The MCA Chicago, and in solo gallery exhibitions across the U.S. and Europe. 
 
Additionally, Rosen taught at The School of the Art Institute for eighteen years.  She is the recipient of three National Endowment for the Arts fellowships and an Anonymous Was A Woman grant. A book about her work, Kay Rosen: AKAK, was published by Regency Art Press, New York City, in 2009.

[Image: Kay Rosen &quot;Wideep&quot; (2011) Enamel sign paint on canvas, 20 x 28.375 in.]]]></Description>
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-03" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
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  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747378</Latitude>
  <Longitude>-74.005536</Longitude>
 </Event>

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

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

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

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

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

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

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

 <Event xml:lang="en" id="2012/AB31" href="http://www.nyartbeat.com/event/2012/AB31">
  <Name>&quot;It's the Political Economy, Stupid&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/5EE3D565">
    <Name>Austrian Cultural Forum NYC</Name>
    <Type>Cultural Center</Type>
    <Address>11 E 52nd St., New York, NY 10022</Address>
    <Phone>212-319-5300</Phone>
    <Fax>212-644-8660</Fax>
    <Access>Between 5th and Madison Ave. Subway: E/V to 53rd Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[The Austrian Cultural Forum New York is pleased to present this international group exhibition, curated by the Austrian-American team of Oliver Ressler and Gregory Sholette. The title derives from the slogan which in the early 1990s came to define then presidential candidate Bill Clinton’s campaign, “It’s the economy, stupid”.

The impending economic crisis that we face today has also become a major crisis for representative democracy. It’s the Political Economy, Stupid brings together an international group of artists who focus on the current crisis in a sustained and critical manner. Rather than acquiesce to the current calamity, the artworks, which include videos, photographs, installations, and a commissioned site-specific wall mural, ask whether it is time to push back against the disciplinary dictates of the capitalist logic and, by use of artistic means, launch a rescue of the very notion of the social itself.

[Image: Dread Scott, Still from &quot;Money to Burn&quot; (2010) video. Courtesy of the artist]]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2012/AB31-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Free (Reservations may be required for seated events)</Price>
  <DateStart>2012-01-24</DateStart>
  <DateEnd>2012-04-22</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>73</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.759533</Latitude>
  <Longitude>-73.975694</Longitude>
 </Event>

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

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

 <Event xml:lang="en" id="2012/ACCD" href="http://www.nyartbeat.com/event/2012/ACCD">
  <Name>&quot;Material Magic&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/3E7FD89E">
    <Name>Visual Arts Gallery</Name>
    <Type>Gallery</Type>
    <Address>601 W 26th St.,15th Fl, New York, NY 10010</Address>
    <Phone>212-592-2145</Phone>
    <Fax></Fax>
    <Access>Between 11th and 12th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[An exhibition of work presented by the BFA Fine Arts Department. Curated by Department Chair Suzanne Anker and faculty member Gunars Prande. ]]></Description>
  <Image src="http://www.nyartbeat.com/resources/images/nopic" width="30" />
  <Image src="http://www.nyartbeat.com/resources/images/nopic_80" width="80" />
  <Image src="http://www.nyartbeat.com/resources/images/nopic_170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751008</Latitude>
  <Longitude>-74.005783</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/B32C" href="http://www.nyartbeat.com/event/2012/B32C">
  <Name>&quot;20th Anniversary&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/FB7D5F99">
    <Name>Skoto Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., 5 Fl., New York, NY 10011</Address>
    <Phone>212-352-8058</Phone>
    <Fax>212-352-8079</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street, A/C/E to 14th Street, L to 8th Avenue.</Access>
    <Area areaId="chelsea_20">Chelsea 20th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Skoto Gallery at 20
by Geoffrey Jacques
 
It is tempting to talk about Skoto Gallery as a secret treasure of the New York art scene; but doing so brings up a lot of contradictory data. For instance, how does a “secret” survive two decades in a historically tough scene made even tougher by the cultural and economic head winds that have buffeted art, the New York art world, and the world in general in the last few years? To say the quality of the work shown at Skoto Gallery during these last twenty years is responsible for its success would be one obvious truth. There is, however, more to it than that. Skoto Gallery performs a vital intervention into the very idea of contemporary art.
 
