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<Events>
 <Event xml:lang="en" id="2009/91C9" href="http://www.nyartbeat.com/event/2009/91C9">
  <Name>&quot;Small Wonders from the American Collections&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: Drawing</Media>
  <Media>2D: Prints</Media>
  <Media>3D: Furniture</Media>
  <Media>3D: Product</Media>
  <Media>3D: Crafts</Media>
  <Description><![CDATA[This special exhibition celebrates a major new installation in the Luce Center for American Art: Visible Storage ▪ Study Center that gives the public access to more than 350 additional objects from the Museum’s collections. Since its opening in January 2005, the Luce Visible Storage ▪ Study Center has housed approximately 2,100 objects in two types of storage units: vitrined cases and paintings screens. The facility also contains forty-two drawers for storage. Beginning in mid-October and in stages over subsequent months, they will be filled with works from the Museum’s renowned American holdings and opened to the public. Once the drawers are full, the number of objects on view in visible storage will rise to 2,500—an increase of almost 20 percent.

The drawers’ contents will encompass a variety of objects from the Americas—including art of the United States as well as of the indigenous and colonial peoples of North and South America—and dating from the pre-Columbian period to the present day. Although the works range widely in terms of medium, date, function, and geographical origin, they do share a diminutive scale and suitability for flat storage. Among the objects that will be installed in the drawers are: American and Hopi ceramic tiles; Mexican pottery stamps; jewelry and other ornaments from Native and South American cultures; Modernist jewelry; silverplated flatware and serving pieces; Spanish Colonial devotional objects; American portrait and mourning miniatures; commemorative medals; and embroidery. As in other sections of the Luce Visible Storage ▪ Study Center, objects in the drawers are densely installed to maximize the available space and are grouped by type, medium, or culture. Visitors can learn more about the works by using one of the nearby computer kiosks in the facility, or by accessing the Luce database online. To obtain a list of a drawer’s entire contents, use the Map feature and select numbers 41 through 47.

Held in conjunction with the drawers installation, Small Wonders from the American Collections features an eclectic selection of seventy works of art on the walls and in the display cases above the drawers. This exhibition both highlights objects that will be installed in the drawers and reveals a diversity of cultural traditions and artistic practices that constitute American art. A variety of jewelry and objects of personal adornment—although produced by different peoples—function similarly to signify information about the wearer’s identity. Flatware, pins, and other silver items on display reflect a broad array of forms, styles, and uses for this valuable metal. Ceramic tiles made contemporaneously by Native and non-Native Americans provide an interesting cross-cultural comparison with respect to the decoration and marketing of these wares.

[Image: Unknown Artist &quot;Fan&quot; (1822–31) Ivory sticks and painted paper mount. ]]]></Description>
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  <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>
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  <PermanentEvent>1</PermanentEvent>
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  <Latitude>40.671525</Latitude>
  <Longitude>-73.962556</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2010/A801" href="http://www.nyartbeat.com/event/2010/A801">
  <Name>American Landscapes in the Robert Lehman Wing</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: Drawing</Media>
  <Description><![CDATA[Nine large and superb American landscape paintings from the Metropolitan Museum’s collection are currently displayed in the newly renovated Robert Lehman Wing, enabling visitors to view selected highlights of American art during the major reordering and upgrading of the American Wing paintings galleries, scheduled for completion in early 2011.
[Image: Thomas Cole “View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm—The Oxbow (detail)” (1836) Oil on canvas 51 1/2 x 76 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/A801-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/A801-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/A801-170" width="170" />
  <Karma>1.57609</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="2011/06CD" href="http://www.nyartbeat.com/event/2011/06CD">
  <Name>&quot;Dubuffet and the Art Brut&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/D1A8B04A">
    <Name>Ricco/Maresca Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., 3 Fl., New York, NY 10011</Address>
    <Phone>212-627-4819</Phone>
    <Fax>212-627-5117</Fax>
    <Access>Between 10th Ave and West Side Hwy. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_20">Chelsea 20th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Ricco/Maresca Gallery and Jennifer Pinto Safian present Dubuffet and the Art Brut. The exhibition presents the art of Jean Dubuffet (1901-1985) alongside works championed by Dubuffet and collected under the rubric of Art Brut. Between 1945 and his death in 1985, Dubuffet defined Art Brut, aggressively collecting, exhibiting and publishing the genre. His collection, now housed at the Collection de L'Art Brut, Lausanne, Switzerland, established the canon of recognized Art Brut artists. These artists, in turn, dramatically impacted Dubuffet’s personal artistic vision. The exhibition includes works by celebrated figures of the Art Brut circle - Alöise Corbaz, Janko Domsic, Madge Gill, Miguel Hernandez, Emile Josome Hodinos, Augustin Lesage, Scottie Wilson, Adolf Wölfli and Carlo Zinelli, along with works by abstract expressionist Alfonso Ossorio. Juxtaposed, we see Jean Dubuffet’s circle of influence.

In 1945, Dubuffet began to travel extensively throughout Europe to discover an art that “addresses itself to our spirit, not to our eyes,” an art that is pure, spontaneous, direct, and not influenced by fine art and mainstream culture. By 1948, Dubuffet and several leading Dadaists and Surrealists, including André Breton and Michel Tapié, had founded the Compagnie de l'Art Brut. Under Dubuffet's leadership, this organization defined and strictly enforced the criteria applied to the collecting of Art Brut. The most significant determinant was that the art was created by individuals who were not part of the conventional art scene. “Here, Art possesses a strength coming from desire, from magic…Isolated from society, they create their own feasts.”

Originally comprised of approximately 1200 works of art created by individuals secluded in mental hospitals or otherwise socially isolated, the Compagnie de l'Art Brut's collection was the first one of its kind to exist beyond the confines of a mental institution. With the 1949 exhibition of the collection at the Galerie René Drouin in Paris, Jean Dubuffet formally introduced Art Brut to an indifferent public. Due to philosophical differences among its founders, the Compagnie eventually dissolved in 1951. Forced to find a new home for the collection, Dubuffet shipped all the works to his friend and colleague, the abstract expressionist painter Alfonso Ossorio. Ossorio housed the collection at his Wainscott, New York estate for the next decade; in 1962, it was donated to the municipality of Lausanne, Switzerland and permanently installed in the Chateau de Beaulieu under the name Collection de L’Art Brut.]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2011/06CD-170" width="170" />
  <Karma>1.78922</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746167</Latitude>
  <Longitude>-74.0062</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2011/13CD" href="http://www.nyartbeat.com/event/2011/13CD">
  <Name>&quot;Infinite Jest: Caricature and Satire from Leonardo to Levine&quot; Exhibition</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: Drawing</Media>
  <Media>2D: Prints</Media>
  <Description><![CDATA[The exhibition explores caricature and satire in its many forms from the Italian Renaissance to the present, drawn primarily from the rich collection of this material in the Museum's Department of Drawings and Prints. The show includes drawings and prints by Leonardo da Vinci, Eugène Delacroix, Francisco de Goya, Henri de Toulouse-Lautrec, and Enrique Chagoya alongside works by artists more often associated with humor, such as James Gillray, Thomas Rowlandson, Honoré Daumier, Al Hirschfeld, and David Levine.Many of these engaging caricatures and satires have never been exhibited and are little known except to specialists.
In its purest form, caricature—from the Italian carico and caricare, &quot;to load&quot; and &quot;to exaggerate&quot;—distorts human physical characteristics and can be combined with various kinds of satire to convey personal, social, or political meaning. Although caricature has probably existed since artists began to draw (ancient examples are known), the form took shape in Europe when Leonardo da Vinci's drawings of grotesque heads were copied by followers and distributed as prints.

The exhibition's title derives from Hamlet, which is quoted in a Civil War print that uses the famous line: &quot;I knew him, Horatio; a fellow of infinite jest&quot; to mock Lincoln. The show will be divided into four sections and will begin by exploring the building blocks of caricature, a genre that artists employed through the centuries, exaggerating faces and physiques, showing people as animals and objects, and displaying humorous figures in processions.

In the seventeenth century, Gian Lorenzo Bernini entertained European monarchs with caricatures, and the form was also taken up by Guercino, Pier Leone Ghezzi, and Giovanni Battista Tiepolo. Highlights of this section will include Leonardo da Vinci's Head of a Man in Profile, Facing Left, together with caricature drawings by Tiepolo and Francois-André Vincent, as well as a rich range of prints by Louis Léopold Boilly, Thomas Rowlandson, James Gillray, and even Nadar, who was an active caricaturist.

The second section of the exhibition will explore social satire expressed in works devoted to eating and drinking, gambling, male and female fashion, art, and crowds. The eighteenth and nineteenth centuries are known as the golden age of caricature and satire, with William Hogarth, Gillray, Rowlandson, and George Cruikshank producing lively examples in Britain, and Honoré Daumier and Boilly doing the same in France. These artists cleverly inserted recognizable caricatures into satirical frameworks to mock contemporary society. Extreme fashion provided satirists with an ever-changing source of humor beginning in the 1760s and a selection of sartorial caricatures will be on view.

Politics will be the focus of the exhibition's third section, featuring prints produced in response to the American and French revolutions, to Napoleon's conquest of Europe, and to French, Mexican, and American politics of the nineteenth and early twentieth centuries, including the American Civil War. Rare anonymous satires produced in France when censorship eased in the 1790s will be on view, accompanied by famous designs by Gillray and Daumier. Striking designs by such unexpected caricaturists as the French romantic painter Eugène Delacroix will also be included.

