<?xml version="1.0"?>
<Events>
 <Event xml:lang="en" id="2008/57D9" href="http://www.nyartbeat.com/event/2008/57D9">
  <Name>Walter de Maria &quot;The New York Earth Room&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/1A5F4ADF">
    <Name>Walter de Maria : The New York Earth Room</Name>
    <Type>Gallery</Type>
    <Address>141 Wooster St., New York NY 10012</Address>
    <Phone>212-989-5566</Phone>
    <Fax></Fax>
    <Access>Between W Houston St. and Prince St. Subway: R/W to Prince Street or B/D/F/V to Broadway-Lafayette Street</Access>
    <Area areaId="soho">Soho</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[The New York Earth Room, 1977, is the third Earth Room sculpture executed by the artist, the first being in Munich, Germany in 1968. The second was installed at the Hessisches Landesmuseum in Darmstadt, Germany in 1974. The first two works no longer exist.

The New York Earth Room has been on long-term view to the public since 1980. This work was commissioned and is maintained by Dia Art Foundation.

photo credit: John Cliett.

]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2008/57D9-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2008/57D9-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2008/57D9-170" width="170" />
  <Karma>2.63158</Karma>
  <Price free="1">Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.725639</Latitude>
  <Longitude>-73.999867</Longitude>
 </Event>

 <Event xml:lang="en" id="2008/DF1C" href="http://www.nyartbeat.com/event/2008/DF1C">
  <Name>&quot;Culture and Continuity: The Jewish Journey&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/17E1F92A">
    <Name>The Jewish Museum</Name>
    <Type>Museum</Type>
    <Address>1109 5th Ave., New York,NY 10128</Address>
    <Phone>212-423-3271</Phone>
    <Fax></Fax>
    <Access>Corner of 92nd St.  Subway: 4/5/6 to 86th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>17:45:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="1" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails>fridays closinghour 16:00, thursdays closinghour 20:00</ScheduleDetails>
    <ScheduleNote>New Year’s Day, Martin Luther King Jr. Day, Thanksgiving and major Jewish holidays. Note new Thursday hours from November 19, 2009.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Other</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[At the heart of The Jewish Museum is its permanent exhibition, Culture and Continuity: The Jewish Journey, representing one of the world's great opportunities to explore Jewish culture and history through art. This vibrant two-floor exhibition features 800 works from the Museum's remarkably diverse collection of art, archaeology, ceremonial objects, video, photographs, interactive media and television excerpts. It examines the Jewish experience as it has evolved from antiquity to the present, over 4,000 years, and asks two vital questions: How has Judaism been able to thrive for thousands of years across the globe, often in difficult and even tragic circumstances? What constitutes the essence of Jewish identity?

The exhibition traces the dynamic interaction among three catalysts that have shaped the Jewish experience: the constant questioning and reinterpretation of Jewish traditions, the interaction of Jews and Judaism with other cultures, and the impact of historical events that have transformed Jewish life. Culture and Continuity: The Jewish Journey proposes that Jews have been able to sustain their identity, despite wide dispersion and sometimes tragic circumstances, by evolving a culture that can adapt to life in many countries and under various conditions. Survival as a people has depended upon both the continuity of Jewish ideas and values and the flexibility to adapt to changing circumstances.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2008/DF1C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2008/DF1C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2008/DF1C-170" width="170" />
  <Karma>1.03387</Karma>
  <Price free="0">Adults $12, Seniors $10, Students $7.50, Free for Members and Children under 12 and on Saturday</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>40.785383</Latitude>
  <Longitude>-73.957622</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2009/840B" href="http://www.nyartbeat.com/event/2009/840B">
  <Name>&quot;Voces y Visiones&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/437D176A">
    <Name>El Museo del Barrio</Name>
    <Type>Museum</Type>
    <Address>1230 5th Ave., New York, NY 10029</Address>
    <Phone>212-831-7272</Phone>
    <Fax>212-831-7927</Fax>
    <Access>Corner of 104th St., Subway: 4/5/6 to 86th Street or 96th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails>wednesdays closinghour 21:00, sundays openinghour 13:00, sundays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Graphics</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Installation</Media>
  <Media>3D: Crafts</Media>
  <Description><![CDATA[The premiere exhibition in our new Carmen Ana Unanue Permanent Collection Galleries celebrates El Museo's 40th anniversary. Over 100 works created by a cross-section of Latino, Caribbean, and Latin American artists trace the museum's history and the artistic contributions and milestones that have been part of El Museo's four decades. Highlighting the strengths of the collections, this installation ranges from artifacts of the ancient Taíno people and their legacy to traditional objects, postwar and contemporary art, including graphics, photography and mixed media installations.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2009/840B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2009/840B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2009/840B-170" width="170" />
  <Karma>1.79289</Karma>
  <Price free="0">Suggested Donations: Adults $9, Seniors and Students $5, Members, Children under 12 and on Wednesdays Seniors Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.792911</Latitude>
  <Longitude>-73.951986</Longitude>
 </Event>

 <Event xml:lang="en" id="2009/B4FD" href="http://www.nyartbeat.com/event/2009/B4FD">
  <Name>&quot;With a Single Step: Stories in the Making of America&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/556D6C14">
    <Name>The Museum of Chinese in America</Name>
    <Type>Museum</Type>
    <Address>215 Centre St., New York, NY 10013</Address>
    <Phone>212-619-4785</Phone>
    <Fax>212-619-4720</Fax>
    <Access>Between Howard &amp; Grand Sts. Subway: N/R/Q/W/J/M/Z/6 to Canal Street.</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>thursdays closinghour 21:00, saturdays openinghour 10:00, sundays openinghour 10:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Architecture</Media>
  <Description><![CDATA[With a Single Step: Stories in the Making of America, MOCA’s new core exhibit, will bring to life the Museum’s unique historical content and birth a compelling art work by fusing itself with the architectural heart of its new home designed by Maya Lin on Centre Street.  Metaphorically and literally, this “heart” will ground visitors, and be the focal point of the “new MOCA experience.”  This presentation is an innovative approach to museum and exhibition design.  It will facilitate a new way of interacting with content: through the evocative use of space that stirs visitors’ emotion and breaks down barriers to deeper learning and understanding.

The core exhibition presents the diverse layers of the Chinese American experience while examining America’s journey as a nation of immigrants—from an historical overview of Chinese immigration to the United States, to the individual stories that reveal what it has meant to be Chinese in America at different moments in time, to the physical traces and images left behind by past generations for us to consider, reflect and reclaim.

A key element of the exhibition is its dialogue with Maya Lin’s architectural centerpiece – a sky lit courtyard at the heart of the museum. The exhibit wraps around and engages with the courtyard, which represents the idea of China – a collective origin, which for many after the first generation, becomes a constructed, rather than an actual, memory. Not unlike the rooms of a Chinese house, each section of the exhibit is connected to the courtyard via portals. Each one containing films of people narrating personal life stories, demonstrating how history is propelled by individual moments of decision-making in the face of circumstances larger than themselves. External walls dialogue with the inner, in order to provide the larger historical context for Chinese American struggles and achievements.

Thematically and chronologically, the exhibit reveals the complex layers of the Chinese American experience through six modules:

1) Go East! Go West!  examines how the flow and exchange of goods and people helped shape the formation of new identities, ideas, and perceptions of both Chinese and Americans during the 19th century.

2) America: Staking Claims explores the political climate in America leading up to the Chinese Exclusion Act, and its impact as the first federal law to restrict the immigration of a specific group based on nationality, defining in legal terms who could not “become American.”


3) Greetings from Chinatown shows how by the turn of the century, Chinatowns had sprung up in cities all across America forming an important economic and social network for Chinese Americans, as well as sites of cultural exchange in America’s urban centers.

4) Allies, Enemies? looks at how conflicts abroad dictated the fortunes of Chinese Americans at home.  While World War II brought about the eventual repeal of the Chinese Exclusion Act, China’s Communist revolution fueled Red Scare targeting of Chinese in America.

5) Seeds of Change presents the great shifts in Chinese American communities during the latter half of the 20th century. The landmark Immigration Reform of 1965 helped revitalize and diversify the Chinese population, and a second generation of Chinese Americans came of age in a time of cultural activism and community organizing.

6) Made in America!? explores how globalization has transformed American culture as much as the circulation of American culture has influenced peoples and nations outside the U.S., and while globalization promotes new and complex versions of national identity, it also creates conditions for expressions of ethnicity and identity politics.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2009/B4FD-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2009/B4FD-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2009/B4FD-170" width="170" />
  <Karma>1.19178</Karma>
  <Price free="0">Adults $7, Seniors and Students $4, Children under 12 in groups less than 8 and MOCA Members and on Thursdays Free. </Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.719194</Latitude>
  <Longitude>-73.999008</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2010/1442" href="http://www.nyartbeat.com/event/2010/1442">
  <Name>&quot;It Happened In Brooklyn&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/11A24962">
    <Name>The Brooklyn Historical Society</Name>
    <Type>Museum</Type>
    <Address>128 Pierrepont St., Brooklyn, NY 11201</Address>
    <Phone>718-222-4111</Phone>
    <Fax>718-222-3794</Fax>
    <Access>Corner of Clinton St. Subway: 2/3/4/5 to Borough Hall or A/C/F to Jay Street/Borough Hall, or M/R to Court 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="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>saturdays openinghour 10:00</ScheduleDetails>
    <ScheduleNote>Closed on July 4, Thanksgiving Day, Christmas Day and New Years Day.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>2D: Other</Media>
  <Description><![CDATA[This exhibit highlights key moments in our nation's history and how they played out in Brooklyn. Through artifacts from the Brooklyn Historical Society's permanent collection such as photographs, artworks, and documents, visitors will meet a diverse range of residents from Brooklyn's earliest Native American settlements, to the men and women who fought in the Revolutionary War on Brooklyn's shores, to the Brooklynites who worked to abolish slavery, immigrants from all over the world who made Brooklyn home, and the women who kept America going by working in the Brooklyn Navy Yard during World War II.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/1442-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/1442-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/1442-170" width="170" />
  <Karma>1.67437</Karma>
  <Price free="0">Adults 	$6, Seniors 62 and over, Students 12 and over $4, College students must show student I.D., Teachers $4, Children under 12 and BHS Members Free. Groups of 10 people or more must arrange a group tour in advance.</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>40.694895</Latitude>
  <Longitude>-73.992459</Longitude>
 </Event>

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

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

 <Event xml:lang="en" id="2011/199E" href="http://www.nyartbeat.com/event/2011/199E">
  <Name>Eugène Atget “Documents pour artistes” </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: Photography</Media>
  <Description><![CDATA[This exhibition presents six fresh and highly focused cross sections through the career of master photographer Eugène Atget (French, 1857–1927), drawn exclusively from the Museum’s unparalleled holdings of his work. The sign outside Atget’s studio read, “Documents pour artistes,”—declaring his modest ambition to create images for other artists to use as source material. This humility belied the visual sophistication and distinctive vision that characterized much of Atget’s own work. Whether exploring the urban texture of Paris’ fifth arrondissement throughout the first quarter of the 20th century, or the abandoned grandeur of the parks at Sceaux during a remarkable creative outburst in the spring of 1925, Atget captured the essence of his chosen subject through the camera’s lens with increasing sensitivity throughout his career. Also featured are his photographs made in the Luxembourg gardens, as well as a concise selection from Atget’s sustained investigation of Parisian and rural courtyards. Two final sections of the exhibition highlight Atget’s attention to the human figure, a rare but significant aspect of his work, as well as his “Surrealist” photographs of mannequins, store windows, and street fairs that so intrigued the Parisian avant-garde in the 1920s.  Atget began making photographs in the late 1890s, and the photographs featured in this exhibition span the breadth of his career. However, more than two-thirds of the over 100 works on view were made after World War I when Atget’s photographic vision had fully matured, and these remain taut, essential, and surprising pictures to this day.

[Image: Eugène Atget &quot;Coin, Boulevard de la Chapelle et Rue Fleury 76, 18E&quot; (June 1921) matte albumen silver print 6 13/16 x 9 in. The Museum of Modern Art, New York. Abbott-Levy Collection. Partial gift of Shirley C. Burde]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/199E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/199E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/199E-170" width="170" />
  <Karma>1.83115</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>2012-02-06</DateStart>
  <DateEnd>2012-04-09</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>60</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.761072</Latitude>
  <Longitude>-73.977008</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2011/3120" href="http://www.nyartbeat.com/event/2011/3120">
  <Name>&quot;Photographic Treasures from the Collection of Alfred Stieglitz&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: Photography</Media>
  <Description><![CDATA[A towering figure in early twentieth-century photography, Alfred Stieglitz was not only a master of the medium, but also a powerful tastemaker and tireless advocate for photography as a fine art in the early 1900s. Through his sumptuous and influential journal Camera Work (1902–1917) and his &quot;Little Galleries of the Photo-Secession&quot; (1905–1917), known to insiders simply as &quot;291&quot; for its address on Fifth Avenue, Stieglitz introduced the public to the best of artistic photography and, eventually, modern art. He was also his gallery's best client, supporting the artists he most admired by purchasing their work. Stieglitz's photography collection, donated to the Metropolitan by gift in 1933 and bequest following his death in 1946, constitutes the finest gathering of Photo-Secession works anywhere.

This exhibition, which coincides with the exhibition Stieglitz and His Artists: Matisse to O'Keeffe, presents some forty-eight photographic treasures by Anne Brigman, Alvin Langdon Coburn, F. Holland Day, Gertrude Käsebier, Joseph Keiley, Heinrich Kühn, Edward Steichen, Clarence White, and others.