Twenty years ago this seemed like just another gallery starting up in New York City’s Soho during that neighborhood’s historical heyday as the center of the art world. This was a time of sharp public protests and protest-style exhibitions trying to crack an art scene whose racial and gender homogeneity was only slightly masked by an essentially Eurocentric ethnic plurality. It was the era of a multiculturalism that seemed like it was always emerging, yet never quite arriving. The Museum of Modern Art had recently mounted a highly-touted exhibition on “primitivism” —still thought of, as late as the mid-1980s, as a polite word — and modern art. African art was still thought of, by a wide section of the art public and by more than a few specialists, as an art without artists. That is, one had the objects, but usually these objects had no individual names attached to them. The sources of these objects were often ascribed as tribal or regional, but were rarely ascribed to an individual artist. Of course, Africans might have had some influence on the origins of modern art —this was, after all, MOMA’s point — but none created art worth thinking about in our real-time world. Few people in New York had ever heard of a contemporary African artist making contemporary art. Meanwhile, the conversation concerning contemporary art as such focused almost exclusively on European or Eurocentric trends, individuals and individualists. Even the few African Americans whose names the official art world admitted to knowing, such as Romare Bearden and Jacob Lawrence, were talked about, when considered at all, not as artists, exactly, but as relics or representatives.
 
This was the art world Skoto Gallery found itself in, and its own intervention into the conversation started with a bang. To open a gallery largely devoted to contemporary African art was one thing, and a pretty big thing at that; but to open the gallery with an exhibition curated by Ornette Coleman was another thing altogether. Soon enough, word got around town that something different was happening down on Prince Street. So it was. You walked in, and a whole new world opened up. It wasn’t just Africans who showed there, as remarkable as that might have been; sometimes Skoto Gallery would come up with ingenious pairings. I remember being so moved by a 1995 exhibition of works by two sculptors that I had to write about them. The pairing was, at first glance, audacious: Tom Otterness, from Kansas, who lived in New York; and Bright Bimpong, from Ghana, who was, at the time, studying in New Jersey. It was the kind of beautiful exhibition we’re now used to seeing at Skoto Gallery. On another occasion, I spent several congenial hours surrounded by the transcendent works of the category-defying El Anatsui, who was born in Ghana but who made his reputation in Nigeria. Here was an accomplished artist who’d been working for decades. I’d never heard of him. This is often the case with the artists who choose Skoto Gallery as an exhibition venue, and it is among the qualities that continue to make this gallery a unique and valuable part of New York’s art world. This is one of the rare galleries in that world where it’s still possible to get the news about art. One can hardly think of a bigger accomplishment.
 
Geoffrey Jacques is a poet and critic. He is the author of the poetry collection Just for a Thrill (2005) and A Change in the Weather: Modernist Imagination, African American American Imaginary (2009), a book of criticism.
 http://www.geoffreyjacques.com

[Image: Inaugural exhibition, curated by Ornette Coleman at Skoto Gallery former 25 Prince Street location, February 7th, 1992]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B32C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B32C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B32C-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746167</Latitude>
  <Longitude>-74.0062</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/BC0E" href="http://www.nyartbeat.com/event/2012/BC0E">
  <Name>&quot;Glasstress New York: New Art from the Venice Biennales&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/EB18574C">
    <Name>Museum of Arts &amp; Design</Name>
    <Type>Museum</Type>
    <Address>2 Columbus Circle, New York, NY 10019</Address>
    <Phone>212-299-7777</Phone>
    <Fax></Fax>
    <Access>At 58th St. and 8th Ave.  Subway: B/C/D to 59th Street/Columbus Circle</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="0" hol="1" />
    <ScheduleDetails>thursdays closinghour 21:00</ScheduleDetails>
    <ScheduleNote>In the Summer opened on Tuesdays.  Check with the venue for details.</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Glasstress, The Museum of Arts and Design is proud to present Glasstress New York: New Art from the Venice Biennales an extraordinary international gathering of glass sculpture created in Murano at the studio of entrepreneur and mentor Adriano Berengo. Berengo, the founder of Venice Projects, has engaged artists, architects and designers from such diverse countries as the United States, China, Italy, Germany, The Netherlands, and Spain. The resulting works were originally commissioned for and presented at the Venice Biennials of 2009 and 2011. The pieces are dramatic and often provocative, ranging from independent sculptures to installations incorporating sounds and light to prototypes for production. The spirit of innovation and experimentation pervades the works in this exhibition; many of the artists and designers were given their first opportunity to work with this challenging medium, and in collaboration with the brilliantly capable master glass artisans assembled by Adriano Berengo.

[Image: Javier Pérez &quot;Carroña&quot; (2011)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/BC0E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BC0E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BC0E-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Adults $15, Students and Seniors $12, Members and Children under 12 Free, Thursdays 6 - 9pm Pay What You Wish</Price>
  <DateStart>2012-02-14</DateStart>
  <DateEnd>2012-06-10</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>122</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.767589</Latitude>
  <Longitude>-73.982067</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/BCB4" href="http://www.nyartbeat.com/event/2012/BCB4">
  <Name>Marsha Pels &quot;Detroit Redux&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/7B2FB6F2">
    <Name>Schroeder Romero &amp; Shredder</Name>
    <Type>Gallery</Type>
    <Address>531 W 26th St., New York, NY 10001</Address>
    <Phone>212-630-0722</Phone>
    <Fax></Fax>
    <Access>Between 11th and 12th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 11:00</ScheduleDetails>
    <ScheduleNote>Viewing also by appointment.</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[In Detroit Redux, Marsha Pels has created a personal metaphorical landscape with an ensemble of five sculptures dealing with decay, frailty and rehabilitation in relation to the fall of a great American city. Pels continues to merge autobiographical narratives within the larger context of global concerns. Consisting of deconstructed surrogates of the artist herself, these sculptures fuse images of destruction with images of resurrection to make us question the body as a working machine, aging vs. fertility and the animal as savior.
 