The exhibition will end with a group of caricatures of notable people from the nineteenth to the twenty-first century. Contemporary images in the exhibition will include Al Hirschfeld's Americans in Paris from 1951, depicting a lively crowd at the Café de la Paix that includes the Duke and Duchess of Windsor, the boxer Sugar Ray Robinson, Alice B. Toklas, Ernest Hemingway, General Dwight D. Eisenhower, and Hirschfeld himself with his wife, the actress Dolly Haas, in sunglasses, and their young daughter Nina. The most recent piece in the exhibition will be Enrique Chagoya's The Headache, A Print after George Cruikshank from 2010, in which Chagoya adapted a nineteenth-century print by Cruikshank called The Head Ache to include President Obama's face as a statement about the country's recent debates on health care.

{Image: Louis-Léopold Boilly &quot;The Grimaces (Les grimaces)&quot; (1823)]]]></Description>
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  <Karma>0.248089</Karma>
  <Price free="0">Suggested Donations: Adults $25, Seniors $17, Students $12, Members and Children Free</Price>
  <DateStart>2011-09-13</DateStart>
  <DateEnd>2012-03-04</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>24</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.779</Latitude>
  <Longitude>-73.962342</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/2749" href="http://www.nyartbeat.com/event/2011/2749">
  <Name>&quot;Hybrid Thinking&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/6C7F9E5E">
    <Name>Jonathan LeVine Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., 9E, New York, NY 10011</Address>
    <Phone>212-243-3822</Phone>
    <Fax></Fax>
    <Access>Between 10th Ave and West Side Highway. Subway: A/C/E to 14th Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_20">Chelsea 20th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Jonathan LeVine Gallery presents Hybrid Thinking, a group exhibition curated by Marc + Sara Schiller of Wooster Collective, in their first curatorial since the groundbreaking 11 Spring exhibition, in December 2006.

Hybrid Thinking brings together six preeminent emerging artists from around the world and for some it will mark their first exhibition in New York. The show features work by: Dal, from Beijing, China (now based in Cape Town, South Africa); Herakut, a duo based in Frankfurt, Germany; Hyuro, from Buenos Aires, Argentina, currently based in Valencia, Spain; Roa, based in Belgium; Sit, from the Netherlands; and Vinz, born and based in Valencia, Spain.

With a wide array of discipline, medium, style and cultural influence, work by the six artists in this exhibition is thematically cohesive in its related subject matter—through figurative pairings of human and animal elements, the artists explore concepts of instinct, identity and metamorphoses. In the curators’ words: “Hybrid Thinking refers to the current zeitgeist of our time: disparate cultures coming together to create something completely new. Though from distinctly different cultural backgrounds, these artists share an understanding of our cities, of the human condition and our complex relationship with nature.”    

ABOUT THE ARTISTS 
DAL was born in Beijing, China in 1984 and is currently based in Cape Town, South Africa. He studied sculpture at the Institute of Fine Arts. The tactile quality of his three-dimensional work is complimented by the gestural approach and ribbon-like structure of forms in his works on canvas.

Herakut is the collaboration between Hera and Akut, a duo based in Frankfurt, Germany. Their work, in itself, is a hybrid of two styles. Hera’s traditional art training combined with Akut’s years of graffiti experience results in an intriguing combination of organic line and form.

Hyuro, born in Buenos Aires, Argentina, in 1974, is currently based in Valencia, Spain. She has an art degree from Escuela Nacional Manuel Belgrano in Buenos Aires, and a Master degree from Politecnic University in Valencia. Her black and white imagery is striking in its poetic simplicity yet rich in existential concepts, the work translates gracefully from canvas to mural form.

Roa is based in Ghent, Belgium. His large-scale black and white murals of animals can be found in cities throughout Europe and the US. His gallery work is often painted on multiple panels or objects, echoing the effect and imaginative placement of his images painted on public architecture.

Sit, born in 1976, lives and works in Amsterdam. In his NOIR series, he examines the troubled relationship between mankind and the animal kingdom through a bold black and white palette. Sensual textures of fur and feathers are rendered in dark brush strokes in contrast with pale, soft skin tones of female nude figures and the rigid bone of animal skulls.

Vinz was born in 1979 in Valencia, Spain, where he is currently based. He paints animal heads on large-scale photographs of human figures, and applies the work using wheatpaste to city walls. Taking a similar approach to his studio work, the artist collages paper ephemera into a background texture which he prints figures onto, then paints heads and other details in enamel or gouache.

ABOUT WOOSTER COLLECTIVE
Wooster Collective, founded in 2001 by Sara + Marc Schiller, showcases and celebrates ephemeral art placed on streets in cities around the world. The collective’s mission is to discover and document authentic art experiences via salons, lectures, curating gallery shows, and online at: www.woostercollective.com. In 2006, they organized one of the most significant exhibitions of street art ever at an abandoned building in downtown New York. 11 Spring was chosen by the The New York Times  as one of the top art exhibitions of the year. The Schillers have published many books and in 2010, released Trespass: A History of Uncommissioned Urban Art with Taschen. They have been featured in The New York Times, Time Magazine, Good Magazine and many others. As a global voice for street art, the Schillers have spoken at the Tate Modern, Design Indaba and The New Museum. Marc is CEO and Founder of Electric Artists, a digital brand strategy and marketing firm. Sara operates their business, Meet at the Apartment, a creative meeting space in lower Manhattan. They live in downtown New York with their daughter, Samantha, and dog, Hudson.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/2749-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/2749-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/2749-170" width="170" />
  <Karma>1.01786</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-14</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-11" start="15:00:00" end="17:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746167</Latitude>
  <Longitude>-74.0062</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/69D9" 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="2011/70A5" href="http://www.nyartbeat.com/event/2011/70A5">
  <Name>Janet Culbertson &quot;Possible Peril&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/A7C27FD9">
    <Name>Accola Griefen Gallery</Name>
    <Type>Gallery</Type>
    <Address>547 W 27th St., Suite #634, New York NY 10001</Address>
    <Phone>646-532-3488</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[ACCOLA GRIEFEN GALLERY presents –Janet Culbertson: Possible Peril.   For more than four decades Janet Culbertson’s paintings and drawings have been infused with a passionate concern for our planet’s ecology. In her most recent series, Industrial Park, Culbertson imagines a future of disastrous consequences. By mixing mica and iridescent pigments into her paint the artistsimulates the appearance of broken glass, mine tailings, and oil spills.The resulting surfaces lend a lustrous yet threatening quality to her subject matters - jungles of twisted roads, acres of concrete cylinders, massive oil rigs and an unnaturally scorched earth. Primates often appear amidst these dark landscapes as poignant reminders of the many species we have threatened in striving for a rich future with little mind to sustainability.

Janet Culbertson is a pioneering eco-feminist artist. She attended Carnegie Mellon University and earned her Master’s Degree at NYU.  She had her first solo exhibit in New York City in 1969. During the 1970’s Culbertson had four one-woman shows in New York City, received a C.A.P.S. NY state award and wrote and edited for Heresies magazine.  Since that time, Culbertson has received grants from The Pollack-Krasner Foundation, The Vogelstein Foundation and The Puffin Foundation and has exhibited her work at such significant institutions as The National Museum of Women in the Arts in Washington DC.  Culbertson has work in the permanent collections of museums including National Academy of Sciences, Washington D.C.; Hunterdon Art Museum, NJ; National Museo de los Ninos, San Jose, Costa Rica; Telfair Museum, Savannah, GA; Library of Congress, Washington, DC; Fogg Art Museum, Harvard University, Cambridge, MA; Long Island Museum of Art, Stony Brook, NY; National Museum of Women in the Arts, Washington, DC; St. Petersburg Museum of Art, St Petersburg, FL; Zimmerli Art Museum, Rutgers University, New Brunswick, NJ; Guild Hall Museum, East Hampton, NY and Islip Museum, East Islip, NY among others.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/70A5-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/70A5-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/70A5-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750894</Latitude>
  <Longitude>-74.0036</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/87B3" 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="2011/8C5F" href="http://www.nyartbeat.com/event/2011/8C5F">
  <Name>&quot;The Ungovernables, Second New Museum Triennial&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/B16209D5">
    <Name>The New Museum of Contemporary Art</Name>
    <Type>Museum</Type>
    <Address>235 Bowery, New York, NY 10002</Address>
    <Phone>212-219-1222</Phone>
    <Fax></Fax>
    <Access>On the corner  of Prince St. Subway: 6 to Spring Street or N/R to Prince Street. Bus: M103 to Prince and Bowery or M6 to Broadway and Prince.</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>thursdays closinghour 21:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[The 2012 New Museum Triennial will feature thirty-four artists, artist groups, and temporary collectives—totaling over fifty participants—born between the mid-1970s and mid-1980s, many of whom have never before exhibited in the US.

The exhibition title, “The Ungovernables,” takes its inspiration from the concept of “ungovernability” and its transformation from a pejorative term used to describe unruly “natives” to a strategy of civil disobedience and self-determination. “The Ungovernables” is meant to suggest both anarchic and organized resistance and a dark humor about the limitations and potentials of this generation.

“The Ungovernables” is an exhibition about the urgencies of a generation who came of age after the independence and revolutionary movements of the 1960s and 1970s. Through both materials and form, works included in “The Ungovernables” explore impermanence and an engagement with the present and future. Many of the works are provisional, site-specific, and performative reflecting an attitude of possibility and resourcefulness. In the sculpture of Adrián Villar Rojas, monumentality is juxtaposed with transience. Rendered in clay, the works depend on cracks on their surfaces—the inevitable failure of the object, of meaning, and the guaranteed transformation of all ideas and objects back to dust. But it is dust that is then repurposed, reimagined, and re-formed. When Danh Võ learned that the Statue of Liberty is simply a steel armature covered by a copper skin the thickness of two pennies, he researched the hammering process that gave her shape, then employed craftsmen to replicate the statue’s skin for his work WE THE PEOPLE. Julia Dault manipulates materials of modernity such as Formica and Plexiglas in temporal arrangements that can never be repeated. In her works, the artist’s labor is dependent on the conditions of a certain space, her strength to execute a work at a particular time, and the uncontrollable accidents her materials determine. House of Natural Fiber, a new media collective and alternative space, has recently combined microbiology and art to teach locals about safe ways to brew homemade fruit wine while amplifying and sampling the sounds of the distillation process to make electronic music. Jonathas de Andrade’s Ressaca Tropical (Tropical Hangover) is an installation of over one hundred photographs linked to pages of a romantic diary found in the trash. In isolation, the components of Ressaca are historical documents. However, pieced together, they comprise a larger fiction of what a city is and can be—how the past can remain alive, not through conservation, but instead through the invisible energy of living.