[Image: Gertrude Käsebier (American, 1852–1934). &quot;Blessed Art Thou among Women&quot; (1899) Platinum print 9 1/16 x 5 3/16 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/3120-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/3120-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/3120-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Suggested Donations: Adults $25, Seniors $17, Students $12, Members and Children Free</Price>
  <DateStart>2011-10-11</DateStart>
  <DateEnd>2012-02-26</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>17</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.779</Latitude>
  <Longitude>-73.962342</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2011/3FF5" href="http://www.nyartbeat.com/event/2011/3FF5">
  <Name>&quot;Police Work Photographs by Leonard Freed, 1972-1979&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/1C69A591">
    <Name>The Museum of the City of New York</Name>
    <Type>Museum</Type>
    <Address>1220 5th Ave., New York, NY 10029</Address>
    <Phone>212-534-1672</Phone>
    <Fax>212-423-0758</Fax>
    <Access>Corner of 103rd St.  Subway: 6 to 103rd Street</Access>
    <Area areaId="upper_east_side">Upper East Side</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="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[&quot;Police Work: Photographs by Leonard Freed, 1972-1979&quot; features a selection of vintage prints by the Brooklyn-born photographer who documented &quot;life on the beat&quot; with NYPD officers during the tumultuous 1970s. During a time when New York City faced near bankruptcy and was internationally notorious for its high crime rates and social disorder, Freed's photographs reveal the complexity, the harshness, and the camaraderie of the city's public safety servants and the people they protected. Highlighting a recent gift to the Museum of the City of New York by his widow Bridgette Freed, the exhibition is a gritty, realistic portrait of ordinary people doing a &quot;sometimes boring, sometimes corrupting, sometimes dangerous and ugly and unhealthy job.&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="0">Suggested Admission: Adults $10, Seniors and Students $6, Families $20 (max. 2 adults) Children 12 and under Free</Price>
  <DateStart>2011-12-20</DateStart>
  <DateEnd>2012-03-18</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>38</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.792389</Latitude>
  <Longitude>-73.952667</Longitude>
 </Event>

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

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

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

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

 <Event xml:lang="en" id="2011/B44C" href="http://www.nyartbeat.com/event/2011/B44C">
  <Name>&quot;Who, What, Wear Selections from the Permanent Collection&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/6D0D23C1">
    <Name>Studio Museum Harlem</Name>
    <Type>Museum</Type>
    <Address>144 W 125th St., New York, NY 10027</Address>
    <Phone>212-864-4500</Phone>
    <Fax>212-864-4800</Fax>
    <Access>Between Adam Clayton Powell Boulevard and Lenox Ave. Subway: A/B/C/D/2/3/4/5/6 to 125th Street</Access>
    <Area areaId="harlem_bronx">Harlem, Bronx</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 10:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>2D: Other</Media>
  <Description><![CDATA[Who, What, Wear: Selections from the Permanent Collection looks at evolutions in style—self-expression, fashion, artistic technique and societal ideals of beauty—as seen through the Studio Museum’s permanent collection. While artists including James VanDerZee (1886–1983) and Dawoud Bey (b. 1953) evoke the Harlem community as an influential and iconic arbiter of style, this exhibition is national and international in scope, surveying artists and subjects from places as varied as West Africa, the Caribbean and the American South. Including both posed portraits and candid scenes, the works on view emphasize how individuals choose to present themselves, rather than how others have represented them historically. Often these depictions oppose photographic conventions that have reiterated assumptions about what people are supposed to represent, rather than who they are as individuals. The figures on view here defy these practices, demonstrating a complex array of influences and references— hip-hop and pop music, new media and technology, African textiles, traditional dress, street style—that, taken together, refuse any singular “look” or aesthetic and mark culture and tradition as alive and constantly changing.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/B44C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/B44C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/B44C-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Suggested donation: Adults $7, Seniors and students with valid ID $3, Members and children under 12 Free</Price>
  <DateStart>2011-11-10</DateStart>
  <DateEnd>2012-05-27</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>108</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.808297</Latitude>
  <Longitude>-73.946775</Longitude>
 </Event>

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

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

 <Event xml:lang="en" id="2011/CC7F" href="http://www.nyartbeat.com/event/2011/CC7F">
  <Name>Gordon Moore &quot;Paintings &amp; Photo-Emulsion Drawings&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/18EB3383">
    <Name>Betty Cuningham Gallery</Name>
    <Type>Gallery</Type>
    <Address>541 W 25th St., New York. NY 10001</Address>
    <Phone>212-242-2772</Phone>
    <Fax>212-242-5959</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Description><![CDATA[The current group of large scale paintings further develops the abstracted format and reduced palette of the works exhibited in Moore’s previous shows. Notably, these new paintings reflect the artist’s interest in photography, positing dimensional space next to drawn space. Moore combines three or more distinct spaces within a single canvas with drawn lines that vary from deliberate to random. Moore describes himself as an empiricist and the paintings reveal an abstract but very tangible world. 

The works on paper in this exhibition are, as the title implies, ink and acrylic on photo-emulsion paper.  Here the tangible meets the abstract as the incidental photograph of a broken umbrella or a bent coat hanger converse with the drawn lines and the painted areas.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/CC7F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/CC7F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/CC7F-170" width="170" />
  <Karma>1.60273</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-12-08</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2011-12-08" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749667</Latitude>
  <Longitude>-74.0043</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2011/E0A0" href="http://www.nyartbeat.com/event/2011/E0A0">
  <Name>Clifford Owens &quot;Anthology&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/CA14E641">
    <Name>MOMA PS1</Name>
    <Type>Museum</Type>
    <Address>22-25 Jackson Ave., Long Island City, NY 11101</Address>
    <Phone>718-784-2084</Phone>
    <Fax>718-482-9454</Fax>
    <Access>Corner of 46th Ave.  Subway: E/V to 23rd St./Ely Avenue, 7 to 45th Road, G to 21st Street</Access>
    <Area areaId="queens">Queens</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>Screen: Video installation</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[For his first exhibition at a New York museum, Clifford Owens (American, b. 1971) presents a new project Anthology, which is comprised of photography, video, and live performance.

Anthology features performances scores—written or graphical instructions for actions—that Owens solicited from a multigenerational group of African-American artists. Twenty-six major artists have contributed scores, nearly all of whom composed new works specifically for Owens and his project.

Owens has long known that African-American performance art has been under-recognized and that its history remains largely unwritten. Rather than producing scholarly research on the topic, Owens has created an unprecedented compendium of African-American performance that is both highly personal and historical in nature.

During the summer of 2011, Owens had studio space at MoMA PS1 and made use of the entire building to enact the performance scores, which range from vague commands to highly choreographed movements and actions. On a weekly basis, Owens performed in various locations including the basement boiler room, rooftop, and attic. Through Owens' subjective reading of each score, he underscores the mutability and elastic nature of the sets of instructions.  The resulting photographs, videos, and objects will be presented in the exhibition. The artist will also perform selected scores live throughout the course of the show.

Anthology scores have been contributed by artists including Derrick Adams, Terry Adkins, Sanford Biggers, Aisha Cousins, Sherman Fleming, Coco Fusco, Charles Gaines, Malik Gaines, Rico Gatson, Rashawn Griffin, Lyle Ashton Harris, Maren Hassinger, Steffani Jemison, Jennie C. Jones, Nsenga A. Knight, Glenn Ligon, Dave McKenzie, Senga Nengudi, Lorraine O'Grady, Benjamin Patterson, William Pope.L, Jacolby Satterwhite, Xaviera Simmons, Shinique Smith, Kara Walker, and Saya Woolfalk.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/E0A0-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/E0A0-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/E0A0-170" width="170" />
  <Karma>0.261235</Karma>
  <Price free="0">Suggested donations: Adults $10, Students and Seniors $5, MoMA members and with MoMA admission tickets Free</Price>
  <DateStart>2011-11-13</DateStart>
  <DateEnd>2012-03-12</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>32</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.74565</Latitude>
  <Longitude>-73.946178</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2011/EBAC" href="http://www.nyartbeat.com/event/2011/EBAC">
  <Name>Cindy Sherman 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: Photography</Media>
  <Description><![CDATA[Cindy Sherman (American, b. 1954) is widely recognized as one of the most important and influential artists in contemporary art. Throughout her career, she has presented a sustained, eloquent, and provocative exploration of the construction of contemporary identity and the nature of representation, drawn from the unlimited supply of images from movies, TV, magazines, the Internet, and art history. Working as her own model for more than 30 years, Sherman has captured herself in a range of guises and personas which are at turns amusing and disturbing, distasteful and affecting. To create her photographs, she assumes multiple roles of photographer, model, makeup artist, hairdresser, stylist, and wardrobe mistress. With an arsenal of wigs, costumes, makeup, prosthetics, and props, Sherman has deftly altered her physique and surroundings to create a myriad of intriguing tableaus and characters, from screen siren to clown to aging socialite.

Bringing together more than 180 photographs, this retrospective survey traces the artist’s career from the mid 1970s to the present. Highlighted in the exhibition are in-depth presentations of her key series, including the groundbreaking series Untitled Film Stills (1977–80), the black-and-white pictures that feature the artist in stereotypical female roles inspired by 1950s and 1960s Hollywood, film noir, and European art-house films; her ornate history portraits (1989–90), in which the artist poses as aristocrats, clergymen, and milkmaids in the manner of old master paintings; and her larger-than-life society portraits (2008) that address the experience and representation of aging in the context of contemporary obsessions with youth and status. The exhibition will explore dominant themes throughout Sherman’s career, including artifice and fiction; cinema and performance; horror and the grotesque; myth, carnival, and fairy tale; and gender and class identity. Also included are Sherman’s recent photographic murals (2010), which will have their American premiere at MoMA.

In conjunction with the exhibition, Sherman has selected films from MoMA’s collection, which will be screened in MoMA’s theaters during the course of the exhibition.

[Image: Cindy Sherman &quot;Untitled #466&quot; (2008) Chromogenic color print 246.7 x 162.4 cm. The Museum of Modern Art, New York. Acquired through the generosity of Robert B. Menschel in honor of Jerry I. Speyer. © 2011 Cindy Sherman]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/EBAC-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/EBAC-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/EBAC-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>2012-02-26</DateStart>
  <DateEnd>2012-06-11</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>123</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/EEC0" href="http://www.nyartbeat.com/event/2011/EEC0">
  <Name>Cecil Beaton &quot;The New York Years&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/1C69A591">
    <Name>The Museum of the City of New York</Name>
    <Type>Museum</Type>
    <Address>1220 5th Ave., New York, NY 10029</Address>
    <Phone>212-534-1672</Phone>
    <Fax>212-423-0758</Fax>
    <Access>Corner of 103rd St.  Subway: 6 to 103rd Street</Access>
    <Area areaId="upper_east_side">Upper East Side</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="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[From the 1920s through the ‘60s, Manhattan’s artistic and social circles embraced British-born photographer and designer Cecil Beaton (1904-80). Cecil Beaton: The New York Years brings together extraordinary photographs, drawings, and costumes by Beaton to chronicle his impact on the city’s cultural life. Beaton’s relentless energy and curiosity spurred him to pursue new fields, from fashion and portrait photography to costume and scenic design for Broadway, ballet, and opera, and to put his own aesthetic stamp on each of these endeavors.

A beautifully illustrated companion book, written by curator Donald Albrecht, is co-published by the Museum and Skira Rizzoli.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/EEC0-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/EEC0-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/EEC0-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Suggested Admission: Adults $10, Seniors and Students $6, Families $20 (max. 2 adults) Children 12 and under Free</Price>
  <DateStart>2011-10-25</DateStart>
  <DateEnd>2012-02-20</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>11</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.792389</Latitude>
  <Longitude>-73.952667</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/F286" href="http://www.nyartbeat.com/event/2011/F286">
  <Name>Jeannette Ferrary &quot;You tawkin' ta me?&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/1C69A591">
    <Name>The Museum of the City of New York</Name>
    <Type>Museum</Type>
    <Address>1220 5th Ave., New York, NY 10029</Address>
    <Phone>212-534-1672</Phone>
    <Fax>212-423-0758</Fax>
    <Access>Corner of 103rd St.  Subway: 6 to 103rd Street</Access>
    <Area areaId="upper_east_side">Upper East Side</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="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[You tawkin' ta me? is an installation of New York City photographs by Jeannette Ferrary about the messages of the street. Taken during the past four years, Ferrary’s photographs depict the variety of life to be found on New York City’s public spaces: New Yorkers going about their day, vendors tending to their business, the myriad of signs posted in public view, and the visual vibrancy of the built environment. Displayed in pairs, the images reverberate off each other, creating a synergy that plays on the element of surprise and often deepens our insight into the moment. Through these juxtapositions and a keenly honed sense of place, Ferrary shows us a town where the tawkin' never stops.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/F286-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/F286-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/F286-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Suggested Admission: Adults $10, Seniors and Students $6, Families $20 (max. 2 adults) Children 12 and under Free</Price>
  <DateStart>2011-09-30</DateStart>
  <DateEnd>2012-04-01</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>52</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.792389</Latitude>
  <Longitude>-73.952667</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/FEEE" href="http://www.nyartbeat.com/event/2011/FEEE">
  <Name>&quot;Korean Eye: Energy and Matter&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/EB18574C">
    <Name>Museum of Arts &amp; Design</Name>
    <Type>Museum</Type>
    <Address>2 Columbus Circle, New York, NY 10019</Address>
    <Phone>212-299-7777</Phone>
    <Fax></Fax>
    <Access>At 58th St. and 8th Ave.  Subway: B/C/D to 59th Street/Columbus Circle</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails>thursdays closinghour 21:00</ScheduleDetails>
    <ScheduleNote>In the Summer opened on Tuesdays.  Check with the venue for details.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[The exhibition, which brings together 21 emerging and established Korean artists working in photography, painting, video, and mixed media. &quot;Korean Eye&quot; reflects a new era of diversity in Korean life, politics, and culture, and offers a unique opportunity for education and appreciation of Korea's rapidly developing art scene, which until recently has seen little global exposure. The exhibition offers an illuminating commentary on the philosophical and aesthetic conditions of modern Korean culture, from virtual reality and the pervasive influence of fantasy and pop culture to the dehumanization inherent in a post-industrial society. By turns ironic, satirical, and metaphorical, the exhibition includes photo-sculptures by Seung Hyo Jang; embroidery and acrylic paintings by Young In Hong; a large, imposing shark fabricated from reclaimed and repurposed automobile tires by Yong Ho Ji; and Meekyoung Shin's astonishing &quot;antique&quot; porcelain vases, rendered in soap.