Pels spent 2008-2010 as a Sculpture Professor in Detroit. In 1932, Diego Rivera was commissioned by Henry Ford to make the great fresco murals for the Detroit Institute of Art. Rivera described the city as &quot;the great saga of the machine and of steel.&quot; In contrast, his wife, the painter Frida Kahlo, described Detroit as &quot;a shabby village.&quot; This dialogue remains today as Detroit attempts to resurrect itself from political and economic devastation through a cultural &quot;Renaissance.&quot;
 
Inspired by ruins of America's most famous post-industrial city while she endured a traumatic cervical fusion, Pels has created an open-ended narrative that is never didactic; a surreal and dramatic bildungsroman relating to the feminine experience of aging to the monumental Zietgeist of Detroit.
 
Pels' sculptural practice involves making these inspirations corporeal through labor-intensive, materially complex objects and installations in a masterful range of materials including: cast bronze and iron; glass and resin; marble and found objects. Images of anatomical structures blend into iconic architectural and mechanical forms. Engines become organs, concrete becomes bone and domestic animals become signifiers of resurrection.
 
In the tradition of her mentor, the late Louise Bourgeois, Pels' material language has become increasingly more complex over the past three decades. Cerebral and psychosomatic, Pels's installations force us to examine our impending mortality through dark humor and visceral imagery.
 
An important voice in New York for three decades, Pels has been exhibiting internationally since winning the prestigious Prix de Rome in 1984. This is her fourth exhibition with the gallery. Recently, Marsha Pels was the only American sculptor to participate in the 2011 Lorne Biennale in Lorne, Victoria, Australia. She is the recipient of a Pollock Krasner Award and a Fullbright Scholarship to Germany among others. Her work is in The Olbricht Collection, Berlin, Germany and the National Museum of Gaborone, Botswana, Africa. Her outdoor site-specific sculpture is in the public collections of Grounds For Sculpture, Hamilton, NJ; The Pratt Sculpture Park, Brooklyn, NY; Smith Gilbert Gardens, Kennesaw, GA, and the Hebrew Home Museum, Riverdale, NY. Her work will also be featured in a forthcoming issue of Sculpture magazine. This exhibition is accompanied by the catalogue, Detroit Redux: Recent Sculpture 2009-2011.

[Image: Marsha Pels &quot;To Fly, To Drive&quot; (2009-2011) Cast epoxy resin and fiberglass, fluorescent lights, 1997 V8 Lincoln engine, plastic chains, steel cable, 7 x 16 x 18 ft.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/BCB4-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BCB4-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BCB4-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750125</Latitude>
  <Longitude>-74.003686</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/BF7F" href="http://www.nyartbeat.com/event/2012/BF7F">
  <Name>Tamara Gayer &quot;The Final Contraction&quot;, Stephen Sollins &quot;Piecework&quot; &amp; Heeseop Yoon &quot;Still Life #1&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/5B36DFD6">
    <Name>Smack Mellon</Name>
    <Type>Cultural Center</Type>
    <Address>92 Plymouth St., Brooklyn, NY 11201</Address>
    <Phone>718-834-8761</Phone>
    <Fax>718-834-5233</Fax>
    <Access>Between Main and Washington St. Subway: F to York Street or A/C to High Street.</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Prints</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Smack Mellon presents three solo exhibitions featuring new work and site specific projects by Brooklyn-based artists Tamara Gayer, Stephen Sollins, and Heeseop Yoon. Tamara Gayer reconfigures and translates the geometry of urban landscapes into an intricate vinyl installation for her window project The Final Contraction. Covering all 24 windows with various colors and textures of vinyl Gayer presents an alternate all-encompassing prismatic cityscape. Disorganized spaces, often hidden from public view by design, are the focus of Heeseop Yoon's Still Life #11. Yoon provides a dramatic view of chaotic interior spaces using black masking tape on the gallery's oversized 24' x 60' long wall. In the back gallery, Stephen Sollins presents Piecework, a series of large scale works on paper made entirely of collected mailing envelopes. Intersecting his mathematical approach with his interest in the sentimental, Sollins methodically assembles the recognizably patterned paper into the form of traditional American quilts.