The New Museum has initiated a series of residencies and public programs to support the production of new works for the Triennial to foster artistic investigation, experimentation, and exchange. Residencies began in February 2011, with Public Movement and Adrián Villar Rojas focusing on research for Triennial projects. In June and July, the New Museum embarked on a concentrated period of activities with Wu Tsang as well as Shaina Anand and Ashok Sukumaran of CAMP. On November 4 and 6, Public Movement presented Positions, a choreographed protest in which political and philosophical positions manifest into physical positions. Wu Tsang continued to develop his work Full Body Quotation with a performance on November 19, which will be the foundation of his installation in “The Ungovernables” exhibition.

The Triennial is curated by Eungie Joo, Keith Haring Director and Curator of Education and Public Programs.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/8C5F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/8C5F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/8C5F-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">General Admission $12, Seniors $10, Students $8, 18 and under Free, Members Free, Thursday Evenings (from 7pm) Free.</Price>
  <DateStart>2012-02-15</DateStart>
  <DateEnd>2012-04-22</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>73</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.722383</Latitude>
  <Longitude>-73.99305</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="2011/9BFF" href="http://www.nyartbeat.com/event/2011/9BFF">
  <Name>Enrico David &quot;Head Gas&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/B16209D5">
    <Name>The New Museum of Contemporary Art</Name>
    <Type>Museum</Type>
    <Address>235 Bowery, New York, NY 10002</Address>
    <Phone>212-219-1222</Phone>
    <Fax></Fax>
    <Access>On the corner  of Prince St. Subway: 6 to Spring Street or N/R to Prince Street. Bus: M103 to Prince and Bowery or M6 to Broadway and Prince.</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>thursdays closinghour 21:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[“Head Gas” is the first New York exhibition by Italian-born, Berlin-based artist Enrico David. Over the past twenty years, David has produced a body of work encompassing painting, drawing, sculpture, and collage that draws upon a rich variety of sources and expresses a range of complex emotional states. Although his work is highly celebrated throughout Europe—the artist was among the nominees for the 2009 Turner Prize, for example—David’s work has rarely been exhibited in the United States.

The figures populating David's work convey the struggle of adaptation, both physical and psychological, of the self and of the image. In his art, we see haunting, incomplete, and sometimes grotesque characters fighting against and merging into backgrounds comprising a personal lexicon of forms. These patterns are derived from craft, folk art, and twentieth-century design, as well as advertising, techniques of display, fashion, and art historical moments. Previously, David choreographed his figurative works to imply dramatic narratives, at times using the exhibition space as a stage. His exhibitions function as performances of self-analysis constructed and theatricalized specifically for public display. Through David’s highly personalized iconography, the works act as mirrors, reflecting viewers’ desires, fears, and vulnerabilities. In David’s more recent work, the implications and strands of psychological tension are enacted within a more formalized, image-based corporeality.

For his ‘Studio 231’ exhibition, David has created an entirely new body of work. The paintings and works on paper are part of a series of portraits rendered delicately in pencil and luminescent fields of acrylic paint applied with a sponge or caressing brush. David’s imagery suggests bodies at the point of apparition or dissolution—beings that cannot be contained or consumed, perhaps only passed through, and reluctantly present.

“I imagine these images as the product of a conscious, physiological act of will. To exist despite the alienating and antagonizing nature of their surrounding environment—as if a precarious and utterly temporary agreement was struck between them and the molecular components of paint and canvas, lines and colors, even the space itself, threaten to engulf them,” says David. “These conditions, as ridiculous and unlikely as they may sound, represent for me an experience that feels real, necessary to embrace, even optimistic.”

“Head Gas” also features a new series of hand-painted paravents. These folding screens, originally conceived by the artist for his own apartment, create an architectural intervention within the exhibition space, simultaneously connecting to the images occupying the gallery.

Enrico David is the second artist featured in the New Museum’s new ‘Studio 231’ series. The Museum inaugurated the series in October 2011, with a new installation and performances by London-based artist Spartacus Chetwynd. ‘Studio 231’ is a series of commissioned projects in the museum’s adjacent, ground-floor space at 231 Bowery. This new initiative will give international, emerging artists the opportunity to realize ambitious new works conceived especially for the space. These projects at 231 Bowery also seek to foster a new relationship between the artists and the public by allowing artists to create work outside the confines of the main museum building and in closer proximity to the energy of the street and to the creative space of the artist's studio.

Enrico David was born in Ancona, Italy, in 1966. He studied fine art at Central Saint Martin’s in London.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/9BFF-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/9BFF-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/9BFF-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">General Admission $12, Seniors $10, Students $8, 18 and under Free, Members Free, Thursday Evenings (from 7pm) Free.</Price>
  <DateStart>2012-01-18</DateStart>
  <DateEnd>2012-04-22</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>73</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.722383</Latitude>
  <Longitude>-73.99305</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/C200" href="http://www.nyartbeat.com/event/2011/C200">
  <Name>&quot;A Passion for Drawings&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/745F2E48">
    <Name>The Frick Collection</Name>
    <Type>Museum</Type>
    <Address>1 E 70th St., New York, NY 10021</Address>
    <Phone>212-288-0700</Phone>
    <Fax>212-628-4417</Fax>
    <Access>Between Madison Ave. and 5th Ave.  Subway: 6 to 68th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails>sundays openinghour 11:00, sundays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[In late 2010 a generous bequest of ten drawings was made to the Frick by the estate of its former Director Charles Ryskamp. During his tenure at the museum, Ryskamp — an avid collector of works on paper and a champion of connoisseurship — strongly promoted drawings exhibitions and establishing additional room for their display in the Cabinet gellery. Appropriately, that will be the setting for the spring 2012 presentation of the ten works from the Charles Ryskamp bequest, their first showing at the institution.

The drawings were chosen out of Ryskamp's extensive collection by Director Anne L. Poulet, Associate Director and Peter Jay Sharp Chief Curator Colin B. Bailey, and Senior Curator Susan Galassi. Three of them, by artists also acquired by Henry Clay Frick, complement oil paintings in the museum's collection — a landscape in pencil by Pierre-Étienne Rousseau, an early academic nude by Edgar Degas, and a pen-and-ink character study by Giovanni Battista Tiepolo. Seven others — including Pierre-Joseph Redouté's 1802 watercolor of plums and an undated gouache and watercolor of otter hounds by the Victorian master Sir Edwin Landseer — were selected for their quality and art historical significance, testifying to Charles Ryskamp's particular interest in French and British art of the eighteenth and nineteenth centuries. The other artists represented in the bequest are Eugène Delacroix, George Stubbs, Henry Fuseli, William Blake, and Sir David Wilkie.

[Image: Pierre-Joseph Redouté (1759-1840) &quot;Plum Branches Intertwined&quot; (1802–4) watercolor on vellum 12 1/2 x 10 1/3 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/C200-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/C200-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/C200-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Adults $18, Seniors $15, Students $10, Members Free, Sunday 11am-1pm Pay As You Wish</Price>
  <DateStart>2012-02-14</DateStart>
  <DateEnd>2012-04-08</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>59</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.771139</Latitude>
  <Longitude>-73.967922</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/CA58" href="http://www.nyartbeat.com/event/2011/CA58">
  <Name>&quot;Looking Back / The 6th White Columns Annual&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/FB499DDF">
    <Name>White Columns</Name>
    <Type>Gallery</Type>
    <Address>320 W 13th St., New York, NY 10014</Address>
    <Phone>212-924-4212</Phone>
    <Fax>212-645-4764</Fax>
    <Access>Between 8th Ave. and Hudson St. Subway: A/C/E to 14th Street or L to 8th Avenue.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Selected by Nick Mauss and Ken Okiishi

‘Looking Back’ is the sixth installment of the White Columns Annual. The exhibition is now an annual fixture on White Columns’ calendar. Each year, an individual or a collaborative team (e.g. an artist, a curator, a writer, etc.) is invited to make an exhibition at White Columns based on their personal experience of looking at art in New York in the previous year. For the sixth ‘Annual’ exhibition, White Columns has invited the New York-based artists Ken Okiishi and Nick Mauss to make the selection. 

In a very straightforward sense, the ‘Annual’ exhibition hopes to reveal something of the complexities involved in trying to negotiate - and engage with - New York’s constantly shifting cultural landscape. The format of the exhibition inevitably encourages highly subjective and deeply personal responses to the realities of viewing art in New York. The ‘Annual’ exhibition series hopes to illuminate aspects of the specific, yet highly idiosyncratic routes – geographical, intellectual, historical, social, etc. – that individuals follow in an increasingly expansive and fragmented cultural environment.
Through the re-contextualization of artworks encountered in other circumstances and contexts, the exhibition hopes to establish – albeit temporarily – a new ‘narrative’, a conversation, of sorts, amongst artists and artworks, that seeks to illuminate and/or explore certain underlying tendencies, conditions, or connections that perhaps might otherwise have remained elusive or obscured. In re-thinking the (fairly) recent past the exhibition hopes to provoke something akin to a sense of deja-vu, establishing a scenario that is at once both reflective and forward thinking. 