[Image: Hong Young In &quot;Procession (detail)&quot; (2010) embroidery, acrylic, scenic cotton fabric, 78 3/4 x 126 in. Courtesy of the artist.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/FEEE-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/FEEE-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/FEEE-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Adults $15, Students and Seniors $12, Members and Children under 12 Free, Thursdays 6 - 9pm Pay What You Wish</Price>
  <DateStart>2011-11-01</DateStart>
  <DateEnd>2012-02-19</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>10</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.767589</Latitude>
  <Longitude>-73.982067</Longitude>
 </Event>

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

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

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

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

 <Event xml:lang="en" id="2012/0210" href="http://www.nyartbeat.com/event/2012/0210">
  <Name>&quot;happenings&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/510B609E">
    <Name>The Pace Gallery (534 W 25th St)</Name>
    <Type>Gallery</Type>
    <Address>534 W 25th St., New York, NY 10001</Address>
    <Phone>212-929-7000</Phone>
    <Fax>212-929-7001</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>Screen: Film</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[The first exhibition to document the origins and historical development of the transient, yet pivotal “Happenings” movement from its inception in 1958 through 1963. The experimental performances forever changed the definition of art and the possibilities for what it could be. The show captures more than thirty of the original Happenings and the contributions of the main participants—Jim Dine, Simone Forti, Red Grooms, Allan Kaprow, Claes Oldenburg, Lucas Samaras, Carolee Schneemann, and Robert Whitman. It brings together for the first time more than 300 photographs by five photographers who witnessed and documented the performances, as well as artworks, rare film footage, and original ephemera. The exhibition is accompanied by a book published by The Monacelli Press and authored by Milly Glimcher.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0210-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0210-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0210-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-10</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749383</Latitude>
  <Longitude>-74.004239</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/024F" href="http://www.nyartbeat.com/event/2012/024F">
  <Name>&quot;Méré Humd(r)um&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/F86F2FF2">
    <Name>Aicon Gallery</Name>
    <Type>Gallery</Type>
    <Address>35 Great Jones St., New York, NY 10012</Address>
    <Phone>212-725-6092</Phone>
    <Fax></Fax>
    <Access>Between Lafayette St. and Bowery. Subway: 6 to Bleecker Street or to Astor Place.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Aicon Gallery New York presents Méré Humd(r)um, a group exhibition of Contemporary art from a new wave of young Pakistani artists. The Urdu word Humdum, one syllable removed from its mundane English cousin, means someone who is so close that their breath and yours are one. The word Méré, with even less separating it from the minimal, almost pejorative, “mere” of the English language, is infused with belonging - it means mine. Together, Méré Humdum becomes a term of endearment for a mentor, a friend or a lover. But in a linguistic coincidence it is just a syllable away from the English “mere humdrum.” Today, more than sixty years after Pakistan’s independence, the ordinary, the everyday, the humdrum, remains an object of longing for most Pakistanis - the type of longing one might reserve for a lover. A day when there is no bombing, no violence on the streets - a day when the school bus is delayed only by traffic is a day of thanksgiving and celebration. The twelve artists in this exhibition have created work in direct response to the chaos and violence surrounding them, yet much of this work is imbued with an intrinsic and eternal optimism that stands in defiant contrast to the instability and uncertainty from which it has emerged.

Much like Germany’s Weimar Republic of the 1930s, an odd dichotomy is in place with today’s generation of young Pakistani artists. While on the one hand, their political, economic and social situations are spinning out of control, the visual arts, in this landscape of circumscribed opportunities, is undergoing a transformation and creative flowering never before seen. This younger generation largely departs from the more traditional methods of their artistic heritage, such as miniature painting, and combines local materials and themes with progressive modes of post-colonial art practice, offering new interpretations and posing new questions for a society mired in political turmoil, social upheaval and violence both foreign and domestic.

Abdullah M. I. Syed’s Flying Rug works arise from Oriental myths and legends of the flying carpet and our desire for instant gratification. Made of folded U.S. dollar bills and box-cutter blades assembled into squadrons of drone-like airplanes, the rugs reference the dark and multilayered political implications of terrorism, capitalism and American hegemony, yet are intertwined with a poetic counterpoint that transmutes them and charges the works with the phenomenal capability of a magic carpet or the sublime stillness of a prayer rug. The works question not only the roots and consequences of 9/11 and the ongoing War on Terror through the prism of oversimplified Eastern and Western perceptions of one another, but also the complex relationship between capital and Contemporary art.

Cyra Ali’s haunting sculptures of disembodied intertwined limbs adorned in bright fabrics obtained from Karachi bazaars are a daring subversion of the overtly clad female body of Islamic tradition. The work stems from her desire to overturn the conventional trappings of femininity in Pakistani society and combat longstanding patriarchal desires to repress female sexuality. Ali’s bizarre doll-sized mash-ups of female legs blur the line between the most ordinary of body parts and the sinister and monstrous proportions they are capable of taking on when continually contextualized as taboo objects of desire to be both coveted and suppressed. More straightforwardly, Sarah Khan’s art is born from her resolute devotion to Pakistan, her beloved State, and her desire to see its artistic traditions, mainly miniature painting, evolve to address the socio-political complexities of its contemporary reality. She addresses her humdum (her Pakistan) for its charm and fading glory as she fortifies her wish for its resurrection from a negative entity to a positive one. 

Ehsan Ul Haq creates Duchampian assemblages of found everyday objects in which the individual components, though ordinary enough, are re-contextualized as dysfunctional or symbolic elements in what he calls “flawed systems.” Ul Haq sees his installations as operating “on a plane where art and life exist as parallels within ambiguous forms.” Through installations such as Fan and Water, man-made objects are stripped of their utility and repurposed in creations demonstrating both man’s god-like ambition to create new systems of life and the resulting absurdities brought into being when such attempts misfire.

Ultimately, this exhibition presents an examination of how a new generation of Contemporary Pakistani artists, through a range of disparate media and practices, continue to develop new methods of questioning the space between art and life in the often violent and chaotic reality they are faced with every day. Their work addresses not only the chasm and interstices between the two, but the extraordinary possibilities of art created in extraordinary surroundings.

[Image: Seher Naveed &quot;EVENING CONVERSATIONS&quot; (2011) Paper cuts, 15 x 18 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/024F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/024F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/024F-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.726919</Latitude>
  <Longitude>-73.993233</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/0CDB" href="http://www.nyartbeat.com/event/2012/0CDB">
  <Name>&quot;SIGHT (UN)SCENE Contemporary Landscape&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/B4B26044">
    <Name>Benrimon Contemporary</Name>
    <Type>Gallery</Type>
    <Address>514 W 24th St., Fl.2, New York, NY 10011</Address>
    <Phone>212-924-2400</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Avenues. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_24">Chelsea 24th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>20:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 12:00, sundays closinghour 18:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Benrimon Contemporary presents its first group exhibition of 2012, SIGHT (UN)SCENE, featuring paintings, photographs, works on paper and sculpture by a selection of international artists.

Historical landscape paintings call to mind bucolic yet contrived scenes where every tree, rock and cloud appear carefully placed to capture a pastoral moment in time. This exhibition challenges the notion of classical landscape art, exposing the unseen and forgotten, forcing the viewer to reconsider what defines this pillar of art history through a contemporary lens. 

Landscape painting can be traced back to Greek and Roman antiquity, and became the platform for religious artwork in the western world through the 16th century. The prestigious European art academies resisted the genre because a hierarchy of subject matter placed historical, religious, and allegorical themes above all other subjects - portraits, still life, and landscapes were seen as inferior. During the 19th century the hierarchy of subjects crumbled and landscape painting gained a new supremacy in Europe and North America. Artists became less concerned with idealized, classical themes and focused on painting directly from nature. Revolutionary artists emerged, such as Gustave Courbet, who pushed boundaries with their radical painting techniques and paved the way for the next generation of painters, the Impressionists, to break from the academy. 

Today artists continue to explore landscape as subject matter, but for different purposes. The landscapes are now manipulated, re-appropriated and re-imagined by contemporary artists to not only challenge the traditional trajectory of art history, but also to comment on the social and political forces that shape our surroundings. These ideas will be further explored through the works of gallery artists Shay Kun, whose paintings are both sublime and incongruent, Amanda Burnham’s urban landscape illustrations and Simon Patterson’s “Landskip” photographs. Dimitri Kozyrev’s paintings comment on man’s mental and physical impact on the environment and Trey Speegle’s playful pieces re-invent the landscape through a paint-by-number context. We will also introduce paintings by new gallery artist Christopher Mir, in addition to works by Jorge Mayet, Amanda Ross Ho, Tom Bamberger, Julia Oschatz and Kunié Sugiura.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0CDB-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0CDB-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0CDB-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748531</Latitude>
  <Longitude>-74.004427</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/0D45" href="http://www.nyartbeat.com/event/2012/0D45">
  <Name>&quot;The Loving Story: Photographs by Grey Villet&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/4341AC1C">
    <Name>International Center of Photography</Name>
    <Type>Museum</Type>
    <Address>1133 6th Ave., New York, NY 10036</Address>
    <Phone>212-857-0000</Phone>
    <Fax></Fax>
    <Access>Corner of 43rd St.  Subway: B/D/F/V to 42nd Street or 1/2/3/7/N/Q/R/S/W to Times Sq-42nd 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="0" hol="1" />
    <ScheduleDetails>fridays closinghour 20:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Forty-five years ago, sixteen states still prohibited interracial marriage. Then, in 1967, the U.S. Supreme Court considered the case of Richard Perry Loving, a white man, and his wife, Mildred Loving, a woman of African American and Native American descent, who had been arrested for miscegenation nine years earlier in Virginia. The Lovings were not active in the Civil Rights movement but their tenacious legal battle to justify their marriage changed history when the Supreme Court unanimously declared Virginia's anti-miscegenation law—and all race-based marriage bans—unconstitutional. LIFE magazine photographer Grey Villet's intimate images were uncovered by director Nancy Buirski during the making of The Loving Story, a documentary debuting on February 14, 2012 on HBO. The exhibition, organized by Assistant Curator of Collections Erin Barnett, includes some 20 vintage prints loaned by the estate of Grey Villet and by the Loving family.

[Image: Grey Villet &quot;Richard and Mildred Loving with their children Peggy, Donald, and Sidney in their living room, King and Queen County, Virginia&quot; (April 1965) © Estate of Grey Villet]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0D45-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0D45-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0D45-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Adults $12, Students and Seniors $8, Members and Children under 12 Free, Friday 5-8pm Pay As You Wish</Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-05-06</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>87</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.755892</Latitude>
  <Longitude>-73.983417</Longitude>
 </Event>

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

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

 <Event xml:lang="en" id="2012/1288" href="http://www.nyartbeat.com/event/2012/1288">
  <Name>D.W. Mellor &quot;Garvey 30 Years, A Photographic Portrait&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/2C586556">
    <Name>Rick Wester Fine Art</Name>
    <Type>Gallery</Type>
    <Address>511 W 25th St., Suite 205, New York, NY 10001</Address>
    <Phone>212-255-5560</Phone>
    <Fax>212-255-2504</Fax>
    <Access>Between 10th and 11th Ave.  Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 11:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[The series focuses on a prolonged project of photographing a man who, at first, was a stranger but eventually evolved into a muse and friend. Garvey — 30 Years embodies the tradition of the extended portrait in photography, as practiced by Alfred Stieglitz; Harry Callahan; Emmet Gowin and Robert Mapplethorpe. All have served as highly respected influences on Mellor's approach to photographing Garvey.

Mellor first encountered Tom Garvey in 1976 while on a commercial assignment in Valley Forge, PA. Mellor was immediately struck with the urge to photograph this unique character when Garvey passed by on an old Harley motorcycle. Thus began their relationship and the resulting ritual of annual portrait sessions in and near Garvey's home in South Philadelphia. Garvey had been a technical inspector at Boeing Aircraft and could afford a much more lavish lifestyle than the one he chose but it was his unexpected graceful and modest personality, in contrast to his gruff appearance, that made him an attractive subject for Mellor's lens. As a subject, Garvey displayed remarkable range emotionally and physically. Whether clad in costumes of his own design, nude, posed indoors or out Tom Garvey personifies the American iconoclast rebel living beyond but acutely aware of the mainstream. He is a Tom Waits ballad, wrapped in a parachute, seemingly ageless with his shock of white hair and grizzled beard.

D.W. Mellor, originally from Bryn Mawr, Pennsylvania, has been working as a photographer since the early 1970s. His work has been featured in solo and group exhibitions both nationally and internationally. In addition to his work as a fine artist, he has held positions as a professor of photography at the University of the Arts in Philadelphia, and as the Director of the Photography Gallery in Philadelphia.

This exhibition will feature 30 photographs selected from the large body of work including &quot;No Stealing,&quot; Mellor's first
8 x 10 negative shot in 1976.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/1288-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1288-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1288-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749322</Latitude>
  <Longitude>-74.003679</Longitude>
 </Event>

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

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

 <Event xml:lang="en" id="2012/18F7" href="http://www.nyartbeat.com/event/2012/18F7">
  <Name>Weegee &quot;Murder Is My Business&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/4341AC1C">
    <Name>International Center of Photography</Name>
    <Type>Museum</Type>
    <Address>1133 6th Ave., New York, NY 10036</Address>
    <Phone>212-857-0000</Phone>
    <Fax></Fax>
    <Access>Corner of 43rd St.  Subway: B/D/F/V to 42nd Street or 1/2/3/7/N/Q/R/S/W to Times Sq-42nd 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="0" hol="1" />
    <ScheduleDetails>fridays closinghour 20:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[For an intense decade between 1935 and 1946, Weegee (1899–1968) was one of the most relentlessly inventive figures in American photography. His graphically dramatic and often lurid photographs of New York crimes and news events set the standard for what has become known as tabloid journalism. Freelancing for a variety of New York newspapers and photo agencies, and later working as a stringer for the short-lived liberal daily PM (1940–48), Weegee established a way of combining photographs and texts that was distinctly different from that promoted by other picture magazines, such as LIFE. Utilizing other distribution venues, Weegee also wrote extensively (including his autobiographical Naked City, published in 1945) and organized his own exhibitions at the Photo League. This exhibition draws upon the extensive Weegee Archive at ICP and includes environmental recreations of Weegee's apartment and exhibitions. The exhibition is organized by ICP Chief Curator Brian Wallis.