Tamara Gayer,  The Final Contraction
Tamara Gayer is an artist transfixed by the city. Suspended between the impulses of an image maker and a builder she creates work that mutates from drawing to installation to video. Born in NYC, Tamara Gayer grew up in Jerusalem and Tel-Aviv. She holds a BA from Sarah Lawrence College and an MFA from Hunter College. In New York her work has been show at Priska Juschka Fine Art, Foxy Production, Mixed Greens and Exit Art among others. She is represented in several prominent collections including that of the Museum of Modern Art. Click here for more info.

Stephen Sollins,  Piecework
Stephen Sollins works primarily by altering found materials, applying various mediums and methods to direct the viewer's attention.  Themes in his work center around the possibility of communication in the domestic arena. He describes this as &quot;the space between people&quot; or alternately as &quot;lyrical non-communication and the poetry of silence&quot;.   Sollins holds a BA in Photography from Bard College and an MFA from the School of Visual Arts.  He is a recipient of grants and fellowships from The MacDowell Colony, The New York Foundation for the Arts, and Smack Mellon.  His work has been exhibited at galleries and museums such as the Brooklyn Museum, The Drawing Center, and Mitchell-Innes and Nash in New York and is part of public and private collections including at The Museum of Modern Art, the Brooklyn Museum, The Fine Arts Museums of San Francisco and others.  Click here for more info.

Heeseop Yoon,  Still Life #11
Heeseop Yoon's work explores memory and perception within disorganized spaces. Born and raised in Seoul, Korea, Yoon currently lives and works in Brooklyn, New York.  Yoon received a BFA from Chung-ang University, Seoul, Korea and an MFA from City College of NY.  She has had solo and two person shows at Triple Candie, NY; March Gallery, NY; Bose Pacia, NY and Arario Gallery, Seoul, Korea.  She has exhibited in museums and art centers internationally, including MASS MOCA, North Adams, Massachusetts; The Bronx Museum, NY; Seoul Arts Center, Seoul, Korea; CAST, Australia and Median Art Center, Beijing, China.  Yoon has participated in artist residencies such as the Marie Walsh Sharpe, Skowhegan School of Painting, and Sculpture, Artist Alliance Inc., NY and Stiftung Künstlerdorf Schöppingen, Germany. Click here for more info.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/BF7F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BF7F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BF7F-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-21</DateStart>
  <DateEnd>2012-03-04</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-21" start="17:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>24</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.703869</Latitude>
  <Longitude>-73.989686</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/C025" href="http://www.nyartbeat.com/event/2012/C025">
  <Name>Robby Herbst &quot;New Pyramids for the Capitalist System&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/A30362A3">
    <Name>Dumbo Arts Center</Name>
    <Type>Cultural Center</Type>
    <Address>111 Front St., suite 212, Brooklyn, NY 11201</Address>
    <Phone>718-694-0831</Phone>
    <Fax></Fax>
    <Access>Between Washington and Adams Sts. Subway: F to York Street, A/C to High Street</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>3D: Installation</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[Dumbo Arts Center presents “New Pyramids For the Capitalist System,” an exhibition by Robby Herbst. “New Pyramids For The Capitalist System” explores acrobatics, class, bodies and interpersonal dynamics through a series of large-scale drawings, installations, and performances of human pyramids. The project was inspired by Herbst’s grandfather’s photos (a collection of beach and socialist acrobats) and a 1911 diagram produced by Industrial Workers of the World (IWW) called “Pyramid for the Capitalist System.”

At sites associated with Occupy LA Herbst and a group of amateur, costumed, acrobats enacted the IWW diagram by creating human pyramids. Acrobats dressed as workers, managers, law enforcement, clergy and capitalists. This exhibition focuses on social dynamics and the efforts to memorialize the actions highlighted in the pyramid performances. Drawings and sculpture will examine the spatial and political implications of what it means to bear the weight of this classed system.

“New Pyramids For The Capitalist System” reminds us that we are physical beings, inhabiting specific time and spaces. The acrobats hold and press against each other in the fleshy, intimate experience of supporting one another, a responsible community of interdependent relations.

Herbst’s grandfather was a talented acrobat involved who for decades did stunts with others at Orchard Beach in the Bronx. In the 1930s he associated with the Young Worker’s Athletic Club (YWAC) - a socialist acrobatic group. On display are many photographs of Herbst's grandparents' acrobatic performances in which banners with anti-fascist and pro-Communist slogans can be seen. Herbst's grandfather, Martin, was generally at the bottom of pyramids and stunts. As a strong trusted man, he was able to bear the weight of others. By tying in their acrobatic activities to the Capitalist Pyramid, Herbst makes literal the need we have for mutual support.