There are no restrictions as to what type of work can be included. ‘Looking Back’ seeks to eliminate any categorical or hierarchical distinctions we might place upon artworks (e.g. based upon the circumstances in which they were originally seen, or the seniority of an individual artist, etc.) These works might have been originally encountered in exhibitions at institutions, galleries, and not-for-profit spaces, or at performances, readings, during visits to artists’ studios, or online, etc.
]]></Description>
  <Image src="http://www.nyartbeat.com/resources/images/nopic" width="30" />
  <Image src="http://www.nyartbeat.com/resources/images/nopic_80" width="80" />
  <Image src="http://www.nyartbeat.com/resources/images/nopic_170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-12-10</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2011-12-10" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.739583</Latitude>
  <Longitude>-74.003986</Longitude>
 </Event>

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

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

 <Event xml:lang="en" id="2012/077A" href="http://www.nyartbeat.com/event/2012/077A">
  <Name>&quot;Expanding the Landscape&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/35626DC5">
    <Name>Art 101</Name>
    <Type>Gallery</Type>
    <Address>101 Grand St., Brooklyn, NY 11211</Address>
    <Phone>718-302-2242</Phone>
    <Fax></Fax>
    <Access>L train to Bedford Ave. Walk on Bedford, past Metropolitan Ave. to Grand Street, turn right and walk one block to 101.</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>13:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="1" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Limpert's figurative sculptures reflect the architectural structures of her native New York.
&quot;Steel allows me to create life-size open bodily forms while leaving space for the unseen aspects of the figure. Several pieces in the exhibition are manually operated by a hand-crank...Interestingly, the mechanical motion adds an element of humanity to the work.&quot;
 
She has been creating the animation for the holiday windows for Lord &amp; Taylor, Macy's and Saks Fifth Avenue for ten years. In 2006 and 2007, her sculptures were featured in the windows of Bergdorf Goodman.
 
Limpert has exhibited extensively here in New York and in Europe. She is a teaching Artist with the Rush Foundation.
 
Patrick Whalen began exhibiting in California, at the Yerba Buena Center for the Arts in San Francisco and the Berkeley Art Museum, prior to moving to New York where he has shown at White Columns and Smack Mellon Studios among other venues. This is his third exhibition at ART 101.
           
His drawings examine both time and memory.
&quot;How memory can mash events together. How it can play tricks on you. How your perceptions can be off, but so sharp in remembering a tiny detail. I base my work on photos I take. I have hundreds of them and I work from those re-assembling my memories... (The installation) ... all came together to be a fiction, an image of something that very well could have happened.&quot;
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/077A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/077A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/077A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-13" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.715389</Latitude>
  <Longitude>-73.963497</Longitude>
 </Event>

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 <Event xml:lang="en" id="2012/3B6B" 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="2012/3C86" href="http://www.nyartbeat.com/event/2012/3C86">
  <Name>Spanky and Nina &quot;Drawings and Sculpture&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/65C2AC68">
    <Name>Fuse Gallery</Name>
    <Type>Gallery</Type>
    <Address>93 2nd Ave., New York, NY 10003</Address>
    <Phone>212-777-7988</Phone>
    <Fax></Fax>
    <Access>Between 5th and 6th St. Subway: F to 2nd Avenue</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>15:00:00</OpeningHour>
    <ClosingHour>20:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Hailing from different cultural and artistic backgrounds, artists Kevin “Spanky” Long and Nina Milner examine 
their diverse creative origins through a practice of visual dialogue. While both artists make occasional appearances 
in one another's independent work, a collaborative component steers Long and Milner on a more abstract track as 
they work in response to and in support of one another's creative instincts.

Long's preoccupation with the animal kingdom actualizes in stream of consciousness illustrations of imagined 
creatures. To further their fantastical nature, Long works with brush and ink to categorize the critters that populate 
his unconscious. Being from another country, Milner investigates notions of vulnerability and personal identity. 
Working figuratively with paper in the forms of sculpture and negative paper cut outs, Milner balances her 
predisposed tendency for intricacy with a new found surrender to the unanticipated. 

Southern California born Kevin &quot;Spanky&quot; Long, who's primary career for the last decade has been that of a 
professional skateboarder, has been in numerous group shows, including the touring exhibition “Draw”. He is 
a member of the Now I Remember collective who have shown both nationally and internationally. Other artistic 
endeavors include graphic work for RVCA and Baker Skateboards. 
 
Nina Milner, born and raised in South Africa, came to America almost two years ago anticipating only a 
month's stay. In South Africa, she worked on kinetic resin sculpture, and architectural installation projects. 
En route to the US, in 2010, she erected a large scale cotton installation for a group show in a gallery on the 
duomo of Parma, Italy. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3C86-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3C86-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3C86-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-18</DateStart>
  <DateEnd>2012-02-15</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-18" start="19:00:00" end="22:00:00">Opening Reception</Party>
 <DaysBeforeEnd>6</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.727129</Latitude>
  <Longitude>-73.988937</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/46D2" href="http://www.nyartbeat.com/event/2012/46D2">
  <Name>&quot;25 years anniversary show Part 1&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/10F7725D">
    <Name>Gallery Onetwentyeight</Name>
    <Type>Gallery</Type>
    <Address>128 Rivington St., New York, NY 10002</Address>
    <Phone>212-674-0244</Phone>
    <Fax></Fax>
    <Access>Between Essex and Norfolk St. Subway: F/J/M/Z to Essex Street-Delancy Street</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>13:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Graphics</Media>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[Kazuko Miyamoto presents Gallery Onetwentyeight's 25th Anniversary at 128 Rivington in New York's Lower East Side. 
During the 25 years anniversary show Part 1 we will exhibit the work of Gallery Onetwentyeight artists/friends. 
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/46D2-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/46D2-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/46D2-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-01</DateStart>
  <DateEnd>2012-02-26</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>17</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.71965</Latitude>
  <Longitude>-73.986889</Longitude>
 </Event>

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

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

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

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

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

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

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

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

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

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

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

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

 <Event xml:lang="en" id="2012/676D" href="http://www.nyartbeat.com/event/2012/676D">
  <Name>&quot;Black &amp; White&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/B4C260C3">
    <Name>Salmagundi Art Club</Name>
    <Type>Cultural Center</Type>
    <Address>47 5th Ave., New York, NY</Address>
    <Phone>212-255-7740</Phone>
    <Fax></Fax>
    <Access>Between 11th and 12th Sts. Subway: 4/5/6/L/N/Q/R/W to 14th Street/Union Square.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>13:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Held annually since 1878, the Black &amp; White Exhibition has in the past included great American artists such as William M. Chase, Thomas Moran, John Singer Sargent, and James M. Whistler. 
 
This exhibition in the Upper Gallery of black &amp; white or sepia monochromatic drawings, graphics, photographs, paintings, and sculpture by artist members.  

[Image: Thomas Shelford &quot;Camp Hero Montauk View&quot; Monotype print on paper]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/676D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/676D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/676D-170" width="170" />
  <Karma>0</Karma>
  <Price free="0"></Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-02-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-03" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>1</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.734286</Latitude>
  <Longitude>-73.994664</Longitude>
 </Event>

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

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

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

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

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

 <Event xml:lang="en" id="2012/79C5" 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="2012/7A5A" href="http://www.nyartbeat.com/event/2012/7A5A">
  <Name>Shalom Neuman and Terrenceo &quot;Racks On Racks and Urban ARTifacts&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/05597C6F">
    <Name>Lambert Fine Arts</Name>
    <Type>Gallery</Type>
    <Address>57 Stanton St., New York, NY 10002</Address>
    <Phone>212-353-2787</Phone>
    <Fax></Fax>
    <Access>Between Forsyth and Eldridge Sts., Subway: F to 2nd Avenue, JMZ to Essex St or D to Grand</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>13:00:00</OpeningHour>
    <ClosingHour>20:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Prints</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Lambert Fine Arts presents &quot;Racks On Racks and Urban ARTifacts&quot; highlighting the works of Shalom Neuman and Terrenceo, two of the most prolific and original contemporary artists who expose the social issues that an egocentric society saturated with apathy has long deemed as acceptable. Both artists take a multi-sensory and multi-media approach to boldly challenge our assumptions about contemporary culture and life in the digital age.  
 
Shalom Neuman has been called a &quot;phenomenon&quot; by both Robert Morgan and Donald Kuspit, while his Fusion Art is described by critic Lester Strong as &quot;Combining color, motion, and sound into a multidisciplinary, multisensory extravaganza [that] reflects and comments on a contemporary world he sees as seriously out of joint and in need of repair.&quot;  At Lambert Fine Arts will be the Amerika series, multi-media and interactive portraits made from found objects, sound recordings, motion sensors and toys &quot;constructed from the detritus of our society, they reach beyond the individual to comment on a culture where rampant consumerism threatens to engulf us all.&quot;
 
Terrenceo refers to his bodies of work as Contemporary New Realism and Digital Primitive. Using a complex layering of collage, assorted materials, and distinctive brushwork, Terrenceo updates Nouveau Réalisme and takes a satirical approach in his juxtaposition of iconic images from popular culture to develop compelling and provocative social commentary. His use of found objects and digital manifestations from contemporary life express his response to being submerged in a highly materialistic and technologically advanced world, which we are forced to encounter with no regard for the implications, misinterpretations, and social constructions that form the foundation for entire belief systems.
 