[Image: Weegee &quot;Anthony Esposito, booked on suspicion of killing a policeman, New York&quot;  (January 16, 1941) © Weegee/International Center of Photography]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/18F7-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/18F7-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/18F7-170" width="170" />
  <Karma>1.47829</Karma>
  <Price free="0">Adults $12, Students and Seniors $8, Members and Children under 12 Free, Friday 5-8pm Pay As You Wish</Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-09-02</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>206</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.755892</Latitude>
  <Longitude>-73.983417</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/1C17" href="http://www.nyartbeat.com/event/2012/1C17">
  <Name>Frank Oscar Larson &quot;1950s New York Street Stories&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/8049BA8A">
    <Name>Queens Museum of Art</Name>
    <Type>Museum</Type>
    <Address>Queens Museum of Art, Meridian Rd., Flushing, NY 11368</Address>
    <Phone>718-592-9700</Phone>
    <Fax></Fax>
    <Access>Ten-minute walk through the park to the Unisphere, where the museum is located. Follow the yellow signs. Subway: 7 to Willets Point/Shea Stadium</Access>
    <Area areaId="queens">Queens</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails>saturdays openinghour 12:00, sundays openinghour 12:00</ScheduleDetails>
    <ScheduleNote>Closed Monday &amp; Tuesday With the exception of Learning Programs &amp; Workshops.  Also closed on New Year’s Day, Thanksgiving, and Christmas Day.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Frank Oscar Larson (1896-1964) was born in Greenpoint, Brooklyn, of Swedish immigrant parents and lived in Flushing, Queens most of his life. As an adult, Larson spent his days at a branch of the Empire Trust Company (now Bank of New York Mellon), working his way up through the ranks from auditor to vice-president, and spare time on weekends taking photographs of street life throughout New York City. He was an accomplished photographer who eloquently documented 1950s Chinatown, the Bowery, Hell’s Kitchen, City Island, Times Square, Central Park, and much more. This exhibition is compiled from thousands of negatives recently discovered stored away in his daughter-in-law’s house in Maine in 2009. Soren Larson, his grandson and a television news camera man and producer, has been scanning and printing the 55 year old images found stored in over 100 envelopes filled with mostly medium format, 2-1/4 x 2-1/4″ negatives, and neatly noted by location and date in Larson’s own hand.

According to Soren Larson, “Photographs dating back to the 1920s attest to the fact that he was always the family shutterbug. But it wasn’t until the early 1950s that Frank’s passion for photography blossomed. By 1949 both of his sons had left home, and perhaps this new situation, no longer having kids at home freed him up on the weekends to delve into photography with a passion.” For the next ten years, weekend expeditions around New York with his beloved Rolleiflex Automat Model 4 camera around his neck, produced thousands of images which he developed in a basement darkroom. Some were printed and entered in photography competitions where he won awards, but most remained undiscovered until the cardboard box of negatives that had been packed away since Frank’s death in 1964, was found.

Larson was an avid, empathetic observer of the life of the streets, and in his eyes, the mundane becomes miraculous. Larson documents the changing face of New York City in Under the El, Park Row, perhaps a subtle self portrait taken in a dramatically composed photograph under the El just prior to its being demolished. Times Square and Chinatown were some of his favorite haunts, at once photogenic and atmospheric, alluring and even alien. Times Square was notoriously illuminated by countless numbers of incandescent light bulbs on the theater marquees and advertising signs. A state of “permanent daylight” made the use of flash unnecessary at night, allowing the photographer to merge into the crowd. Larson achieved a great intimacy and immediacy in unguarded, candid shots such as the evocative, worm’s eye view of Johnny Guitar 1 taken in front of the Brandt’s Mayfair theater showing the film of the same title starring Joan Crawford, and the eerie Ticket Booth at the Brandt Lyric theater, the ticket taker’s face neatly framed in a small round hole in the curved glass booth, masked with dark sunglasses against the blinding lights.

The everyday person is honored in candid portraits of “working stiffs” — policemen, shoe repair men and shoeshine boys, chefs, painters, souvenir and balloon sellers, and husky men hoisting beer barrels – as honest an appraisal of the human condition as any photograph taken by Walker Evans, Atget, Robert Frank, Berenice Abbott or Brassai. In Grand Central Station’s waiting room, a father muses with a doll and boxed gifts next to him on the bench, reveal a solitary moment in the urban maelstrom of rush hour in Midtown. Portraits of children at play in Flushing or Williamsburg recall familiar images by Helen Levitt and Diane Arbus in their fresh directness. Other striking and timeless images such as AP Window show business men huddled in front of the day’s news at the AP Building at Rockefeller Center in 1955, taken just blocks away from Larson’s daily work at the Empire Trust Company, while in School Girls, four pretty young women relax outside in an intimate, almost vulnerable portrait.

Personal memorabilia and family photographs include a charming shot of Larson’s sons, Franklin and David, taken at the Kodak Pavilion at the 1939 New York World’s Fair where they are posed for the “Kodak moment” with a miniature Trylon and Perisphere. Sadly, on the way to visit the New York World’s Fair in 1964, Larson suffered a stroke and passed away, of complications suffered in WWI due to exposure to mustard gas as a young man.

Larson’s own camera equipment – two Rolleiflex Automat Model 4 cameras using 2-1/4 x 2-1/4″ medium format film, lens, filters and light meter, will be included in the exhibition as well.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/1C17-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1C17-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1C17-170" 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="2012/22BE" href="http://www.nyartbeat.com/event/2012/22BE">
  <Name>Miao Xiaochun and Cui Xiuwen &quot;Restart, Spiritual Realm, Disillusion&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/F5F95143">
    <Name>Eli Klein Fine Art</Name>
    <Type>Gallery</Type>
    <Address>462 W Broadway, New York, NY 10012</Address>
    <Phone>212-255-4388</Phone>
    <Fax>212-255-4316</Fax>
    <Access>Between Houston and Prince St.  Subway: 1 to Houston Street, C/E to Spring Street</Access>
    <Area areaId="soho">Soho</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Graphics</Media>
  <Media>2D: Photography</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/22BE-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/22BE-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/22BE-170" width="170" />
  <Karma>1.21212</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-03-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>31</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.726333</Latitude>
  <Longitude>-74.000636</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/2597" href="http://www.nyartbeat.com/event/2012/2597">
  <Name>&quot;Unspecified Urban Site&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/D8FB030C">
    <Name>RH Gallery</Name>
    <Type>Gallery</Type>
    <Address>137 Duane St., New York, NY 10013</Address>
    <Phone>646-703-4473</Phone>
    <Fax>646-349-3459</Fax>
    <Access>Between West Broadway and Church St. Subway: 1/2/3/C/E to Chambers Street</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>00:00:00</OpeningHour>
    <ClosingHour>00:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>2D: Other</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[The exhibition will feature recent painting, photography, and sculpture by a diverse group of contemporary artists including Mike Bayne, John Chamberlain, Andy Coolquitt, Zhang Dali, Richard Deacon, Paul Edmunds, Wolfgang Ellenrider, Tamar Ettun, Myeongsoo Kim, Roxy Paine, Gordon Stevenson, Tats Cru, Mee Wong, and Lin Zhipeng, whose works present visceral urban experiences through referencing the structures, objects and communication that signify urban space.

Zhang Dali and Tamar Ettun create interventions into the urban landscape through performative actions. Beginning in the 1990s, Zhang Dali spray-painted the profiles of anonymous heads on the walls of buildings in Beijing marked for
demolition, in response to the city’s rapid modernization. For Unspecified Urban Site, Zhang Dali presents Dialogue #73, a photograph documenting one such action. Tamar Ettun’s photographic work was initiated by the artist’s walking expedition from Jerusalem to Tel Aviv in which she conversed with the landscape and constructed narratives from its vestiges. Ettun will also be presenting a performance piece at the opening reception in conversation with her photographs. Both artists underscore a sense of urgency for dialog with their respective cities.

Mike Bayne, Wolfgang Ellenrieder, Lin Zhipeng and Myeongsoo Kim present documentation of urban landscapes. Bayne’s work Untitled (Downtown Owl) is part of an ongoing series of photorealistic paintings based on photographs of
downtown Toronto that depict what the artist calls “the banality of our daily routine”. Three recent paintings by Ellenrieder present urban moments removed from their original context. Feuer Reifen (Tires on Fire) is a response to the use and reuse of stock photography. The burning tires present an ambiguous narrative: they could be the result of a riot, an accident or a hate crime. Beijing-based Lin Zhipeng has been documenting Beijing’s youth culture over the past decade, a moment characterized by massive socio-economical shifts in the city. Kim’s sculptural installations displace elements of the city’s private and public spaces into dioramas. In his new work, Kim proposes dialogs between incongruous images and objects.

In selected work by John Chamberlain, Andy Coolquitt, Richard Deacon, Paul Edmunds and Roxy Paine the textures and materials of urban space are depicted, apart from the formal qualities of the urban landscape. Chamberlain’s Straits of
Muse is a chrome-plated bronze sculpture resembling a tree stump that has been transformed into a precious object. The sculptural practice of Coolquitt is based on an alternative architecture in which he creates installations and objects referencing quotidian experiences and encounters. Deacon’s No. 7 is a wall-mounted sculpture from a series of works completed in 1999 constructed from sheets of stainless steel. Although the material references the urban experience, the organic shape references the human body. Deacon calls himself a ‘fabricator’ rather than a sculptor; his work tends to expose his process. Edmunds’ abstract sculptures are often sourced from his native Cape Town. In Roll, Edmunds composed a sculpture derived from the forms of skateboard wheels rendered dysfunctional by transforming them from circular to hexagonal shapes. Scumak series is comprised of works fabricated by a sculpture-making machine created by Paine. The series raises questions about art production while also mirroring industrial production and relating to common urban materials such as tar.

Gordon Stevenson, Tats Cru and Mee Wong present yet another aspect of the urban landscape which that relates to the constructed imagery that exists on the streets. Tats Cru is an art collective that was founded in the eighties at the height of New York City’s subway graffiti movement. Hector ‘Nicer’ Nazario, Storero ‘Bg183’ and Wilfredo ‘Bio’ Feliciano are making a new work on canvas for the exhibition which relates to their renowned street art. Wong’s background as a commercial illustrator informs her painting practice which stylistically relates to contemporary advertising, and in particular the
commodification of women. Until The Morning Comes depicts three women clad in glittered undergarments lying suggestively around Philippe Starck’s iconic gun lamp.]]></Description>
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  <Karma>0</Karma>
  <Price free="0"></Price>
  <DateStart>2012-01-17</DateStart>
  <DateEnd>2012-03-02</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-17" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>22</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
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  <Latitude>40.71639</Latitude>
  <Longitude>-74.007604</Longitude>
 </Event>

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

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

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

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

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

 <Event xml:lang="en" id="2012/3963" href="http://www.nyartbeat.com/event/2012/3963">
  <Name>&quot;Perspectives 2012&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/4341AC1C">
    <Name>International Center of Photography</Name>
    <Type>Museum</Type>
    <Address>1133 6th Ave., New York, NY 10036</Address>
    <Phone>212-857-0000</Phone>
    <Fax></Fax>
    <Access>Corner of 43rd St.  Subway: B/D/F/V to 42nd Street or 1/2/3/7/N/Q/R/S/W to Times Sq-42nd 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="0" hol="1" />
    <ScheduleDetails>fridays closinghour 20:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[&quot;Perspectives 2012,&quot; is the second installment of an exhibition series that focuses on innovative artists working in photography and video. These small group exhibitions highlight the individual ideas and achievements of an engaging and eclectic group of talented artists. The aim of the series is to stimulate conversations about contemporary art and to showcase outstanding artworks that might not otherwise come to wide attention.

&quot;Perspectives 2012&quot; includes works by three artists— Chien-Chi Chang, Greg Girard, and Anna Shteynshleyger— who explore what happens when tight-knit cultural communities are transplanted to unfamiliar geographic locales.  Each artist is represented by a group of prints selected from a much larger body of work.

“Each of the photographers in this exhibition brings a highly personal vision and sensibility to the subject they have chosen,” said ICP Curator Christopher Phillips, who organized the exhibition. “It is only when we step back that we realize they are all exploring aspects of one of the most distinctive social phenomena of our times.”

[Image: Anna Shteynshleyger &quot;Covered&quot; (2008) © Anna Shteynshleyger, Collection of Lauren and Mitchell Presser.]
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3963-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3963-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3963-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Adults $12, Students and Seniors $8, Members and Children under 12 Free, Friday 5-8pm Pay As You Wish</Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-05-06</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>87</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.755892</Latitude>
  <Longitude>-73.983417</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/3C10" href="http://www.nyartbeat.com/event/2012/3C10">
  <Name>Juergen Teller Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/5569D53D">
    <Name>Lehmann Maupin (540 W 26th Street)</Name>
    <Type>Gallery</Type>
    <Address>540 W 26th St., New York, NY 10001</Address>
    <Phone>212-255-2923</Phone>
    <Fax>212-255-2924</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Open mondays by appointment only.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Presented in three parts, this exhibition highlights three recent series, demonstrating Teller’s dynamic and diverse oeuvre. Featuring the controversial photographs of Kristen McMenamy and seductive portraits of Vivienne Westwood, juxtaposed with intimate portraits of his family and close friends, this exhibition displays an amalgam of subjects and personalities. The exhibition starts with Teller’s controversial series of photographs featuring Kristen McMenamy, shot in the home of Carlos Mollino. Drawing inspiration from the eccentric architect, Teller recalls Mollino’s fascination with the erotic, capturing McMenamy in provocative poses. Although the series garnered controversy for its alleged “pornographic” nature, it demonstrates Teller’s skilled storytelling and fearless approach to his medium.

The exhibition continues with a selection of images from “Keys to the House.” Composed of recent photographs taken in and around his home in Suffolk, the series includes deserted landscape shots alongside intimate portraits of Teller’s family and closest friends. 

The third section of the exhibition features photographs from “Men and Women,” including portraits of Vivienne Westwood and photographer William Eggleston, as well as Teller’s son, Ed. As a whole, the series has been read as a representation of masculinity at two stages –coming of age and loss of virility – contrasted with a strong feminine power.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3C10-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3C10-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3C10-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-10</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-10" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750039</Latitude>
  <Longitude>-74.003931</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/3D18" href="http://www.nyartbeat.com/event/2012/3D18">
  <Name>&quot;Heart &amp; Soul&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/94B8833C">
    <Name>Keith de Lellis Gallery</Name>
    <Type>Gallery</Type>
    <Address>1045 Madison Avenue, #2, New York, NY 10075</Address>
    <Phone>212-327-1482</Phone>
    <Fax>212-327-1492</Fax>
    <Access>Between 79th and 80th St.  Subway: 6 to 77th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 11:30, satudays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Keith de Lellis Gallery presents &quot;Heart &amp; Soul&quot;, an exhibition of portraits of African Americans by African American photographers.