Through a public re-visitation of a popular political text (the Pyramid) from the early 20th century, the project aims to investigate the resonance of such language today. Following from a tradition of ambiguity in participatory new genres public art, this project explores the possibility of the legacy of class ideology within public spaces. &quot;New Pyramids&quot; raises questions of how the built environment can influence political participation. It explores the potential for human interaction, as exemplified by the acrobatic pyramids, to change our understanding of spaces. The show will also question how the spaces we occupy are meant to bear the weight of our interactions within them. The performance of the human pyramids raises issues of the nature of cooperation and complicity by citizens in the maintenance (or overturning!) of societal divisions.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C025-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C025-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C025-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-10</DateStart>
  <DateEnd>2012-04-01</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-10" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>52</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.702653</Latitude>
  <Longitude>-73.988995</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/C196" href="http://www.nyartbeat.com/event/2012/C196">
  <Name>&quot;Back From L.A.&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/70D6AF7A">
    <Name>Zürcher Studio</Name>
    <Type>Gallery</Type>
    <Address>33 Bleecker St., New York, NY 10012</Address>
    <Phone>212-777-0790</Phone>
    <Fax>212-777-0784</Fax>
    <Access>Between Mott and Elizabeth Sts. Subway: D/B/F/V to Broadway Lafayette, 6 to Bleecker Street</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 14:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C196-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C196-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C196-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-01</DateStart>
  <DateEnd>2012-02-29</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>20</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.725683</Latitude>
  <Longitude>-73.993778</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/C341" href="http://www.nyartbeat.com/event/2012/C341">
  <Name>&quot;Selected Gallery Artists&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/0F1576CC">
    <Name>Flowers</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., New York, NY 10011</Address>
    <Phone>212-439-1700</Phone>
    <Fax>212-439-1525</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd St.</Access>
    <Area areaId="chelsea_20">Chelsea 20th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>or by appointment</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[[Image: Glenys Barton &quot;Tattoo Head I&quot; (2009) Ceramic, 63 x 44 x 28 cm / 25 x 17½ x 11¼ in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C341-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C341-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C341-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-24</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746263</Latitude>
  <Longitude>-74.006224</Longitude>
 </Event>

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

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

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

 <Event xml:lang="en" id="2012/D52B" href="http://www.nyartbeat.com/event/2012/D52B">
  <Name>Joyce Pensato “Batman Returns”</Name>
  <Venue href="http://www.nyartbeat.com/venue/C889AF53">
    <Name>Friedrich Petzel Gallery</Name>
    <Type>Gallery</Type>
    <Address>535 &amp; 537 W 22nd St., New York, NY 10011</Address>
    <Phone>212-680-9467</Phone>
    <Fax>212-680-9473</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>And by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Friedrich Petzel Gallery presents “Batman Returns,” the third exhibition of new work by the New York-based artist Joyce Pensato. An illustrated catalogue, published by 38th Street Publishers with an accompanying essay by Ira G. Wool, will be available on the occasion of the exhibition. The book commemorates the 32 years that the artist worked in her Olive Street studio in East Williamsburg, Brooklyn, before re-locating to a new space in the spring of 2011.

For this exhibition, Joyce Pensato uses Batman as the predominant subject and inspiration for her paintings. “Batman” is a motif that first appeared in Pensato’s drawings as early as the mid-1970’s and has been used by the artist only periodically since, the last Batman painting, as singular work, having been executed in 1996. Pensato’s resurrection of this iconic image sixteen years later marks an additional shift in her practice as it will be the first time that she has added various colors to what until now has been a strictly black, white and silver painting palette. Pastel color has played a role in Pensato’s drawings over the years, but color in the paintings is new, and as with her drawings, the color element marks a layer within, simultaneously erased and darkened by the profuse and continual saturation of black and white enamel. 

Alongside Pensato’s Batman motif will be paintings and drawings incorporating her familiar cartoon imagery of clowns, Homer Simpson, Groucho Marx, Mickey Mouse, and a character the artist refers to as “The Juicer.” Furthermore, she will present assemblages of toys, ephemera, and stuffed animals throughout the gallery and will show as well approximately fifteen to twenty photographs of striking tableaux of the aforementioned elements taken by the artist at various times of day and night in her former studio. Through these old and new mediums, Pensato continues her baleful transmutation of American cartoon culture - employing her fast, assured, and gestural hand to shed light on the arguable darkness lurking within our familiar Pop iconography. What lay beneath Batman’s mask was, perhaps only for a moment, Bruce Wayne.