&quot;The work of both artists reflect lives of perseverance and triumph despite conflict, forced displacement, injustice, and racism, and I think Shalom and Terrenceo have extremely significant and timeless things to say about popular culture and modern life,&quot; states Executive Director Marc Lambert.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/7A5A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7A5A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7A5A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="19:00:00" end="22:00:00">Opening Reception</Party>
 <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.721779</Latitude>
  <Longitude>-73.990288</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/818E" href="http://www.nyartbeat.com/event/2012/818E">
  <Name>&quot;Queens International 2012: Three Points Make a Triangle&quot; Exhibition</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>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[Queens International 2012: Three Points Make a Triangle is the fifth edition of the Queens Museum of Art’s biannual survey of artists living and working in the borough. The 31 artists featured this year are based in Astoria, Flushing, Jackson Heights, Long Island City, Kew Gardens, Richmond Hill, and Ridgewood, and comprise a multi-national and cross-generational group.

We found many artists working in forms of abstraction and collage, while many others were telling fantastical stories that layer the here and now with other spaces and times. Together, they seemed to be combining the rational and the emotional, searching for worlds beyond our own, from the midst of a daily life permeated by information technology.

These ideas are woven throughout the museum’s first-floor galleries. One gallery focuses on humble materials, basic forms and energies, and their discovery in everyday life. Another suggests possible journeys into the future and past, deploying symbols from traditional cultures, science, and mathematics. A third contains artworks that turn inward towards home and the spiritual. In addition to the works on view, three artists’ workshops are scheduled to explore these ideas in real time.

The exhibition subtitle originates with French Surrealist René Daumal’s unfinished novel Mount Analogue (1944), in which eight explorers use scientific knowledge and metaphysical powers to search for a magical mountain invisible to the human eye. In this spirit, embark on your journey through the exhibition.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/818E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/818E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/818E-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="2012/8567" href="http://www.nyartbeat.com/event/2012/8567">
  <Name>Madeleine Gekiere Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/6AF88F88">
    <Name>Fred Torres Collaborations</Name>
    <Type>Gallery</Type>
    <Address>527 W 29th St., New York, NY 10001</Address>
    <Phone>212-244-5074</Phone>
    <Fax>212-244-5075</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street, C/E to 23rd Street</Access>
    <Area areaId="chelsea_28_above">Chelsea 28th - 33rd</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Fred Torres Collaborations presents a survey of drawings, paintings, and assemblages by Madeleine Gekiere. This is Gekiere’s first solo exhibition with the gallery. 

The exhibition features a selection of over 50 years of Gekiere’s extensive body of work. Throughout Gekiere’s oeuvre, whether working in painting, drawing, or other mediums, there is a constant interest in form, memory, emotion, and text. Many of the early drawings and paintings explore modernist abstraction and feature an earthy palette of blacks, browns and tans. Later Gekiere began to experiment with assemblage, using everyday found objects including light bulbs, wood handles, toys, hosiery, and books to create witty juxtapositions. Like many of Gekiere’s works, her assemblages imply connections to figurative forms, which relate to earlier works. Gekiere’s “book assemblages” and “hieroglyphic” works demonstrate her interest in text, language, and memory. Throughout her career, Gekiere has written short stories and published many illustrated books, whereby text and book covers naturally find their place in a significant portion of her fine art work. 

Madeleine Gekiere was born in Switzerland in 1919. She lives and works in New York. Gekiere studied at NYU, Brooklyn Museum School, and the Art Students League. Gekiere began exhibiting in the 1950’s with Babcock Gallery, and continued to show there through the 1970’s. Between 1953 and 1963, her books were named five times by the New York Times as one of the “Ten Best Illustrated Books of the Year.” In the 1970’s and 1980’s her experiments in over 20 films screened extensively throughout the U.S. More recently, in the fall of 2011 Anthology Film Archives screened several of her short films including the1980 film Chewing. In addition to Babcock Gallery, she has exhibited at Forum Gallery, New York University, and Galerie Wolfsberg, Zurich. Her work is in numerous museum collections, including the Art Gallery of Ontario, the Baltimore Museum of Art, the Brooklyn Museum of Art, the Cleveland Museum of Art, the Dallas Museum of Fine Arts, and the San Francisco Museum of Art]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8567-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8567-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8567-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-13" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751972</Latitude>
  <Longitude>-74.002417</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/8580" href="http://www.nyartbeat.com/event/2012/8580">
  <Name>Dannielle Tegeder &quot;Transparent Studio&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/CD2A2C33">
    <Name>Bose Pacia</Name>
    <Type>Gallery</Type>
    <Address>163 Plymouth St., Brooklyn, NY 11201</Address>
    <Phone>212-989-7074</Phone>
    <Fax>212-989-6982</Fax>
    <Access>Corner of Jay St. Subway: A/C to High Street/ Brooklyn Bridge or F to York Street.</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 12:00,</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[Bose Pacia presents the second installment of Transparent Studio with Dannielle Tegeder. The artist will occupy the gallery space from February 7 through March 1 during which time the public is invited to view the work in progress in the open studio space. We encourage visitors to stop by to see the artist in action. The studio residency term will culminate in an evening with the artist on Thursday, March 1 during the Dumbo First Thursdays evening event. 
 
Dannielle will be facilitating four workshop sessions, each consisting of invited artists, writers, poets, friends, affiliates of Bose Pacia and the public. During the sessions the group will reflect, research, and create collaborative projects on ideas inherent in drawing and abstraction. The work produced may include non-traditional drawings, a screening of drawing, writing projects, and discussions on art inspired by well-known debates on theory and practice at the Institute of Artistic Culture in Moscow, from 1920–22. The project produced during the residency, including the research and raw materials process, will be on continuous display throughout her entire residency term. Finally, the workroom will function as a dynamic space that merges the role of the working studio and exhibition space.]]></Description>
  <Image src="http://www.nyartbeat.com/resources/images/nopic" width="30" />
  <Image src="http://www.nyartbeat.com/resources/images/nopic_80" width="80" />
  <Image src="http://www.nyartbeat.com/resources/images/nopic_170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-07</DateStart>
  <DateEnd>2012-03-01</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="4" date="2012-03-01" start="18:00:00" end="21:00:00">Closing Reception</Party>
 <DaysBeforeEnd>21</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.703886</Latitude>
  <Longitude>-73.986808</Longitude>
 </Event>

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

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

 <Event xml:lang="en" id="2012/8B7E" 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="2012/90F8" 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="2012/9305" href="http://www.nyartbeat.com/event/2012/9305">
  <Name>El Roto (Andrés Rábago) &quot;Draw What You Think&quot; </Name>
  <Venue href="http://www.nyartbeat.com/venue/9AA33C49">
    <Name>Instituto Cervantes New York</Name>
    <Type>Cultural Center</Type>
    <Address>211 E 49th St., New York, NY 10017</Address>
    <Phone>646-361-3266</Phone>
    <Fax></Fax>
    <Access>Between 2nd and 3rd Aves. Subway: 6 to 51st Street.</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:30:00</OpeningHour>
    <ClosingHour>21:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Illustration</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[After a brief showing at Film Society at Lincoln Center, Instituto Cervantes New York presents a collection of twenty-four drawings, the work of the cartoonist Andrés Rábago, also known as EL ROTO, internationally renowned for his satirical cartoon contributions to the Spanish newspaper EL PAIS and to the International Herald Tribune.

[Image by El Roto (Andrés Rábago)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9305-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9305-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9305-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-15</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>6</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.755133</Latitude>
  <Longitude>-73.970714</Longitude>
 </Event>

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

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

 <Event xml:lang="en" id="2012/996E" href="http://www.nyartbeat.com/event/2012/996E">
  <Name>Anne Truitt &quot;Drawings&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/717D47A1">
    <Name>Matthew Marks Gallery 523 W 24th St.</Name>
    <Type>Gallery</Type>
    <Address>523 W 24th St., New York, NY 10011</Address>
    <Phone>212-243-0200</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Avenue. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_24">Chelsea 24th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[This retrospective of Truitt’s works on paper spans the four decades of her career. The 40 works on view date from the early 1960s, when she first developed the totemic sculptures in painted wood for which she is best known, to the last years of her life. Many works are being shown for the first time. 

Drawing was a daily ritual for Anne Truitt (1921-2004). The works in the exhibition include the full range of her drawing techniques including graphite, ink, pastel, and acrylic on paper. Edges are variously taped, rolled, and sliced. Line is sometimes bold, and at other times subtle enough to appear at first glance almost invisible. A 1966 series of distilled, hard-edge forms evoke the architecture of Truitt’s childhood home with its white clapboard siding and picket fence. In a group of works from 1976, paint is applied in layers of subtle color, a signature of her work in all media. 

A fully illustrated hardcover book, with an essay by Brenda Richardson, will be published to accompany the exhibition.

Anne Truitt was born in Baltimore and lived the majority of her life in Washington, D.C. Her first one-person exhibition was at the Andre Emmerich Gallery, New York, in February 1963. Her work has been the subject of one-person exhibitions at the Whitney Museum of American Art, New York (1973); the Corcoran Gallery of Art, Washington, D.C. (1974); and the Baltimore Museum of Art (1974 &amp; 1992). In 2009, the Hirshhorn Museum and Sculpture Garden, Washington, D.C., organized an acclaimed retrospective of her work. Truitt was also a distinguished writer and published three volumes of her memoirs, Daybook (Pantheon, 1982), Turn (Viking Penguin Press, 1986), and Prospect (Penguin, 1996). ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/996E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/996E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/996E-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-04</DateStart>
  <DateEnd>2012-04-14</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-03" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>65</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748681</Latitude>
  <Longitude>-74.004425</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/9F64" href="http://www.nyartbeat.com/event/2012/9F64">
  <Name>&quot;Celestial&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/50099AFD">
    <Name>The Camera Club of New York </Name>
    <Type>Cultural Center</Type>
    <Address>336 W 37th St., Suite 206, New York, NY 10018</Address>
    <Phone> 212-260-9927</Phone>
    <Fax></Fax>
    <Access>Between 8th and 9th Aves.  Subway: A/E/C/ 1/ 2/ 3 trains to 34th Street Penn Station and B/D/F/V/N/R to 34th Street Herald Square</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[For nearly twenty years the Hubble Telescope has astonished us with its images of faraway cosmic objects and phenomena, bringing a revolution in universal perspective. The Hubble has produced a seemingly unending portfolio of a starry sublime – evoking mystical reveries and existential gasps. The infinite majesty of the universe is impossible to fully picture adequately in spite of the technological complexity of such a device. Paradoxically, for artists with far fewer resources but with an embracing imagination, evoking the cosmos can be as simple as drawing a line with a hovering star or sprinkling salt and pepper on photographic paper to conjure a photogram rendition of the Milky Way. In such images we intuitively understand the relationship suggested of a knowable and measurable world and the infinite space above. 