[Image: Shawn Walker, Untitled, (1968)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3D18-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3D18-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3D18-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-01</DateStart>
  <DateEnd>2012-02-29</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>20</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.776878</Latitude>
  <Longitude>-73.961694</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/4522" href="http://www.nyartbeat.com/event/2012/4522">
  <Name>&quot;150th Anniversary Archive&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/A10932DB">
    <Name>BAM</Name>
    <Type>Cultural Center</Type>
    <Address>30 Lafayette Ave., Brooklyn, New York 11217</Address>
    <Phone>718-636-4101</Phone>
    <Fax></Fax>
    <Access>Between Flatbush Ave. and Fulton St. Subway: 2/3/4/5/B/Q/ N/R/D/M to Atlantic Avenue/ Pacific Street or C to Lafeyette Avenue or G to Fulton Street</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>00:00:00</OpeningHour>
    <ClosingHour>00:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Depends on each event.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>2D: Prints</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[BAM presents a special archival exhibition delving into the rich history of an institution a century and a half in the making. Original documents, archival video, photographs, and more—many dating from the earliest days of BAM—illuminate the moments, memories, and cultural happenings that have transpired both on and off its stages. BAMart curator David Harper and archivist Sharon Lehner co-curate this free exhibition, open to the public in the lobby of the BAM Peter Jay Sharp Building during normal business hours.

Curated by David Harper and Sharon Lehner]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/4522-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4522-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4522-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Depends on each event.</Price>
  <DateStart>2012-01-16</DateStart>
  <DateEnd>2012-02-29</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>20</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.686742</Latitude>
  <Longitude>-73.977719</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/4BB5" href="http://www.nyartbeat.com/event/2012/4BB5">
  <Name>Greg Wilken Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/B5BC9B89">
    <Name>CUE Art Foundation</Name>
    <Type>Gallery</Type>
    <Address>511 W 25th St., New York, NY 10001</Address>
    <Phone>212-206-3583</Phone>
    <Fax>212-206-0321</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[I first came across &quot;The Road of a Thousand Wonders&quot; researching something else entirely.  While looking through newspaper clippings in a local archive, a postcard fell out.  The image was of a striking Neo-Baroque building with a tall central clock tower, pointed terracotta arches, abundant windows, and circular turrets.  It seemed to call out to you from the 19th century.  The dark rusticated blocks of red sandstone were imposing; it looked built to last.  It didn't.  The first large courthouse in Los Angeles, it was erected in 1888 and razed in 1936.  The upper right hand corner of the image read &quot;On the Road of a Thousand Wonders&quot;.      

During the early 20th century, &quot;The Road of a Thousand Wonders&quot; was the promotional name given to the Southern Pacific railroad line running from Los Angeles, California to Portland, Oregon.  This particular line, like many others still in use today, was surveyed and first laid out in the 19th century, before the advent of the automobile.  These early surveyors relied heavily on old walking trails, following the traces of previous travelers.  They found their way through the landscape by following a path of least resistance; drawing a line that utilized natural grades that were not too steep, curves mild enough for the trains of the time, and maximizing level ground.  The routes of that time were laid upon, rather than through, the landscape. 

Automobile roads would later follow the first rail lines.  Over time, new roads realigned the old routes.  The highways grew wider and straighter, bypassing small communities.  We know the old roads today as &quot;business loops&quot; and &quot;scenic byways&quot;.  &quot;The Road of a Thousand Wonders&quot; follows roughly the original Camino Real upon which Spanish missionaries built a system of religious outposts up the Southern California coast.  Portions of highway 101 would later be built to follow this course.  Farther north, Interstate 5 pursues the old line.  These roads are literal palimpsests, offering traces of man's movement through the land.

The history of these early railroad lines contributed to the public's perception of the West.  Early 20th century boosterism enticed western migration, which increased railroad ticket sales. The Southern Pacific Railroad Company invested heavily in printing postcards that depicted views along their routes.  &quot;The Road of a Thousand Wonders&quot; series is a visual record of a particular kind of looking at a particular time.  The traditional landscapes and city views traffic in, while simultaneously helping to establish, the clichés of western imagery.  What might traveling that road look like today?  Where might it take us?     
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/4BB5-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4BB5-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4BB5-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
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  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749028</Latitude>
  <Longitude>-74.003453</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/4D1A" href="http://www.nyartbeat.com/event/2012/4D1A">
  <Name>Mauro Moriconi &quot;My Plastic Japan&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/EA72187D">
    <Name>Chair and the Maiden</Name>
    <Type>Gallery</Type>
    <Address>500 W 22nd St., New York, NY 10001</Address>
    <Phone> 212-255-0562</Phone>
    <Fax>212-675-6330</Fax>
    <Access>Corner of 10th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 13:00, sundays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Fabrication in lieu of reality? Reproduction disjuncted from purpose? Dismissal and blurring of perceived &quot;natural&quot; elements...Mauro Moriconi&quot;s My Plastic Japan is just that.

In a technologically overwrought society production continues blindly and unregulated. Through the discussion of the natural and nature Moriconi exposes the deception of such technological advances through their inherent
uselessness and false importance that is social media. Through media magnates and their creation of a need the world now hinges on the accelerated addictiveness of the rush to betterment. Japan sets the perfect stage for such turcite coated discussions.

Moriconi in essence retells the story of The Emperor's New Clothes.He points out the foolishness behind the
aggressive courting of Utopia-chasing science. He shows us the illegitimacy behind the mantra of indispensability and likens it to nothing more than the promises of a snake charmer's elixir.

What we are encouraged to believe as advances are nothing more than distractions that mire our understanding of our true evolutionary goals. Ironically Moriconi uses technology itself to self inflict judgment.

Through obvious manipulation to more clandestine articles of sublimation Moriconi questions and plasticizes our own perceptions of a world unbridled.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/4D1A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4D1A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4D1A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>3</DaysBeforeEnd>
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  <Distance>0</Distance>
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  <Latitude>40.747039</Latitude>
  <Longitude>-74.005039</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/4D77" href="http://www.nyartbeat.com/event/2012/4D77">
  <Name>Daniel Escobar &quot;Fictitious Topographies&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/D8FB030C">
    <Name>RH Gallery</Name>
    <Type>Gallery</Type>
    <Address>137 Duane St., New York, NY 10013</Address>
    <Phone>646-703-4473</Phone>
    <Fax>646-349-3459</Fax>
    <Access>Between West Broadway and Church St. Subway: 1/2/3/C/E to Chambers Street</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>00:00:00</OpeningHour>
    <ClosingHour>00:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>2D: Other</Media>
  <Description><![CDATA[RH Gallery presents Fictitious Topographies, Daniel Escobar’s first solo exhibition in the United States. The exhibition is comprised of new work from three series on Escobar’s interpretation of the urban landscape, specifically Belo Horizonte, Brazil, where the artist resides, and New York City. Escobar’s manipulation of maps, documents and images reflect an exploration of imaginary landscapes as opposed to real ones replicated in satellite imagery and maps.

In the series entitled Permeable (Up Close), Escobar extracts details from billboard advertisements that he perforates repeatedly and then layers to create new composite images. For The World, Escobar has produced a series of photographs depicting particular details of pop-up books that he made using promotional materials produced for the tourism industry. In Atlas of Urban Anatomy, he constructs three-dimensional fictional maps inside of a guidebook for Belo Horizonte using fragments of actual maps found in the book. These new maps are incongruous with actual maps of the same locations.

Escobar is a contemporary flâneur. In the vein of philosopher Walter Benjamin, the artist embarks on a kind of urban wandering by destroying what is known and accepted in order to introduce new possibilities of experience within that which
has already become fact. Escobar’s pursuits have led to various forms of mapping urban conditions incorporating topographies featuring architectural structures and advertising billboards.

Daniel Escobar was born in 1982 in Santo Ângelo, Rio Grande do Sul, Brazil. He currently lives and works in Belo Horizonte. Escobar received his Bachelor of Visual Arts from the Arts Institute of the Federal University of the Rio Grande do Sul. Escobar has received numerous awards including the CNI/SESI Marcantônio Vilaça for the Arts, the Funarte Prize for Contemporary Art, Fiat Mostra Brasil, the Azores First Prize for Art and the 17th Annual Prize for Arts from the Munical of Porto Alegre. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/4D77-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4D77-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4D77-170" width="170" />
  <Karma>0</Karma>
  <Price free="0"></Price>
  <DateStart>2012-01-17</DateStart>
  <DateEnd>2012-03-02</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-17" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>22</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.71639</Latitude>
  <Longitude>-74.007604</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/4D8E" href="http://www.nyartbeat.com/event/2012/4D8E">
  <Name>Zefrey Throwell &quot;Ocularpation: Wall Street&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/D205C3AE">
    <Name>Gasser Grunert Gallery</Name>
    <Type>Gallery</Type>
    <Address>524 W 19th St., New York, NY 10011</Address>
    <Phone>212-807-9494 </Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E/L to 14th Street or C/E to 23rd Street</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Klemens Gasser &amp; Tanja Grunert presents the exhibition Ocularpation: Wall Street by Zefrey Throwell, from January 6-February 11, 2012, featuring photographs, paintings, video, and sculpture. The exhibition centers around a large-scale continuous video projection of Ocularpation: Wall Street, created on August 1, 2011, in which 50 performers directed by Zefrey Throwell, gathered outdoors on Wall Street, stripped down to nothing, and began working in a call for transparency that caught fire and spread across the globe.

The experience and documentation of Ocularpation informs the varied works in the exhibition. A series of oil paintings, using signature Wall Street blue trader jackets sewn together as the canvas, are collaged with photographs of the performances. Fifty sculptures of everyday objects, relating to the Wall Street professions (i.e. broom—janitorial, handcuffs—police, piggybank— banker, etc.), have been coated with a thin veneer of gold enamel, thereby transforming them into precious artworks. Zefrey, who used nudity so powerfully as a symbol of exposure and transparency in the Ocularpation performance and the recent strip poker game I’ll Raise you One… at Art in General, uses gold in this body of work in reference to the current American financial dream, sold as a glittering jewel, but in fact is a fantasy whose value is speculation.

Ocularpation: Wall Street continues Zefrey Throwell’s extensive body of investigative and interactive projects focused on the connecting points and underpinnings of social discourse. Projects shown at the MoMA, Whitney Museum, Performa, and Venice Biennials, as well as major media coverage of Ocularpation (including The New York Times, BBC, CNN, NBC and more) have provided the artist with a platform to ignite public discussion and an international call to action. The artist states, the inspiration for the Ocularpation performance and exhibition was personal: “When my mother lost all her savings and was forced to come out of retirement from the market crash of 2008, I knew we had to refocus attention on Wall Street, its actions, secrecy, and real repercussions on people’s lives.”

Artist Talk
A talk with Zefrey Throwell, Clark Winter (an internationally known investor and commentator on geopolitics and global financial markets) and more, will take place at the gallery. Date and additional participants TBA. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/4D8E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4D8E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4D8E-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-06</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-06" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.745372</Latitude>
  <Longitude>-74.006664</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/5043" href="http://www.nyartbeat.com/event/2012/5043">
  <Name>Sylvia Wald Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8DBED0ED">
    <Name>The Sylvia Wald and Po Kim Gallery</Name>
    <Type>Gallery</Type>
    <Address>417 Lafayette St., 4th Fl., New York, NY 10003</Address>
    <Phone>212-598-1155</Phone>
    <Fax></Fax>
    <Access>Between Astor place and 4th st., Subway: 6 to Astor Place or N/R to 8th Street.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>2D: Prints</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5043-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5043-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5043-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-17</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.728743</Latitude>
  <Longitude>-73.99238</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/530E" href="http://www.nyartbeat.com/event/2012/530E">
  <Name>&quot;Good As New&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/74E1D054">
    <Name>Ed. Varie</Name>
    <Type>Gallery</Type>
    <Address>208 E 7th St., West Storefront, New York, NY 10009</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between Avenue A and B. Subway: L to 14th Street, F to 2nd Avenue, 6 to Astor Place.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>00:00:00</OpeningHour>
    <ClosingHour>00:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>By appointment only. hello@edvarie,com</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Ed. Varie presents GOOD AS NEW, the work of artists Aurélien Arbet, Jérémie Egry, David Brandon Geeting, Nicholas Gottlund, Bruno Zhu and David Zilber.

GOOD AS NEW is an exercise in short-term solutions. The artists in this exhibition are aligned by their common interest in the “makeshift.” Through photography and installation work, Aurélien Arbet, Jérémie Egry, David Brandon Geeting, Nicholas Gottlund, Bruno Zhu, and David Zilber convey ideas that “mean” well, but do not necessarily “do” well. On principle, the work in this show was created by thinking with the gut and not with the brain. It is an accurate representation of inaccuracy, a “larger than life” depiction of “smaller than life,” a demonstration of the quick fix, a celebration of the makeshift.

Brought together by David Geeting, who found an interview where David Zilber expressed interest in participating in a “dream show” with the above-mentioned artists, initiated a group email that linked all of the participants together, the exhibition is rooted in a roundabout manner from the start.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/530E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/530E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/530E-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-19" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.724422</Latitude>
  <Longitude>-73.980039</Longitude>
 </Event>

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

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

 <Event xml:lang="en" id="2012/5CE4" href="http://www.nyartbeat.com/event/2012/5CE4">
  <Name>&quot;The Figure in the Landscape: 100 Years of Photography&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/6C72366E">
    <Name>511 Gallery</Name>
    <Type>Gallery</Type>
    <Address>252 7th Ave., # 12J, New York NY 10001</Address>
    <Phone>212-255-2885</Phone>
    <Fax>212-255-6518</Fax>
    <Access>Between 24th and 25th Sts.  Subway: 1 to 23rd Street</Access>
    <Area areaId="chelsea_east">East Chelsea</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[511 Gallery presents The Figure in the Landscape: 100 Years of Photography, an exhibition of photographs by Eugene Atget, Gregory Crewdson, Benjamin Faga, Anna Ferrer, Mario Giacomelli, Catriona Grant, Laura Heyman, Vaughan Judge, Lucy Levene, Romaine Orthwein, Carole Reiff and Rebecca Soderholm.