Joyce Pensato lives and works in Brooklyn, New York. She has exhibited widely, including in exhibitions at the Museum of Modern Art, San Francisco; the St. Louis Art Museum; The Speed Museum of Art, Louisville; and The Cleveland Museum of Art. Her work is included in the collections of the Museum of Modern Art, New York; the Museum of Modern Art, San Francisco; The Dallas Museum of Art; the Hammer Museum, Los Angeles; and the FRAC des Pays de la Loire, France, among others. She is the recipient of a Guggenheim Fellowship, the Pollock-Krasner Foundation Award and the Anonymous Was A Woman Award. She attended The New York Studio School.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D52B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D52B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D52B-170" width="170" />
  <Karma>1.44841</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747381</Latitude>
  <Longitude>-74.00555</Longitude>
 </Event>

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

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

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

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

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

 <Event xml:lang="en" id="2012/EEE6" href="http://www.nyartbeat.com/event/2012/EEE6">
  <Name>Marianne Vitale &quot;What I Need To Do Is Lighten the Fuck Up About A Lot of Shit&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/026DCAE5">
    <Name>Zach Feuer Gallery</Name>
    <Type>Gallery</Type>
    <Address>548 W 22nd St., New York, NY 10011</Address>
    <Phone>212-989-7700</Phone>
    <Fax>212-989-7720</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Zach Feuer Gallery presents What I Need To Do Is Lighten the Fuck Up About A Lot of Shit, an exhibition of new work by Marianne Vitale. The artist's new publication, What I Need To Do Is Lighten the Fuck Up About A Lot of Shit, will be available at the gallery.   
 
&quot;In 1845, slightly over 23% of the inhabitants of the Northeastern United States suffered from what was then commonly referred to as &quot;Combustivism&quot; which, according to the DSM-IV-R, is currently known as Schizoaffective Disorder. Symptoms included hallucinations, delusions and manic episodes. Men and women alike would forget who they were, what they did for a living, who their spouses and children were and, would more often than not, set out on violent rampages that led to arson, beatings, and property damage.
 
During the extraordinarily violent month of April 1846, 25 people were injured during a melee in Boston. In response, President James K. Polk gave a speech to Congress in which he voiced his concern for the turmoil sweeping the nation by stating &quot;if this madness doesn't stop, I will have to use the big stick of the law and beat back.&quot; Murders and violent crimes were so rampant that martial law was instituted in the states of Massachusetts, New York, New Hampshire, Pennsylvania and the District of Columbia. There were unsubstantiated rumors that Combustivism was caused by dust in homes, by letters and the saliva used to seal envelopes (the theory held that when the saliva dried and the letter was opened it would emit a caustic human dust that was believed to also be the root cause of insomnia and fevered states of aggression). Other causes were said to be brought on by the ink used to print newspapers, by food grown in eastern soil and most peculiarly, ornithologists of the period claimed that cardinals had an extreme alkalinity in their droppings, which was claimed to &quot;dry&quot; the brains of humans who happened to inhale the dried remnants of cardinal feces. In 1847, nearly every building in the Northeastern U.S. had mounds of cardinal fecal matter on their roofs. These dried mounds would create small clouds of dust that would settle over the towns and cities. As a result of these claims, huge hunting parties of men, women and children were sent out with muskets and nets. Local newspapers initiated contests to see who could harvest the most cardinals. Local politicians even got behind the efforts by giving winners of these contests keys to the city and tax abatements based on the number of cardinals they killed. Subsequently, tens of thousands of the red birds were slaughtered. Because of this horrific action, merely seeing a cardinal in our day has a connotation of good luck because of their rarity. This can be directly attributed to the wholesale slaughter of these beautiful red birds in 1848. Previous to this horrific act of ornithicide, the population of cardinals was so great in the upper northeast in the 1600's, that when the first settlers arrived the Algonquians referred to the sky as &quot;Massachusetts&quot; which means &quot;Red Sky&quot; in Algonquin.
 
Combustivism reached its apex on September 13, 1849 in Philadelphia, Pennsylvania. Based on rumors that had been spreading all summer that there was a 78% infection rate near the Heathdon neighborhood located in Northern Philadelphia. The entire neighborhood, encompassing some 10 square blocks, was burned to the ground by an angry mob of anti-combustivists. Among those who lost their homes was Edgar Alan Poe, who had just published his famous &quot;Raven&quot; poem a few months before the fire, and as luck would have it, was visiting Baltimore, Maryland, the weekend of the fire. The original manuscript of that poem was said to be in the house that was burned.
 
By 1850 there was a growing belief that Combustivism might not be caused by cardinals, or any other previously blamed sources for the disease. A botanist named Dr. Wilfred Jones surmised that Combustivism might be caused by the pollen from roses, which were indigenous to the Northeastern United States. When his notion was published in the New York Times on June 10, 1850, the nation was drawn into yet another wave of intense hysteria as thousands of rose bushes that had dotted the urban and rural landscapes, were uprooted and burned. Bonfires of burning roses could be seen all across Brooklyn. On the evening of June 10, Walt Whitman wrote these words in a notebook: &quot;This evening I took a long walk along the waterfront and was engulfed by the acrid smell of rose bushes burning all around Borough Hall. The sky was sprinkled with yellow-dotted light. Destruction also has its beauty.&quot;
 