&quot;Celestial' is a show of five photographic artists whose work charms and prods our sense of wonder with astounding economy. Each artist approaches the impossible task of taking on the celestial infinite with very different sensibilities and materials: black and white analog photographs, muted but richly saturated color, collage, charcoal drawings based on negatives and video/performance.

[Image: Brea Souders &quot;Modern Day Halo #3&quot;]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9F64-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9F64-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9F64-170" width="170" />
  <Karma>0</Karma>
  <Price free="0"></Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.754472</Latitude>
  <Longitude>-73.993289</Longitude>
 </Event>

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

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

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

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

 <Event xml:lang="en" id="2012/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/AE08" href="http://www.nyartbeat.com/event/2012/AE08">
  <Name>Cassius Fouler &quot;Unpaid Dues&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/2B321AF1">
    <Name>Orchard Windows Gallery</Name>
    <Type>Gallery</Type>
    <Address>37 Orchard St., New York, NY 10002</Address>
    <Phone>917-600-0807</Phone>
    <Fax></Fax>
    <Access>Between Hester and Canal Sts.  Subway: F to East Broadway or B/D to Grand Street.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>21:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Illustration</Media>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[Ketamine, dust, and Evan Williams are the Father, Son, Holy Spirit in the world that Cassius Fouler paints. A failed attempt at self-deprecating humor and outdated hood-rat etymology, Fouler's work has been mostly swept under the rug due to his poor public relations and heroin addiction. Despite initial apprehension Orchard Windows Gallery presents &quot;Unpaid Dues&quot; a petite collection of artworks by CASSIUS FOULER.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/AE08-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/AE08-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/AE08-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-02-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-03" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>1</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.715867</Latitude>
  <Longitude>-73.991578</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/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/B920" href="http://www.nyartbeat.com/event/2012/B920">
  <Name>&quot;Printin'&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/AE192502">
    <Name>The Museum of Modern Art</Name>
    <Type>Museum</Type>
    <Address>11 W 53rd St., New York, NY 10019</Address>
    <Phone>212-708-9400</Phone>
    <Fax></Fax>
    <Access>Between 5th Ave. and 6th Ave.  Subway: V/E to 53rd Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:30:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>fridays closinghour 20:00</ScheduleDetails>
    <ScheduleNote>Summer Hours through Sept. 3: Sunday through Wednesday, 10:30 a.m.–5:30 p.m. Thursday through Saturday, 10:30 a.m.–8:30 p.m.</ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>2D: Prints</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Organized in conjunction with the exhibition &quot;Print/Out,&quot; &quot;Printin’&quot; takes as its starting point &quot;DeLuxe&quot; (2005), a tour de force portfolio of 60 works by Ellen Gallagher (American, b. 1965) that challenged traditional ideas of what a print could be. This technically complex work employs a veritable riot of mediums, unorthodox tools, and elements, from slicks of greasy pomade to plastic ice cubes. DeLuxe also offers a multivalent constellation of ideas, touching on such issues as portraiture, identity, history, advertising, commodity, and the disruption, translation, and recasting of space. Proposing a kind of technical dissection and conceptual unpacking of this portfolio, Printin’ brings together work by more than 50 artists from multiple disciplines in a sweeping chronology that extends from the 17th century to the present day, to propose a free-flowing yet incisive web of associations that are reflected in DeLuxe. Encompassing prints, drawings, films, books, photographs, sculptures, videos, and comic strips, the exhibition features such artists as Vija Celmins, David Hammons, George Herriman, Robert Rauschenberg, Martha Rosler, and many others, forming a dense network of formal, technical, and conceptual connections and intersections.

[Image: Ellen Gallagher &quot;Black Combs from 'DeLuxe' (detail)&quot; (2004–05) photogravure, chine collé, oil, laser cutting, plasticine, and toy eyeballs, from a portfolio of 60 mixed media works, composition and sheet 13 x 10 in. Publisher and printer: Two Palms Press, New York. Edition: 20. Acquired through the generosity of The Friends of Education of The Museum of Modern Art and The Speyer Family Foundation, Inc., with additional support from the General Print Fund. © 2012 Ellen Gallagher and Two Palms Press]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B920-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B920-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B920-170" 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>2012-02-19</DateStart>
  <DateEnd>2012-05-14</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>95</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="2012/B978" href="http://www.nyartbeat.com/event/2012/B978">
  <Name>Kevin Lips and Mason Saltarrelli Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/6D0B4161">
    <Name>Interstate Projects</Name>
    <Type>Gallery</Type>
    <Address>56 Bogart St., Brooklyn, NY 11206</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between Grattan St and Harrison Pl., Subway: L to Morgan Avenue.</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="1" fri="1" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Both artist's source their work from the found, either in materials, shapes, or forms. Through this process they both create narrative triggers that remain undetermined by the artist and the naturalistic abstract forms of both artist's works.

Kevin Lips' sculptures are amorphous shapes that interact with each other and build off themselves. Trained classically as a potter and ceramicist, he takes everyday materials and hardware store basics and combines them to form surfaces and textures that bind and condense into outer shells and surfaces. This ever evolving series of simple but universal forms are now focusing on textiles. By combining strips of various colors, textures and densities of basic materials, Lips sculptures become off the wall three dimensional paintings. These new works are not about painting though, or any emulation of but more about the idea of form, color, space and materiality.

Mason Saltarrelli's work is an open-ended narrative that he creates by using a mixture of images that are found and imagined. Over time he has developed a cast of characters, some recognizable, some not, who invite the viewer to map for themselves new relationships and interactions. Identifiable borrowings, such as the Hopi figure of Kachina or specific Catholic saints with their attributes, are removed from their original context not to negate or deny their stories, but to add to them. Saltarrelli is inspired by the manners and functions of the fable or folk-tale and by jazz, whose improvisational template he applies in his own process. The intention is to invite anyone looking at the images to open a stream of consciousness that runs in parallel to his own.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B978-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B978-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B978-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.705575</Latitude>
  <Longitude>-73.933216</Longitude>
 </Event>

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

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

 <Event xml:lang="en" id="2012/BE4F" href="http://www.nyartbeat.com/event/2012/BE4F">
  <Name>&quot;First Truth&quot; 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>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Description><![CDATA[The artist who sets out to examine or establish a truth sometimes runs into the bigger truth that came before it: that what one wants to accomplish may be fleeting and may possibly be unaccomplishable, or that what one creates will transform into an unforeseen thing between the time it is conceived and the time it is completed. This first truth takes the form of gaps and inconsistencies that erupt when attempting to tell a story, remember a vision, or attempt to follow a rule, and it is fueled by unreliable memories, unraveled experiences, and inexplicable imprecisions. It can be fought against, accepted, ignored, or even embraced, but the first truth — which can also be called the first anomaly or the first disappointment — emerges through the work whether it is intended or not. The artists in this exhibition intend and do not intend, but  nevertheless communicate, this first truth in a variety of ways.

Gina Beavers labors to recreate images and scenes from an experience that passed by with no documentation, leaving no physical reference except for the impression in her memory. Setting herself up for an impossible task, she nevertheless feverishly tries to stick so very closely to an exact replication of a memory of an experience that she inevitably fails.

Megan Hays’ attempts to anthropomorphize states of longing, loneliness and vulnerability and define the forms that exist in these intra-personal states. Glaring, bound, and excreting, these strange forms of life announce and assert their vulnerability and their inadequacies.

Sara Hubbs’ sanded drawings are the mark and the un-mark. Through the process of addition and subtraction, the work is left to feel unfinished or undone–suspended somewhere before or after the illusion.

Janelle Iglesias’ curiosity lies in the fluctuating value and meaning of objects and their materiality when displaced from their source. Severed from a previous utilitarian or emotional function, she’s interested in how they can be reused and reappropriated in new contexts.

Sara Jones’ paintings capture the slippage between the accurate representation of a calamity and its role in a larger framework of disaster. Her work often depicts the intimacy of physical or emotional aftermaths, and uses a variety of materials to describe the rift between personal experience and collective memory.

Siobhan McBride creates cinematic narratives with gouache and paper that depict a disjointed alternate reality, a fantasy and an escape. Culled from memory, photos, and clips from magazines, the works are both loose diagrams for understanding events from the past, and strange prophetic puzzles to decode experiences yet to be known.