Intimate and yet vast, neither portrait nor landscape, the photographs in this show constitute a genre of their own: The Figure in the Landscape. Whether natural or domestic, the environments in which the figures exist, speak as loudly as the figures themselves. Thus, even the term figure becomes flexible, as the subject of the photograph stretches to include animals, plants or structures. Though most photographs in this exhibition depict the human figure, most of them in action, it is the context of the figure’s physical environment that breathes life and meaning into the work. In each composition, the figure and the setting almost equally hold their own.

These varied photographs were taken by twelve different artists between 1912 and 2012; yet they all successfully marry the figure and the landscape in ways that make the viewer contemplate the practical and spiritual relationship humans have to their environments,
whether natural or domestic. United in this exhibition, these photographs also engage in a vivid and playful conversation amongst themselves, opening up the work further, providing the viewer with a rich and dynamic experience.

[Image: Gregory Crewdon &quot;Untitled (from Natural wonder series)&quot; (1994)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5CE4-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2012/5CE4-170" width="170" />
  <Karma>2.5</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.745161</Latitude>
  <Longitude>-73.995072</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/5D4B" href="http://www.nyartbeat.com/event/2012/5D4B">
  <Name>&quot;Magnum Contact Sheets&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/4341AC1C">
    <Name>International Center of Photography</Name>
    <Type>Museum</Type>
    <Address>1133 6th Ave., New York, NY 10036</Address>
    <Phone>212-857-0000</Phone>
    <Fax></Fax>
    <Access>Corner of 43rd St.  Subway: B/D/F/V to 42nd Street or 1/2/3/7/N/Q/R/S/W to Times Sq-42nd 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="0" hol="1" />
    <ScheduleDetails>fridays closinghour 20:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Often compared to an artist’s sketchbook, a contact sheet is the photographer’s first look at what he or she has captured on film, and provides a uniquely intimate glimpse into the working process. It gives a behind-the-scenes sense of walking alongside photographers and seeing through their eyes. &quot;Magnum Contact Sheets&quot;  reveals how Magnum photographers have captured and edited their best shots from the 1930s to the present. The images featured— both celebrated, iconic photographs and lesser-known surprises— encompass more than 70 years of history: from the Normandy landings by Robert Capa, the 1968 Paris riots by Bruno Barbey, and the war in Chechnya by Thomas Dworzak, to René Burri’s filmic sequence of close-ups of Che Guevara, classic New Yorkers by Bruce Gilden, and Eve Arnold’s famous portrait of the charismatic and image-savvy Malcolm X.

“The contact sheet embodies much of the appeal of photography itself: the sense of time unfolding, a durable trace of movement through space, an apparent authentication of photography’s claims to transparent representation of reality,” said ICP Associate Curator Kristen Lubben, who organized the exhibition. “It records each step on the route to arriving at a particular image, and thus provides a unique window into the creative process.” This exhibition, through these fascinating and usually private series of images (many of them previously unpublished), celebrates what and how Magnum photographers saw along the way for nearly a century.
  
The exhibition functions—in the words of Magnum photographer Martin Parr—as an “epitaph to the contact sheet,” marking the end of the analog film era and the rise of digital photography.

[Image: Che Guevara &quot;Havana&quot; (1963) © René Burri/Magnum Photos]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5D4B-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2012/5D4B-170" width="170" />
  <Karma>0.980248</Karma>
  <Price free="0">Adults $12, Students and Seniors $8, Members and Children under 12 Free, Friday 5-8pm Pay As You Wish</Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-05-06</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>87</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.755892</Latitude>
  <Longitude>-73.983417</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="2012/6018" href="http://www.nyartbeat.com/event/2012/6018">
  <Name>Johannes Girardoni &quot;Lost-and-Found&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/B9AE77CF">
    <Name>Tomlinson Kong Contemporary</Name>
    <Type>Gallery</Type>
    <Address>270 Bowery, New York, NY 10012</Address>
    <Phone>212-966-3566</Phone>
    <Fax>212-463-7491</Fax>
    <Access>Between Houston and Prince Sts., Subway: F to 2nd Avenue.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 12:00, saturdays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Tomlinson Kong Contemporary announces Lost-and-Found, an exhibition by the Austrian-born, American sculptor and installation artist Johannes Girardoni. Fresh off the critical success of his light and sound installation at the 54th Venice Biennale in the exhibition, Personal Structures, Girardoni is presenting new work composed of over-painted photographs, sculptures and site-specific installations.

The core vocabulary of Girardoni’s work is the convergence of light and material re-articulated into different physical forms. The situations he creates with his work are ones in which the viewer has to discern what is virtual and what is real. This minimalist concept of requiring the interaction of the viewer makes sense as Girardoni’s work is part of the ongoing dialogue that investigates the way art affects our physical reality and the space it occupies.

His over-painted photographs, referred to as “Exposed Icons,” are the result of a trip to Mali in 2008 that inspired him to see Western culture through a new lens. He began to see our physical environment as a result of the convergence of virtual and physical information, and billboards as iconic artifacts of the fundamental role advertising plays in forming the way we see ourselves. In Mali he saw a raw, pure and non-aestheticized culture that contrasted sharply with Western reality where our infrastructure is built on the convergence of digital and material systems. Girardoni began photographing the backsides or empty faces of billboards and digitally superimposing exposures to create new, visual structures. The digital images are then mounted onto aluminum where he further interacts with them by painting over portions of the image. The virtual algorithm of light required to create digital images converges in “Exposed Icons” with the physical paint and aluminum support to create a third form that contributes a new physical artifact to our surroundings.

Girardoni’s light and sound sculptures, referred to as “Refrequencers” or “Peak Light Extractions,” are a further expression of these same interests. Made of cast-resin pieces back-lit with LED panels, these works shift in appearance and color depending on the current light situation and the position and movement of the viewer. &quot;Refrequencers&quot; capture and digitally slow the waveforms emanating from the resin using sensors that reprocess the light information. In “Peak Light Extractions,&quot; Girardoni measures and isolates the highest intensity light frequencies coming through the resin, which provide the analogous color information of the loosely articulated paint of the constructed plywood panels. Perception and truth converge in these works by exploring the way information systems alter our behavior thereby creating constantly shifting realities.]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2012/6018-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-03-12</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-18" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>32</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
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  <Latitude>40.723546</Latitude>
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 </Event>

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

 <Event xml:lang="en" id="2012/61D5" href="http://www.nyartbeat.com/event/2012/61D5">
  <Name>&quot;Resolve&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/2456A56F">
    <Name>Joshua Liner Gallery</Name>
    <Type>Gallery</Type>
    <Address>548 West 28th St., 3rd Fl., New York, NY 10001 </Address>
    <Phone>212-244-7415 </Phone>
    <Fax>212-244-7416</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street</Access>
    <Area areaId="chelsea_28_above">Chelsea 28th - 33rd</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Joshua Liner Gallery presents Resolve, an exhibition of twenty-five emerging and established artists whose work is rooted in classical art traditions and training. In rendering the figure, still life, or landscape subject, this illustrious group (including twenty-two painters, two sculptors, and one photographer) expresses a collective interest in classical art forms with a variety of distinct and decidedly contemporary voices. As the first in a series of annual artist-curated exhibitions at Joshua Liner Gallery, Resolve is organized by gallery artist Tony Curanaj and includes works by the following artists:

Anthony Waichulis, Brad Kunkle, Christopher Gallego, Dan Thompson, David Kassan, Edward Minoff, Graydon Parrish, Jacob Collins, Jacob A. Pfeiffer, Jefferson Hayman, Jeremy Mann, Kate Lehman, Kim Cogan Kris Kuksi, Kris Lewis, Lee Misenheimer, Michael Grimaldi, Rob Leecock, Scott Waddell, Shawn Smith, Shawn Barber, Steven Assael, Tony Curanaj, Travis Schlaht, Will Wilson

Though considered divergent from the postwar developments of Pop, Conceptual, and Minimalist art (among others), the curriculum of classical art training—with its emphasis on skill and the realistic depiction of the figure, still life, and landscape—has nevertheless continued to evolve through the interests and talents of contemporary artists. Creating on the fringes of graduate-school art programs and modern art theory, these intrepid practitioners of traditional art forms and techniques have kept them alive and vibrant, while reinterpreting them through the social and visual culture of their time.

Such influences as Van Eyck, Caravaggio, and Rembrandt, as well as Klimt, Degas, and the pre- Raphaelites, to name but a few, can be discerned in many of the figure and portrait paintings and drawings collected here. The gestures, settings, and mood, however, are entirely of the moment, emphasizing the evergreen nature of classical training and its capacity to adapt to whatever arises, from tattoo culture to contemporary graphic design. Vestiges of Turner, Eakins, and other masters are also apparent in the landscape and figurative works included, but elsewhere one can see the boundary-pushing daring of more recent and contemporary figures such as Andrew Wyeth, Antonio López García, and Odd Nerdrum.

Among the painters featured, all work in traditional media, most employing oils or egg tempera on canvas, linen, or panel. The sculptors choose from more unorthodox materials, such as toy figurines and dyed blocks of wood, while continuing a dialogue with their time through the tools and history of realism. The founders, teachers, or graduates of such influential institutions as the Water Street Atelier, Grand Central Academy of Art, New York Academy of Art, Ani Art Academy, and Janus Collaborative School of Art are included in the exhibition. In their masterful hands, the tendency toward realism serves a fresh, new generation of artists in capturing their disparate worlds, lives, and vision.

According to curator-artist Tony Curanaj: “This exhibition of colleagues and influences reflects a relatively narrow but varied slice of the art world, and presents it to an audience that may not be exposed to this segment of contemporary art practice. The title Resolve speaks of their determination and progression, qualities that imbue each of these works with beauty and technical virtuosity. From concept to execution, these contemporary masters of their craft are completely engaged in the artist’s process and an artistic direction that is unwavering, regardless of fashion or trend.”

[Image: Tony Curanaj &quot;Nouveau Red&quot; (2011) Oil on canvas, 18 x 36 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/61D5-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/61D5-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/61D5-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751297</Latitude>
  <Longitude>-74.003361</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/64EE" href="http://www.nyartbeat.com/event/2012/64EE">
  <Name>&quot;Volumes&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/34A7D849">
    <Name>Causey Contemporary</Name>
    <Type>Gallery</Type>
    <Address>92 Wythe Ave., Brooklyn, NY 11211</Address>
    <Phone>718-218-8939</Phone>
    <Fax>718-218-9347</Fax>
    <Access>Between N10th and N11th Sts.  Subway: L to Bedford Avenue</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>mondays openinghour 09:00, mondays closinghour 17:00, sundays openinghour 12:00, sundays closinghour 18:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Often eclipsed by an artist’s large-scale or interactive creations, editions and works on paper indulge a more intimate sensibility. The archaic and protracted processes involved in printmaking and photography can inflict boundaries and challenges within the image-making process; however, these constraints ultimately produce the unique look, quality and mood of a print.
 
In addition to this exciting exhibition, the gallery will begin hosting a monthly Salon, which will showcase limited editions and works on paper by gallery artists. More information on this event will be provided after the opening of VOLUMES in February.
 
Artists Michel Demanche, Gerald Mocarsky, Chuck Kelton and Shelton Walsmith will all be exhibiting their photography. Sculptors Norman Mooney, Arthur Mednick and Kathy Goodell are better known for their three dimensional and interactive installations, though each of these artists will be exhibiting their photography, in some cases using their own sculptural works as the subject matter. VOLUMES will also feature linocuts, etchings, lithographs and screen prints by Carri Skoczek, Melissa Murray, Alexis Portilla, Nina Carelli and Lauren Dreier.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/64EE-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/64EE-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/64EE-170" width="170" />
  <Karma>2.31372</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-27</DateStart>
  <DateEnd>2012-02-26</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-03" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>17</DaysBeforeEnd>
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  <Distance>0</Distance>
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  <Latitude>40.721647</Latitude>
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 </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" />
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  <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="2012/6AB3" href="http://www.nyartbeat.com/event/2012/6AB3">
  <Name>Sophie Calle, Christian Marclay, Paul Pfeiffer, Walid Raad, Michael Sailstorfer and Carey Young Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/4E34641A">
    <Name>Paula Cooper Gallery  &quot;521 W 21 St.&quot;</Name>
    <Type>Gallery</Type>
    <Address>521 W 21st St., Fl.2, New York NY, 10011</Address>
    <Phone>212-255-1105</Phone>
    <Fax>212-255-5156</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street, A/C/E to 14th Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_21">Chelsea 21st</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6AB3-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6AB3-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6AB3-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-07</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746815</Latitude>
  <Longitude>-74.00573</Longitude>
 </Event>

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

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

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

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

 <Event xml:lang="en" id="2012/6D66" href="http://www.nyartbeat.com/event/2012/6D66">
  <Name>&quot;Peripheral Visions: Italian Photography, 1950s-Present&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/E0B14313">
    <Name>Hunter College Bertha &amp; Karl Leubsdorf Art Gallery</Name>
    <Type>University or School</Type>
    <Address>695 Park Ave., New York, NY 10021</Address>
    <Phone>212-772-4991</Phone>
    <Fax></Fax>
    <Access>SW corner of 68th St. and Lexington Ave. Subway: 6 to 68th St./ Hunter College</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>13:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[The Hunter College Art Galleries present Peripheral Visions: Italian Photography in Context, 1950s-Present. This landmark exhibition showcases, for the first time in the United States, the works of major Italian photographers who have explored an alternative image of the country: a landscape bound to urban edges, focused on the discarded and the marginal, and deeply connected to a new identity which has developed side by side to the industrial and global transformation of Italian cities. The Hunter College Art Galleries are proud to share these innovative works with the Hunter Community and the City of New York. This group exhibition retraces the history back to the fifties, when photographers like Paolo Monti and Mario Carrieri focused on the blight and the beauty of a city like Milan, where an increasing urban sprawl was creating new social peripheries. The conceptual practices of Franco Vaccari and Ugo Mulas reveal the dynamic dialogue between photography and the overall artistic culture, leading up to Luigi Ghirri’s photography of a new Italian landscape that he treated with a particular color palette. Ghirri’s emphasis on the evocative power of the everyday recurs throughout the show and informs more recent and contemporary visions by artists such as Vincenzo Castella, Massimo Vitali, Francesco Jodice, and Paola Di Bello, among others. The installation also includes film-clips from well-known Italian movies, books and magazines where these photographs have been circulated, and a digital project built to illustrate pages from architectural magazines like Casabella, Domus and other archival sources. 
 