A revelatory and conclusive year for Combustivism was in 1851, when a chemist named George Halley correctly determined that the malady was caused by a chemical called Brollodox, used in the production of coal. Brollodox was a combination of various sulfur dioxides and organic compounds such as chlorophyll and, most peculiarly, a variant of nitrous oxide, which is derived by capturing the gas that is released when natural gas is filtered through fish oil. Nitrous oxide, now mostly used in dentists' offices and whipped cream canisters, was, in its early 1850's incarnation, an unstable and frequently debilitating compound. In several coal service factories in the 1830's there were outbreaks of the kind that were very similar to the ones unleashed upon the U.S. a mere decade or so later.  George Halley arrived at his conclusion by testing various compounds on himself in his lab in Worcester, Massachusetts. In one self-study he conducted, he breathed in the nitrous compound until, as he wrote in his notebook: &quot;The world became wobbly, the very light around me became granular and seemed to shimmer with a new sort of radiance. I did not want to leave that place, though it was the place I'd been working, albeit, in a different frame of mind, for years.&quot; Halley's discovery was further proven when a group of chemists from Harvard University visited Halley's lab in Worcester in order to learn more about his discoveries and noticed the density of the purplish tint in their clothing from their exposure to the nitrous oxide in his lab. (One of the side-effects of nitrous oxide is that it stains not only clothes but the face itself, leaving behind a purplish aura on the nose and mouth of its users-in the 1960's, nitrous oxide abusers were called &quot;Purples&quot;). Given these findings, the team of chemists determined that the removal of nitrous oxide used in coal production could, in fact, minimize the risk of Combustivism.&quot;
 
- Todd Colby, Brooklyn, New York 2011
 
Marianne Vitale (b. 1973) graduated in 1996 from the School of Visual Arts, New York. Her work was featured in the 2010 Whitney Biennial, Performa '07, '09 and '11, as well as exhibitions at the Rubell Family Collection (US), Cass Sculpture Foundation (UK), White Columns (NY), The Kitchen (NY) and Kling &amp; Bang (Iceland). Solo exhibitions of her work include Too Much Satan For One Hand, IBID Projects, London (2011), The Clipper presented by Kunstverein NY (2010), Landswab Over Berberis, Sculpture Center, NY (2009), Missing Book of Spurs, Tensta Konsthall, Stockholm (2007); and OK/KO at White Columns, NY (2007).  In February, Vitale will open If You Expect To Rate As A Gentleman, Do Not Expectorate On the Floor, a show of new work, at UKS in Oslo, Norway.]]></Description>
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-19" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
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 </Event>

 <Event xml:lang="en" id="2012/EF77" href="http://www.nyartbeat.com/event/2012/EF77">
  <Name>Theo A. Rosenblum and Chelsea Seltzer &quot;Two Heads are Better than One&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/DBC66000">
    <Name>The Hole</Name>
    <Type>Gallery</Type>
    <Address>312 Bowery, New York, NY 10012</Address>
    <Phone>212-226-3000</Phone>
    <Fax></Fax>
    <Access>Between Bleecker and Houston Sts.  Subway: 6 to Bleecker Street.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[The Hole presents the collaborative exhibition &quot;Two Heads are Better than One&quot; by Theo A. Rosenblum and Chelsea Seltzer opening this February 14th. This exhibition will feature sculpture, painting and drawing by these two artists, who, working in tandem over the past year, have created a significant assortment of deeply unsettling, playfully odd, and unavoidably memorable works.
 
From what the artists call &quot;a vending machine of myth, magic and mystery&quot; comes our exhibition, ranging from the intricately finished large sculptures back to the irreverent sketches where their ideas are born. The exhibition features all manner of hybrids, puns and below-the-belt punches: large sculptures like “Sandwitch&quot; may have started out as a collaborative doodle on a homophone, but realized in sculpture they reveal many strange nuances and details the original concept or sketch lacked. “Snow Manimal” may have come about just from the oddly relatable spheres of upper horse and lower snowman, but fit together physically so well that the visual and conceptual rupture created is all the more stark.
 
While the sculptures maintain the snickering subterfuge of a doodle, starting with one funny thing and evolving in all directions and sometimes back upon itself, the tiny sketches hung in the rear of the gallery are where we can watch the ideas start agglutinating.  These sketches find one level more of elaboration in the poster works, oil on found images (stock posters printed on unstretched canvas) where the artists can go back and forth adding weird tidbits until the upset is complete (like a mountain erupting with cheese, a huge hat on a tree, a goat straddling its own poo pile). Here the collaborative nature of their working is most apparent and where the work feels funnest, in-between their one-upmanship of back-and-forth bizarreness.
 
The next level of complexity is the assisted framed pieces, where a sculpted and painted frame intersects with the odd painted intervention in the found canvas itself. A bevy of knives (kitchen and cutlass) adorn a large found painting of a penumbral tropical getaway, “Blue Hawaii”, suggesting the potential assault from both pirates and chefs, perhaps. An inexplicable assortment of fast food surrounds the romantic painting of wild horses charging across a rainbowed field titled “A Horse is a Horse”, drawing a visual line between junk art and junk food, (eye candy?) or maybe just revealing the craving for something more to &quot;chew on&quot; in the boilerplate painting.
 