Danielle Mysliwiec abides by a strict rule-based process of working that in itself forms its own narrative. As the materials pass through this process the perception of the piece is literally and figuratively changed. The shapes shift and open to new associations where the weaving seems to gently hug an unidentified form or express an energetic quality. By virtue of the process used in creating these pieces, “perfection” is unattainable.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/BE4F-30" width="30" />
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  <Karma>0</Karma>
  <Price free="0"></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>40.714325</Latitude>
  <Longitude>-73.945167</Longitude>
 </Event>

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

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

 <Event xml:lang="en" id="2012/C904" href="http://www.nyartbeat.com/event/2012/C904">
  <Name>&quot;The Laughing Dough&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/70F1394D">
    <Name>Southfirst</Name>
    <Type>Gallery</Type>
    <Address>60 N 6th St., Brooklyn, NY 11211</Address>
    <Phone>718-599-4884</Phone>
    <Fax>718-599-4884</Fax>
    <Access>Between Kent Ave. and Wythe Ave. Subway: L to Bedford Avenue</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>13:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="1" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment.  July and August by appointment only. </ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[MATTHEW THURBER’s 120-foot by three- and four-foot sumi ink on paper scrolls, “Century 21,” “1-800-MICE Scroll,” and “Ambergris Performance Scroll,” tell the story of a mouse security guard, the protagonist of his graphic novel 1-800-MICE, and illustrate his band Ambergris’s songs “Paid in Foam” and “Daylight Savings.” Each work was part of a live performance that the artist narrated against an unfurling backdrop that is one part comic book and one part “nineteenth century music video.” These performances took place at KGB bar (2008), Issue Project Room (2007), and the Brick Theater (2011). The scrolls are seen here for the first time since these performances. ELWYN PALMERTON’s untitled large- and medium-scale quasi-performative drawings are non-compositional records of his unconscious. They are generally abstract but their lines crystalize into moments of occasionally lucid, often obscene representation. These improvisational works start with porous small structures which build to suggest information overload or horror vacui, and establish a vocabulary of clusters and lines. The velocity and intensity of the mark-making creates a pace which determines how the drawing progresses. They fill the page but also inhabit a shallow space and share an internal logic suggestive of the work of Henri Michaux.
 
A hardcover printing of THURBER’s 1-800-MICE was recently put out by PictureBox. The Paris Review calls the book “the Gravity’s Rainbow–Sherlock Holmes–Professor Sutwell–Inspector Clouseau–Silent Spring of comics,” while cartoonist Ben Katchor says: &quot;Matthew Thurber has singlehandedly revived the Surrealist program of revolutionary politics through dreamwork.&quot; He graduated with a BFA from Cooper Union and lives and works in Brooklyn. PALMERTON’s work is currently on view at Macarthur B Arthur gallery in Oakland, CA. He holds an MFA from SVA, lives and works in New Jersey, and is the recent recipient of a Pollock-Krasner grant.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C904-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C904-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C904-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-27</DateStart>
  <DateEnd>2012-02-26</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-27" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>17</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.719425</Latitude>
  <Longitude>-73.961817</Longitude>
 </Event>

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

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

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

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

 <Event xml:lang="en" id="2012/D1AC" href="http://www.nyartbeat.com/event/2012/D1AC">
  <Name>&quot;Rotary Connection&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/30018243">
    <Name>Casey Kaplan</Name>
    <Type>Gallery</Type>
    <Address>525 W 21st St., New York, NY 10011</Address>
    <Phone>212-645-7335</Phone>
    <Fax>212-645-7835</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_21">Chelsea 21st</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[Casey Kaplan presents a group exhibition, Rotary Connection, organized by the gallery’s director, Loring Randolph. The exhibition brings together 13 artists who, despite different approaches, all challenge conventional models of artistic processes. A web of interwoven art historical references and ideologies connects the sculptures, paintings, and images on view in an installation that aspires to incite multi-disciplinary discussions with varied readings relating to themes such as: the displacement of the figure and the subject, the phenomenology of the viewer, and the deconstruction of systems. In Rotary Connection, what is visible is as important as what is unseen.

Étienne Chambaud’s two sculptures are objects that have been formed and deformed through subversive acts, emphasizing the fragile balance of context, representation, and meaning. Objets Rédimé (les livres), 2010, consists of three cast glass books that have been dropped to their demise from the gallery’s ceiling to the floor of the exhibition space. « Atlas, », 2011, presents a found atlas with holes cut into its pages, displayed at its center, and leveled flat resting on a plinth. The remaining object confuses and combines political and geographical boundaries.

Isabelle Cornaro’s practice begins with documents and archives belonging to history and culture. Utilizing these images and documents as a framework, Cornaro creates, through various processes and mediums, artworks that question and deconstruct the systems of representation that these sources denote (of objects, life, architecture, and nature). Based on historical images of landscaped gardens the exhibition presents three drawings created from wisps of hair and cut paper, plus an ethereal spray painting, entitled, Of Cinematic, 2011, where nuances of compositions in Impressionist paintings have been rapidly captured.

Julia Dault’s artworks harness the limitations and the contingencies of gesture, time, and material, as their subject matter. Dault’s most recent sculptures consist of draped, un-stretched paintings that layer vinyl, pleather, and other materials of costume and display. While taut, Dault scrapes through previously applied layers of paint with a simple toothed tool to reveal both singular and repetitive gestures, additionally exposing metallic, reflective, transparent or vibrantly colored under surfaces.

Jose Dávila takes simple industrial, building materials with appropriated images as his medium to create artworks that contest the inherent qualities of modern architecture and other constructed spaces. In, Topology of Memory, 2011, Dávila has removed famous artworks from their surroundings, exposing the interior and exterior sites as the subjects. Mirage No. 2, 2011, is reminiscent of a number of past artworks, including Kazimir Malevich’s White on White from 1918. However, in Dávila’s case, the wall acts as the canvas within a series of receding vinyl outlined frames, as panes of glass slip out of place to create an illusion of form.
A copper bell hangs in the third gallery with no clapper inside it to ring. The only time it sang out was when attached to the end of the broom of chimney sweep, Jonas Vytas Keršys while he cleared ash and soot from chimneys in Vilnius, Lithuania. This past journey and the bell’s sound are now an imagined occurrence – immortalized in the mind - by all who see its shell. Jason Dodge’s displaced objects tell a story of their history as evidence of a transformation that has already taken place through Dodge’s own actions and those of others.

Ryan Gander’s art tells a story in hopes of activating the viewer’s imagination, directing them to begin to remember or to misremember history in order to create a new “future history” of art. Multiple fictional characters and personas, processes, subject matters, and media, function within a system of production that Gander has created where the spectator must believe that the world is a constructed reality, one where anything can be true. An exhibition poster for a fictitious show entitled “You need to see this beauty broken down” and a fragmented historical icon direct the viewer to fill in the gaps.

In the late 1990s, Liam Gillick created an artwork consisting of a set of instructions to paint swatches on a wall to try to replicate the color of coca-cola, challenging the instructed person to re-examine their relationship to architecture, as well as the relationship of art production to social and economic structures. Three drawings in the exhibition are presented in the three rooms of the gallery, and show Gillick’s own graded attempts, Tango colored conference room, Pepsi colored foyer and Seven-up colored lobby, that additionally comment on the implications of the aesthetics in these structured places of temporal occupation.

What if this guy was a figment of my imagination, 2011, Andrew Kuo’s painting, quantifies the nonrepresentational – thoughts and emotions – in a mimetic relationship between text and image. Typical of his diagrammatic paintings that draw on the language of info-graphic images, the work contains fields of color that abstract a depiction of a 360-degree book hovering above a corresponding key. While it points towards modernist geometric abstraction, Kuo’s work is imbued with a unique complexity as it functions to document his daily life and oscillations of his psyche.

In many of his works, Mateo López creates sculpture from drawings, and then uses drawing as a means, a process, and an investigation into the narrative. Sometimes the work contains studio-like scenarios, often functioning to blur the line between production and display. By creating a system of lines on uniform rectangles of paper and creasing these lines, López delineates a 3-dimensional typography out of paper. His Paper Poems unfold on two shelves, changing daily over the course of the exhibition. Day 15 reads: “Time has” on the upper shelf, and “beaten us again” below.

Benoit Maîre’s practice is rooted in philosophy and theory. His paintings, installations, and films aim to create new systems of aesthetics through an investigation of whether an image (or an object) can be a concept and the distance that exists between the visual and the textual. In the exhibition, all three sculptures function around themes of the gaze. A bronze head of the Medusa faces her opposing reflection, Alberto Giacometti’s Nose, 1945 (cast 1965), is poised on a tripod as a camera, and a new sculpture, conjugaison du 16 novembre 2011: la question d'amie, is a vitrine with objects and images positioned to be experienced by the viewer from a specific vantage point.

Arthur Ou’s oeuvre includes photography, sculpture, and installation. His practice is engaged with questions of modernism, historiography, and documentation and their roles within visual culture. The four photographs on view, Primer 1 – 4, 2011, assimilate two different images and subjects, landscape, and studio photography, onto one plane in film through double exposures on a single negative. In this collapsed space, wire sculptures draw gestural lines over rock face expanses.
Over the past few years, Marlo Pascual has investigated the malleability of the photograph as physical material. In a recent series, Pascual scales and reprints found images of performers on watercolor paper, and then folds the paper at specific points to distort the image. Pascual’s latest image of a woman standing in front of a curtain is rendered life size, the figure engulfed by the drape of the fabric.

Pietro Roccasalva’s practice includes a wide-range of media such as painting, performance, sculpture and photography, that create what the artist calls “situazione d’opera” (“a worksite”), in which images and iconographies circulate in an ongoing process that eventually comes back to its departure point: painting and its power of simulacrum. The work in the show belongs to a series of white marble pieces titled, Che cosa sono le nuvole (What clouds are), which materialize the artist’s refusal to participate in a number of exhibitions. Embedded into a wall, each marble is the size of an A4 sheet of paper and is carved with the details of the show (date, venue, list of artists participating, title, and curator). The letters are then filled with black ink with the exception of Roccasalva's name, which is left indecipherable.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D1AC-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D1AC-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D1AC-170" width="170" />
  <Karma>0.685003</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-05" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746806</Latitude>
  <Longitude>-74.005678</Longitude>
 </Event>

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

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

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

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

 <Event xml:lang="en" id="2012/E66E" href="http://www.nyartbeat.com/event/2012/E66E">
  <Name>&quot;The Annual: 2012&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/C3D0A9CA">
    <Name>National Academy</Name>
    <Type>Museum</Type>
    <Address>1083 5th Ave.,  New York, NY 10128</Address>
    <Phone>212-369-4880 x 223</Phone>
    <Fax>212-360-6795</Fax>
    <Access>Corner of 89th St.  Subway: 4/5/6 to 86th 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="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Architecture</Media>
  <Description><![CDATA[The National Academy’s Annual exhibition features works by over 100 artists and architects juxtaposing contemporary masters with emerging and mid-career artists. 