The Hunter College Art Galleries, under the auspices of the Department of Art and Art History, has been a vital aspect of the New York cultural landscape since its inception over a quarter-century ago. This exhibition, curated by Maria Antonella Pelizzari, Professor of Art History at Hunter College, is the result of an educational process developed with graduate students, who have been engaged in the curatorial process at every level. This project underscores the galleries’ unique ability to share the highest levels of academic scholarship and curatorial connoisseurship with the student community and the general public, thus facilitating a dynamic cultural exchange.

[Image: Olivo Barbieri &quot;The Dolomites Project (#3)&quot; (2010) 44 x 58 in. archival pigment print. Edition of 6.]]]></Description>
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-04-28</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>79</DaysBeforeEnd>
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  <Distance>0</Distance>
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  <Latitude>40.768792</Latitude>
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 </Event>

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

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

 <Event xml:lang="en" id="2012/7923" href="http://www.nyartbeat.com/event/2012/7923">
  <Name>Frank Schwere &quot;Detroit&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/7B2FB6F2">
    <Name>Schroeder Romero &amp; Shredder</Name>
    <Type>Gallery</Type>
    <Address>531 W 26th St., New York, NY 10001</Address>
    <Phone>212-630-0722</Phone>
    <Fax></Fax>
    <Access>Between 11th and 12th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 11:00</ScheduleDetails>
    <ScheduleNote>Viewing also by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[On view with Marsha Pels's sculpture are four photographs by Frank Schwere from his series Detroit. Shown in New York for the first time, these large C-prints depict the ruinous state of America's once great motor city. Photographing in 2008-2009, at the height of the national recession, these images are absent of people and movement and become silent monuments to the industry and metropolis that was. They are not, however, merely epitaphs to a lost city and the passing of American industrialization but in their scale and composition they are elevated records of what still exists-what continues to be grand and what can return. Carefully positioning his view camera, such as in the flat abstracted matrix of broken windows in the Fisher Body Plant 21 or the extended perspective of the vaulted ceiling and arches of the Michigan Central Depot, Schwere creates environments that are both completely contained and seemingly endless, forcing us to question whether we are looking back to the past or looking forward to a rebirth. Schwere was born in Flensburg, Germany in 1966. He studied at Freie Kunstschule Stuggart, and Photography at Fachhochschule fuer Gestaltung, Bielefeld in the early 1990s. He also studied at the International Center of Photography, New York in 1997, living and working in New York until 2009. He currently lives and works in Auckland, New Zealand.

[Image: Frank Schwere &quot;Arcade (Michigan Central Depot, 240 West Vernor Street)&quot; Detroit, MI (Detail), 2008, c-print, 50 x 40 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/7923-30" width="30" />
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
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  <Datum>wgs84</Datum>
  <Latitude>40.750125</Latitude>
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 </Event>

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

 <Event xml:lang="en" id="2012/79C5" href="http://www.nyartbeat.com/event/2012/79C5">
  <Name>&quot;In Their Own World&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/F9D0DBB0">
    <Name>Tache Gallery</Name>
    <Type>Gallery</Type>
    <Address>547 W 27th St., No. 602, New York, NY 10001</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:30:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Curator: D. Dominick Lombardi]]></Description>
  <Image src="http://www.nyartbeat.com/resources/images/nopic" width="30" />
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  <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="2012/7B9B" href="http://www.nyartbeat.com/event/2012/7B9B">
  <Name>Motoyuki Daifu &quot;Lovesdy&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/AD9ABBF6">
    <Name>Lombard-Freid Projects</Name>
    <Type>Gallery</Type>
    <Address>518 W 19th St., New York, NY 10011</Address>
    <Phone>212-967-8040</Phone>
    <Fax>212-967-0669</Fax>
    <Access>Between 10th and 11th Avenue. Subway: C/E to 23rd Street or A/C/E, or L to 14th Street/ 8th Avenue</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 11:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Lombard Freid Projects presents Lovsody, Motoyuki Daifu’s first solo show with the gallery. The young Japanese photographer, based in Tokyo, uses photography to document the highly personal chaos of domestic life with his family and loved ones. Motoyuki’s portraits of people, rooms and objects are filled with energy and color, all of which intermix to generate a natural narrative that feel simultaneously honest and unlikely. Motoyuki’s subjects are unfazed by the continuous presence of his camera, offering up their most intimate moments for documentation and presentation to the outside world.
 
Lombard Freid premiered Motoyuki’s work in the US as part of last year’s critically acclaimed group show Minor Cropping May Occur. His 2009 Family series, made of lovingly shot portraits of Motoyuki’s cramped and hectic life in the Tokyo apartment with his parents and five siblings, was highlighted in the New York Times, The New Yorker, Art Review and ID Online. Lovesdy is an intimate follow up that looks to the more romantic and mournful side of personal relationships.

I met her when she was only twenty years old.
She already had a two-year-old boy and was pregnant again.
I fell in love with her at first sight.
A girl - and a mother.
She had two characters in herself.
I had never met a girl like her- a girl full of motherly love.
This is our six month lovesody.
- Motoyuki Daifu

Lovesody (a portmanteau of love and rhapsody) documents Motoyuki’s brief and potent relationship with a single young mother and her two children. In this series, Motoyuki steps away from the comfort of his family, and presents his own volatile coming of age tale. The resulting narrative is suffused with joy and melancholy, capturing all the intimacies of young love. The frenetic quality seen in his previous work continues to create a fully tactile experience where nothing is concealed; the children’s snot and grime and their mothers’ exhaustion carry the viewer though Motoyuki’s reality where chaos and imbalance reign. The young girl and her small children are portrayed through a loving lens while the viewer looks on aware that the affair ended after only six months. The brevity of the relationship adds to the intimacy of the series with the narrative exposing a series of kinetic emotions that burnt out faster then they could be realized. 
 
Following the photo diary tradition within Japanese photography, a clear timeframe and narrative is presented even as Motoyuki’s gaze repeatedly shifts from amorous admirer, to protective father, and to the child within himself. The order, structure, and stoicism often associated with contemporary Japan are absent, marking Motoyuki as an accurate recorder of a new, uncertain time where generations are shifting and values changing on a daily basis. Added to this, in a country with a staggering age imbalance and birth rates at a critical low, Motoyuki’s Lovesody is a pure anomaly.
 
The exhibition coincides with the release of a limited edition publication of the same name. Published by Little Big Man, 300 copies of Lovesody, along with 10 special editions with a hand-numbered photographic print, will be released on January 25th.]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2012/7B9B-170" width="170" />
  <Karma>9.5393</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.745333</Latitude>
  <Longitude>-74.006564</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/7D4E" href="http://www.nyartbeat.com/event/2012/7D4E">
  <Name>&quot;Silverstein Annual&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/0C342BD2">
    <Name>Bruce Silverstein</Name>
    <Type>Gallery</Type>
    <Address>535 W 24th St., New York, NY 10011</Address>
    <Phone>212-627-3930</Phone>
    <Fax>212-691-5509</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_24">Chelsea 24th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[The Silverstein Annual is part of the gallery's ongoing effort to provide exposure to emerging artists whose work incorporates the medium of photography. Bruce Silverstein Gallery with the guidance of curatorial advisor Nathan Lyons, annually invites ten prominent curators to nominate one artist whom they feel deserves the opportunity for further exposure within New York's cultural milieu.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/7D4E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7D4E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7D4E-170" width="170" />
  <Karma>1.14332</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-14</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-14" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748847</Latitude>
  <Longitude>-74.004817</Longitude>
 </Event>

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

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

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

 <Event xml:lang="en" id="2012/8B7E" 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="2012/8DA4" href="http://www.nyartbeat.com/event/2012/8DA4">
  <Name>&quot;Swept Away: Dust, Ashes, and Dirt in Contemporary Art and Design&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/EB18574C">
    <Name>Museum of Arts &amp; Design</Name>
    <Type>Museum</Type>
    <Address>2 Columbus Circle, New York, NY 10019</Address>
    <Phone>212-299-7777</Phone>
    <Fax></Fax>
    <Access>At 58th St. and 8th Ave.  Subway: B/C/D to 59th Street/Columbus Circle</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails>thursdays closinghour 21:00</ScheduleDetails>
    <ScheduleNote>In the Summer opened on Tuesdays.  Check with the venue for details.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[MAD has explored the intersection of traditional or unusual materials and techniques as viewed through the lens of contemporary art and design in a series of exhibitions that include &quot;Radical Lace and Subversive Knitting;&quot; &quot;Second Lives: Remixing the Ordinary;&quot; &quot;Slash: Paper Under the Knife;&quot; &quot;Dead or Alive: Nature Becomes Art;&quot; and &quot;Otherworldly: Optical Delusions and Small Realities.&quot;

The next investigation into unusual mediums features an international group of artists whose major materials are dust, ashes, dirt, and sand. &quot;Swept Away: Dust, Ashes, and Dirt in Contemporary Art and Design&quot; will highlight works that deal with issues such as the ephemeral nature of art and life, the quality and content of memory, issues of loss and disintegration, and the detritus of human existence. Sculptures made from ash by Chinese artist Zhang Huan, life-size sculptures of unfired dirt by American artist James Croak, and works created from city smog by American artist Kim Abeles, among others, illustrate the transformative potential of humble, overlooked, and discarded materials.

[Image: Phoebe Cummings &quot;Flora&quot; (2010) unfired clay Photo: Sylvain Deleu]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8DA4-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8DA4-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8DA4-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Adults $15, Students and Seniors $12, Members and Children under 12 Free, Thursdays 6 - 9pm Pay What You Wish</Price>
  <DateStart>2012-02-07</DateStart>
  <DateEnd>2012-08-12</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>185</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.767589</Latitude>
  <Longitude>-73.982067</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9037" href="http://www.nyartbeat.com/event/2012/9037">
  <Name>&quot;Other Bodies: A Collection of Vernacular Photography&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/A1F09EF4">
    <Name>ZieherSmith</Name>
    <Type>Gallery</Type>
    <Address>516 W 20th St., New York, NY 10010</Address>
    <Phone>212-229-1088</Phone>
    <Fax>212-229-1260</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street .</Access>
    <Area areaId="chelsea_20">Chelsea 20th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[ZieherSmith proudly presents 65 found photographs spanning the American 20th century, celebrating its conspicuous beauty and encapsulating a lifestyle of exquisite hubris, baffling habits and poetic leisure. Focusing on the eerie and bizarre found in everyday life, including odd family units, perverse couplings of awkward figures in vaguely familiar places, and solo views of predominantly male figures, the patina of the vintage prints are often enhanced by blurring caused by misfired flash-bulbs, over and double exposures, crude processing and care-worn edges.  This singular grouping invites the viewer to see a crooked world through straight and narrow eyes and 65 ostensibly unrelated (and virtually untraceable) sources reinvented as a new, fleeting narrative.

Factual names, dates and whereabouts in these pictures remain as mysterious and enticing as the random, cumulative effect of each image’s unconscious formal accomplishment, but a lack of facts also enhances their allure. Artfully off-handed and off-kilter compositions, such as abrupt, spare body parts at oddly foreshortened angles, are unwittingly finessed by way of heirloom Brownies and endless Kodak mementoes. 

While sometimes resembling canonical photographers such as Ralph Meatyard, Diane Arbus, Robert Frank, or Mike Disfarmer, we remember that each of these photographs was taken for personal reasons altogether removed from the public realm. They are therefore crucial documents of a nature alternately anthropological and historical, but always luscious in their unorthodox and rarefied aesthetics.

Amassed by artist Jason Brinkerhoff over a period of roughly ten years, the selection in Other Bodies was culled from nearly 2000 photographs found from a wide variety of sources and curated over two years by the artist and gallery owner Scott Zieher.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9037-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9037-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9037-170" width="170" />
  <Karma>1.69643</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-14</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.745933</Latitude>
  <Longitude>-74.006169</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/9124" href="http://www.nyartbeat.com/event/2012/9124">
  <Name>Uri Aran &quot;By Foot, By Car, By Sea&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/7E1DB1CC">
    <Name>Gavin Brown's Enterprise</Name>
    <Type>Gallery</Type>
    <Address>620 Greenwich St., New York, NY 10014</Address>
    <Phone>212-627-5258</Phone>
    <Fax></Fax>
    <Access>Corner of Leroy St. Subway: 1 to Houston Street.</Access>
    <Area areaId="soho">Soho</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>2D: Other</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9124-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9124-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9124-170" width="170" />
  <Karma>1.28623</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-14</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-14" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.730397</Latitude>
  <Longitude>-74.008208</Longitude>
 </Event>

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

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

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

 <Event xml:lang="en" id="2012/9DC4" href="http://www.nyartbeat.com/event/2012/9DC4">
  <Name>Mark Price &quot;Hyper 20XX&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/AD344CA8">
    <Name>Kesting / Ray</Name>
    <Type>Gallery</Type>
    <Address>30 Grand St., New York, NY 10013</Address>
    <Phone>212-334-0204 </Phone>
    <Fax></Fax>
    <Access>Between Thompson St. and 6th Ave. Subway: A/C/E to Canal Street.</Access>
    <Area areaId="soho">Soho</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>2D: Prints</Media>
  <Description><![CDATA[KESTING/RAY presents Hyper 20XX, the second New York solo exhibition for Philadelphia-based artist Mark Price. In a new series of meticulously-cut and super-color-saturated collages incorporating screenprinting, painting and photography, Price packs multiple moments into single frames stuck in the endless loop of an inescapable present. 

Price's work speaks to a deep-seated human fear of groundlessness and change. We seek stability and a world we recognize as sane and reliable, and Price's work won't give it to us. Instead he offers incomplete warnings of a shattered future in day-glow gestures that pierce the picture plane, flattening it into odd shapes that we strain to recognize. A silhouetted character appears from time to time in the work, functioning as a reminder of the fragmentary and incomplete nature of consciousness.