In all the various types of work exhibited, the often comforting and mundane familiarity of the found objects is perverted by the input of Rosenblum and Seltzer’s handcrafted interventions, resulting in an unsettling world somewhere between laughter and horror. The parts are familiar but the forms they take are strange and new with a logic all their own: the mythical meets the merry, the religious meets the natural and supernatural; the delicious meets the deformed. Like gum stuck to your shoe, these works stick in your head (whether you want them there or not) and some details may haunt your quiet moments for a long time to come: the power cord coming out of the articulated, puckered butthole of “Snow Manimal” perhaps?
 
Curatorially, I see these works as &quot;good bad&quot;: so wrong they're right. Their vibe is similar in concept to Heta-Uma (literally &quot;Bad-Good&quot;), a movement Japanese punk artist King Terry articulated. Something &quot;technically&quot; bad that challenges the notion of &quot;bad&quot; by being sensually and conceptually amazing: a wonky line often describes a face much more evocatively than a perfectly rendered photo-realist drawing, for example. In Rosenblum and Seltzer’s world, these hand-sculptured and not-quite-right forms—and even the &quot;handmade&quot; and wonky ideas that form them—are much more exciting than a fabricated (or logical) version would be.
 
Besides each piece creating a rupture in the viewer's sensibilities, in a larger sense the work stands out also from what is trending in galleries, from what their contemporaries are making, from what people expect them to make. The work shows them pursuing their own interests without the pressures of situating themselves within a particular discourse, without the pressure even of making work &quot;about something&quot;.  As Dan Colen wrote in his catalogue essay for Theo's first solo exhibition, the work is &quot;honest, brave and generous... human and accessible.&quot;
 
Now that we mention it, the assisted found paintings have a relationship to Dan Colen's adjusted thrift store paintings in this kind of &quot;dark Disney&quot; world they both hang out in. Rosenblum and Seltzer’s piece with skeleton hands holding up an old bouquet is right out of Disneyland's &quot;Haunted Mansion&quot; ride, literalizing the idea of an Old Master painting coveted by a long-dead collector and the idea of a memento mori as a genre of painting in a kind of humorous tangle. Or “The Enchanted Picnic”, the classical painting of a nymph or dryad with an irreverently added bucket of fried chicken and some pink panties louchely twirling on her toe is wryly humorous, but combined with the detail of the painting seemingly bursting into flames, like the offensiveness of the graffitied classical painting caused it to hellishly combust, I mean it’s just, de trop.
 
And while the overall mood of the show involves the humor of being de trop, these artists always manage to rein in the insanity and conceptually push things just far enough, or rather perfectly too much. There are no extraneous elements in the works, everything is as it should be, the Frankensteined parts all link up perfectly and the monster springs to life!
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/EF77-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EF77-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EF77-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-14</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-14" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.725042</Latitude>
  <Longitude>-73.992408</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/F06B" href="http://www.nyartbeat.com/event/2012/F06B">
  <Name>Gran Fury &quot;Read My Lips&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/3C36F95D">
    <Name>80 Washington Square East</Name>
    <Type>University or School</Type>
    <Address>80 Washington Sq. East, New York, NY 10003</Address>
    <Phone>212-998-5747</Phone>
    <Fax>212-998-5752</Fax>
    <Access>Between W 4th St. and Washington Pl. Subway: R/W to 8th Street or 6 to Astor Place</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>tuesdays closinghour 19:00, fridays closinghour 17:00, saturdays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>2D: Prints</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[80WSE presents &quot;Gran Fury: Read My Lips,&quot; the first comprehensive survey documenting the important AIDS activist art collective's work from 1987-1995.

Naming itself after the model of Plymouth automobile used by the New York City Police Department, Gran Fury made public projects that were simultaneously scathing, provocative, stylish and often quite funny. This exhibition conveys the collective's unique voice across a wide variety of media including billboards, postcards, video, posters and painting.	Photographs and records from the period help convey the urgency of the early AIDS crisis that lead many into the streets to demand reforms that changed public policy and saved lives.

Gran Fury's work raised public awareness of AIDS and put pressure on politicians, while sparking debate in sites ranging from the Illinois Senate to the tabloid press of Italy.	Bridging the gap between Situationist site-specific art strategies, post-modern appropriation and the Queer activist movement, Gran Fury has been influential to later practitioners. Their work opens up a broader spectrum of understanding about the political and collective art practices that flourished in downtown New York during the Eighties and Nineties.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/F06B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F06B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F06B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-31</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-31" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.730056</Latitude>
  <Longitude>-73.995983</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/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>
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  <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>
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  <Latitude>40.748986</Latitude>
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 </Event>

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

</Events>