This year’s new format has been designed to reveal the cross-generational dialogue occurring in the art world by showcasing Academicians and other invited artists and architects.

&quot;Presenting three generations of artists and architects, this exhibition illustrates the continuum of American art,&quot; says Marshall Price, the Academy’s Curator of Modern and Contemporary Art. &quot;The new format contextualizes contemporary art, indicating an evolution to 'new.' With a nod to the Academy's historic Annual, the 2012 exhibition is a forum for divergent aesthetic inclinations and in some cases for social issues being addressed by artists and architects.&quot;

This vibrant cross-generational exchange is evident throughout the Annual from the paintings of Philip Pearlstein and Ellen Altfest, to abstractions by Karl Benjamin and Stephen Westfall. Similarly in architecture, Chicago-based architect and 2011 MacArthur “Genius” Award recipient Jeanne Gang has inherited the mantle from Laurence Booth in this city rich in architectural history.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/E66E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E66E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E66E-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Adults $12, Students and Seniors $7, Children under 12, members, and students of the National Academy School: Free</Price>
  <DateStart>2012-01-25</DateStart>
  <DateEnd>2012-04-29</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>80</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.783675</Latitude>
  <Longitude>-73.958822</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/EC93" href="http://www.nyartbeat.com/event/2012/EC93">
  <Name>“To Be or Not To Be. New York City” Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/EB6AE664">
    <Name>Gallery 35</Name>
    <Type>Gallery</Type>
    <Address>30 East 35th St., New York, NY 10016</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between Madison and Park Aves., Subway : 6 to 33rd Street.</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>00:00:00</OpeningHour>
    <ClosingHour>00:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Open by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Description><![CDATA[The Mantle, in collaboration with art@apt, present “To Be or Not To Be,” an exhibition featuring five Burmese artists, hosted by Gallery35 in New York City. 
 
The featured artists include Aung Zaw Tun, Kyain Lin Naing, Kyawswar Thant, Min Kyaw Khine, and Chaw Ei Thein. Collectively their work has hung in galleries and venues throughout the New York City region, Asia, and Europe.
 
“To Be or Not To Be” seeks to capture the ambiguous nature of being Burmese not only in New York, but also in an increasingly globalized world. Is there an obligation for the Burmese artist to be vocal about injustices occurring back home? “This exhibition is a stage for me to say something loudly,” says Chaw Ei Thein. “I can channel a ‘voice’ for those people who cannot express themselves not only from Burma, but also all over the world.” Adds Min Kyaw Khine: “I want to let people know what is happening in Burma. I want Burmese people to live without fear—that is why I am participating in this show.”
 
For the participating artists, their artistic fever burns as hot as their political concerns. “After a few years living outside of Burma, I’ve come to see things differently… more artistically. I want you to see what I’ve seen and what I’ve been thinking,” says Kyawswar Thant.
 
Burma (Myanmar) is experiencing significant political change. Nobel Peace Prize winner Aung San Suu Kyi has been released from prison, alongside hundreds of political prisoners. Recently U.S. Secretary of State Hillary Clinton visited the secretive country, and Suu Kyi’s political party, the National League for Democracy, has been given clearance to participate in upcoming elections. 2012 could be a formative year for the South East Asian country.
 
For Burmese artists, the time to ask “To Be or Not To Be” is now.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/EC93-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EC93-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EC93-170" width="170" />
  <Karma>1.28623</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-14</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-14" start="16:00:00" end="19:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747897</Latitude>
  <Longitude>-73.981819</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/ED06" href="http://www.nyartbeat.com/event/2012/ED06">
  <Name>“EMERGING TO ESTABLISHED, OLD AND NEW WORKS GROUP SHOW” Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/404B71BB">
    <Name>Krause Gallery</Name>
    <Type>Gallery</Type>
    <Address>149 Orchard St., New York, NY 10002</Address>
    <Phone>212-777-7799</Phone>
    <Fax></Fax>
    <Access>Between Rivington and Stanton Sts. Subway:  J/M/Z and F to Delancey/ Essex Street or J/M/Z to Bowery or F to 2nd Avenue.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:30:00</OpeningHour>
    <ClosingHour>18:30:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Graphics</Media>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>2D: Prints</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/ED06-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/ED06-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/ED06-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-01</DateStart>
  <DateEnd>2012-03-05</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>25</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.720639</Latitude>
  <Longitude>-73.989131</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/ED11" href="http://www.nyartbeat.com/event/2012/ED11">
  <Name>&quot;Accrochage&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/04A7DB29">
    <Name>Miguel Abreu Gallery</Name>
    <Type>Gallery</Type>
    <Address>36 Orchard St., New York NY 10002</Address>
    <Phone>212-995-1774</Phone>
    <Fax>646-688-2303</Fax>
    <Access>Between Canal and Hester St. Subway: F to Broadway or B/D to Grand Street</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:30:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Prints</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Miguel Abreu Gallery presents an installation of recent works by gallery artists and others.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/ED11-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/ED11-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/ED11-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">free</Price>
  <DateStart>2012-01-25</DateStart>
  <DateEnd>2012-02-19</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>10</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.715894</Latitude>
  <Longitude>-73.991353</Longitude>
 </Event>

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

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

 <Event xml:lang="en" id="2012/EF50" href="http://www.nyartbeat.com/event/2012/EF50">
  <Name>&quot;Grey Full&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/E0C2A7B9">
    <Name>Jeff Bailey Gallery</Name>
    <Type>Gallery</Type>
    <Address>625 W 27th St., New York, NY 10001</Address>
    <Phone>212-989-0156</Phone>
    <Fax>212-989-0214</Fax>
    <Access>Between 11th and 12th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Jeff Bailey Gallery opens the New Year with a large group show of drawings, paintings, sculpture, and photography, an exhibition poised and eager to explore the color Grey in all its moody ramifications. 

In a letter to his brother Theo, Van Gogh wrote that he had mixed 46 shades of grey that morning, just to get a feel for grey's chromatic range. Our own Jasper Johns has been a master of grey since the mid-fifties. Younger artists use grey constantly, whether as graphite, in drawing, or as a mixed color in painting. 

If black is at one extreme, and white the other, does everything that falls between qualify as grey? What makes one grey warm, another cool? Does charcoal belong to black, or is it really grey? Is photography's nostalgia for black and white really a claim for the color grey? What if that rainbow is a bruise on the sky, as Nellie McKay asks in a song? ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/EF50-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EF50-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EF50-170" width="170" />
  <Karma>1.46465</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-13" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751828</Latitude>
  <Longitude>-74.005807</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/F5F3" href="http://www.nyartbeat.com/event/2012/F5F3">
  <Name>Tom Friedman &quot;New Work&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/4A009A1D">
    <Name>Luhring Augustine Gallery</Name>
    <Type>Gallery</Type>
    <Address>531 W 24th St., New York, NY 10011</Address>
    <Phone>212-206-9100</Phone>
    <Fax>212-206-9055</Fax>
    <Access>Between 10th and 11th Avenue. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_24">Chelsea 24th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>In July/August open Monday-Friday, 10:00-17:30 </ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[My creative process fluctuates between an open system and closed system approach. I would characterize this new body of work as one that follows a more closed system, with ideas that are more compressed. For me, every piece has been an evolution of surprises and will continue to be until completion. – Tom Friedman

Luhring Augustine presents an exhibition of new work by the American artist Tom Friedman. This will be Friedman’s first solo exhibition with the gallery and his first in New York since 2005. Friedman is known for his meticulously crafted sculptures and works on paper that inhabit the intersections between the ordinary and the monstrous, the infinitesimal and the infinite, the rational and the uncanny. His work skews perception and is often deceptive, its handmade intricacy masked by a seemingly mass-produced or prefabricated appearance. Friedman’s deadpan presentation implies content and form are seamless; expectations are overturned as the viewer slowly perceives that chasm between illusion and reality.

This exhibition will include all new work, both sculptures as well as works on paper, in a wide range of materials, scales, and genres. Among the pieces to be exhibited will be a new self-portrait, a still-life sculpture, abstract wall works, text drawings, and a new large-scale stainless steel sculpture. Several works explore ideas of technology through an analog lens, such as a life-size video camera hand-crafted from wood and paint; a handmade wall collage with an upbeat futuristic pattern that mimics a high-tech flat screen; and an antiquated television screen with a pixelated static pattern made of tiny hand-applied paint tiles. Other works touch on the trials and tribulations of the artistic process itself, such as a work on paper listing the word “Verisimilitude” misspelled several times, as well as a pile of “bitten” apples sitting on the floor like an accumulation of so many failed ideas.

Tom Friedman was born in St. Louis, MO in 1965; he lives and works in Massachusetts.

[Image: Tom Friedman, &quot;Untitled (nobody)&quot; (2012) Styrofoam and paint, 13 x 16.5 x 11.5 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/F5F3-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F5F3-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F5F3-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-11</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-10" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748792</Latitude>
  <Longitude>-74.004686</Longitude>
 </Event>

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

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

</Events>