In Price's installation, our own experience can no longer be trusted. The high-resolution screen through which we view things has shattered into stuttering and razor-sharp regions of color and text. Pierced and pinned to the wall as fragmentary bits of a larger situation, his collages emerge into a three-dimensional plane that feels tentative, vulnerable and hyper-real. Philosopher Paul Virilio, in describing the global financial crisis, touches on this atmosphere when he states, &quot;We have moved from the stage of the acceleration of History to that of the acceleration of the Real. This is what 'progress' is: a consensual sacrifice.&quot;

In 2011, Price spent months traveling throughout the US and India to deepen his experience of non-linear perception. In describing this time he notes, &quot;In not having a fixed home base, I began to understand a new kind of stillness that comes from being perpetually in motion. Whether on a bike or train or plane, I found comfort from the mode of constant acceleration and the knowledge that everything remains open and inconclusive.&quot;]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9DC4-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9DC4-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9DC4-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-04</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="19:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>24</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.722936</Latitude>
  <Longitude>-74.004558</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/9F64" 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" />
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  <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="2012/9F8C" href="http://www.nyartbeat.com/event/2012/9F8C">
  <Name>Anne and Patrick Poirier Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/CAE79014">
    <Name>Sonnabend</Name>
    <Type>Gallery</Type>
    <Address>536 W 22nd St., New York, NY 10011</Address>
    <Phone>212-627-1018</Phone>
    <Fax>212-627-0489</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street, A/C/E to 14th Street, L to 8th Avenue.</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9F8C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9F8C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9F8C-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-14</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-14" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.74745</Latitude>
  <Longitude>-74.005708</Longitude>
 </Event>

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

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

 <Event xml:lang="en" id="2012/A3FE" href="http://www.nyartbeat.com/event/2012/A3FE">
  <Name>Juergen Teller Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/F5CAFAE2">
    <Name>Lehmann Maupin (201 Chrystie Street)</Name>
    <Type>Gallery</Type>
    <Address>201 Chrystie St., New York, NY  10002</Address>
    <Phone>212-254-0054</Phone>
    <Fax>212-254-0055</Fax>
    <Access>Corner of Stanton St. Subway: F/V to 2nd Avenue</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Lehmann Maupin Gallery presents Juergen Teller at 201 Chrystie Street.

Presented in three parts, this exhibition highlights three recent series, demonstrating Teller’s dynamic and diverse oeuvre. Featuring the controversial photographs of Kristen McMenamy and seductive portraits of Vivienne Westwood, juxtaposed with intimate portraits of his family and close friends, this exhibition displays an amalgam of subjects and personalities. The exhibition starts with Teller’s controversial series of photographs featuring Kristen McMenamy, shot in the home of Carlos Mollino. Drawing inspiration from the eccentric architect, Teller recalls Mollino’s fascination with the erotic, capturing McMenamy in provocative poses. Although the series garnered controversy for its alleged “pornographic” nature, it demonstrates Teller’s skilled storytelling and fearless approach to his medium.

The exhibition continues with a selection of images from “Keys to the House.” Composed of recent photographs taken in and around his home in Suffolk, the series includes deserted landscape shots alongside intimate portraits of Teller’s family and closest friends. 

The third section of the exhibition features photographs from “Men and Women,” including portraits of Vivienne Westwood and photographer William Eggleston, as well as Teller’s son, Ed. As a whole, the series has been read as a representation of masculinity at two stages –coming of age and loss of virility – contrasted with a strong feminine power.
]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2012/A3FE-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-10</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-10" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.7222</Latitude>
  <Longitude>-73.991775</Longitude>
 </Event>

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

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

 <Event xml:lang="en" id="2012/AA5A" href="http://www.nyartbeat.com/event/2012/AA5A">
  <Name>&quot;Underground: Russian Photography 1970s-1980s&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/9E0CA4DF">
    <Name>Nailya Alexander Gallery</Name>
    <Type>Gallery</Type>
    <Address>41 E 57th St., Suite 704, New York, NY 10022</Address>
    <Phone>212-315-2211</Phone>
    <Fax>212-315-2220</Fax>
    <Access>Between Park and Madison Aves. Subway: 4/5/6 to 59th Street/ Lexington Avenue</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[During the Khrushchev’s cultural thaw, nonconformist art and literary movements, involving such figures and activities as Alexander Solzhenitsyn, Josef Brodsky and samizdat, had a great impact on the evolution of Russian photography in the 1970s, and laid the foundation for a new generation of photographers during glasnost and perestroika in the 1980s. Photographers in the exhibition challenged the government-prescribed optimistic style of socialist realism by photographing forbidden topics, and like other unofficial artists, they risked personal safety in pursuit for individual expression and freedom. In the 1970s, Boris Mikhailov, a pioneer of Russian conceptual photography, used the medium to reflect skepticism about both approved photography and the false realities it presented. By hand-coloring black-and-white prints in the Sots Art series, Mikhailov skillfully exploited the well-known inventory of socialist realist clichés. In 1971 Boris Smelov’s exhibition was cancelled due to censorship and accusation over the mystical and obscure quality of his cityscapes. During the pompous climate of the Brezhnev era of stagnation, Yuri Rybchinsky photographed with gritty realism a forced labor colony for young people (1978) exposing the painful aspects of its society. Nikolai Bakharev’s posed group portraits of families, friends or lovers, most of them barely dressed and taken either at a park picnic or at apartments, exploring the underlying morals of a Soviet province, while Vladimir Kuprianov took anonymous portraits from the provinces and printed them on crumpled paper in his “Mid-Russian Landscape” series (1988).

More generally, Alexander Lapin and Gennady Bodrov documented the deterioration of the Soviet system, poverty, and alienation. Alexey Titarenko’s photomontages from “Nomenklatura of Signs” (1986-1989) critiqued the Communist regime as an oppressive system that converted citizens into mere signs. Using his body as model, Andrey Chezhin’s “Black Square” series (1988) is both a self-portrait and homage to Malevich. By contrast, Igor Moukhin chose the emerging generation of Moskovites as his subject in his famous “Young People” (1985-1989) series. Taken together, the photographs in the exhibition chronicle an exciting time of change and signaled the end of the Soviet empire.

[Image: Alexey Titarenko &quot;Electrification&quot; from &quot;Nomenclature of Signs&quot; series (1986)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/AA5A-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2012/AA5A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-25</DateStart>
  <DateEnd>2012-03-24</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>44</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
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  <Latitude>40.762321</Latitude>
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 </Event>

 <Event xml:lang="en" id="2012/AB31" href="http://www.nyartbeat.com/event/2012/AB31">
  <Name>&quot;It's the Political Economy, Stupid&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/5EE3D565">
    <Name>Austrian Cultural Forum NYC</Name>
    <Type>Cultural Center</Type>
    <Address>11 E 52nd St., New York, NY 10022</Address>
    <Phone>212-319-5300</Phone>
    <Fax>212-644-8660</Fax>
    <Access>Between 5th and Madison Ave. Subway: E/V to 53rd Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[The Austrian Cultural Forum New York is pleased to present this international group exhibition, curated by the Austrian-American team of Oliver Ressler and Gregory Sholette. The title derives from the slogan which in the early 1990s came to define then presidential candidate Bill Clinton’s campaign, “It’s the economy, stupid”.

The impending economic crisis that we face today has also become a major crisis for representative democracy. It’s the Political Economy, Stupid brings together an international group of artists who focus on the current crisis in a sustained and critical manner. Rather than acquiesce to the current calamity, the artworks, which include videos, photographs, installations, and a commissioned site-specific wall mural, ask whether it is time to push back against the disciplinary dictates of the capitalist logic and, by use of artistic means, launch a rescue of the very notion of the social itself.

[Image: Dread Scott, Still from &quot;Money to Burn&quot; (2010) video. Courtesy of the artist]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/AB31-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2012/AB31-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Free (Reservations may be required for seated events)</Price>
  <DateStart>2012-01-24</DateStart>
  <DateEnd>2012-04-22</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>73</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.759533</Latitude>
  <Longitude>-73.975694</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/AC03" href="http://www.nyartbeat.com/event/2012/AC03">
  <Name>Kunié Sugiura &quot;Photographic Works from the 1970s and Now&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/E0AA7AD7">
    <Name>Leslie Tonkonow Artworks + Projects</Name>
    <Type>Gallery</Type>
    <Address>535 W 22nd St., 6 Fl., New York, NY 10011</Address>
    <Phone>212-255-8450</Phone>
    <Fax>212-414-8744</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street or A/C/E to 14th Street or L to 8th Avenue.</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>2D: Other</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[The exhibition centers on multi-panel works from the late 1970s, constructed of monochromatic abstract paintings and photographs printed on canvas, and a selection of the artist’s recent works, in which she revisits the themes of her earlier “photo-canvases” through the prism of more than three decades and a revolution in digital imaging.

For more than forty years, Kunié Sugiura has investigated the various uses and manifestations of photography, producing a large and varied body of work that includes unique color abstractions from the mid-1960s, photographic works on canvas from the 1970s, and life-sized depictions of people, animals, fish, botanical specimens and other living things made from the early 1980s to the present using the photogram process.

This exhibition, Sugiura’s sixth one-person show at the gallery, will also include a series of collages in which she applied photographs, paint, and blank exposed photographic paper to large sheets of etching paper. Exhibited here for the first time, they were created in dialogue with the larger canvas constructions between 1977 and 1980.

Like other notable Japanese women artists who emerged in the postwar years, Sugiura went West to fulfill her artistic ambitions. Born in Nagoya in 1942 and raised in Tokyo by a single mother, she arrived in the United States at the age of 20. With few personal connections and speaking little English, she enrolled at the School of the Art Institute of Chicago where the Modernist legacy of the New Bauhaus instilled in her a lifelong commitment to invention and experimentation. After graduating in 1967, she moved to New York and immediately began to show conceptual photographic works in galleries and museum exhibitions including the Whitney Museum’s 1972 Annual Exhibition of Contemporary Painting, curated by Marcia Tucker

In the catalogue accompanying this exhibition, Sugiura notes that “in the 1970s photography was still considered a marginal artistic activity.” Eschewing traditional photographic prints on paper, she experimented by brushing emulsion on to various surfaces, eventually choosing canvas which gave the photographic image &quot;the potential to be as challenging as painting – particularly on a large scale.&quot;

The earliest canvases featured Sugiura's own close-up photographs of patterns from nature – tree bark, pebbles, leaves, rocks – and a particularly extreme series of erotic images, enlarged to a monumental scale. Having drawn and painted since childhood, she freely applied graphite and acrylic paint to these works, eventually “almost disregarding the photos underneath … One day I put a painting and photo-canvas next to each other and liked them better together than as separate works … presenting the photograph as a parallel medium, produced something more radical or original.”

In 1980, while searching for a way to make more dynamic drawings, Sugiura adopted the classic black-and-white photogram technique which she has used ever since. Expanding its technical capabilities to create painterly works with increased tonal variations, deep illusionistic spaces, and saturated colors, Sugiura's photograms evoke traditional Japanese art forms such as Ikebana and Sumi-e painting, while more directly evincing the synthesis of East and West that has always informed her aesthetic.

In 2008, inspired by a growing need to contend with rapidly changing technologies and the image-explosion of the virtual world, Sugiura, for the first time in almost thirty years, used her camera to record real places, creating works on canvas that contrast her painterly hand with the cool affect of black &amp; white digital printing. She writes:

In Asian art there has always been a co-existence of the real and the abstract … New expressions often come from crossing mediums and technologies … I can accept photography and painting as both real and abstract – completing one vision.

Works by Kunié Sugiura have been exhibited at major museums throughout Japan, Europe, and the United States and are included in the collections of The Museum of Modern Art, New York; the Museum of Fine Arts, Houston; the Museum of Fine Arts, Boston; the Tokyo Metropolitan Museum of Photography; the National Museum of Modern Art, Tokyo, among many others.

This exhibition is accompanied by a 32-page catalogue with twenty-four illustrations in color and black and white, and a conversation with the artist.

[Image: Kunié Sugiura &quot;Yellow Floor&quot; (1977) Photographic emulsion, acrylic on canvas, 36 x 50 in. ]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/AC03-30" width="30" />
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  <Karma>6.03658</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
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 </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" />
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  <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>
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 </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>
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  <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>
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  <Distance>0</Distance>
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  <Latitude>40.721219</Latitude>
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 </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>
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
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 <Event xml:lang="en" id="2012/B6EE" href="http://www.nyartbeat.com/event/2012/B6EE">
  <Name>Marshall Weber &quot;Awedience&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/92656C5D">
    <Name>Munch Gallery</Name>
    <Type>Gallery</Type>
    <Address>245 Broome St., New York, NY 10002</Address>
    <Phone>212-228-1600</Phone>
    <Fax></Fax>
    <Access>Between Broome and Grand Sts., Subway: F to East Broadway or F/M/J/Z to Delancey Street.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 13:00, sundays closinghour 18:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Munch Gallery presents ‘Awedience’, a solo show by Marshall Weber. 'Awedience' is a series of life-size photo-installations about being an audience member. Each piece in the show is titled with a song title from a pop rock song, so there is a predetermined soundtrack for the show. There will be guidebooks In the gallery that have source photographs of the installation pieces and the source and lyrics from each song lending their titles, so there is a pop culture back-story to each piece.

It’s a romantic restructuring of the gallery exhibit as an LP vinyl record concept album.]]></Description>
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-16</DateStart>
  <DateEnd>2012-03-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-16" start="19:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>31</DaysBeforeEnd>
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 <Event xml:lang="en" id="2012/B802" href="http://www.nyartbeat.com/event/2012/B802">
  <Name>Michael Crouser &quot;A Mid-Career Retrospective&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/1BF664F1">
    <Name>Leica Gallery in New York</Name>
    <Type>Gallery</Type>
    <Address>670 Broadway, Suite 500, New York, NY 10012</Address>
    <Phone>212-777-3051</Phone>
    <Fax>212-777-6960</Fax>
    <Access>Between W 3rd and Bleecker St. Subway: 6 to Bleeker Street or B/D/F/V to Broadway Lafayette.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
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    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B802-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B802-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B802-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
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  <Latitude>40.727361</Latitude>
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 </Event>

 <Event xml:lang="en" id="2012/B954" href="http://www.nyartbeat.com/event/2012/B954">
  <Name>Hirosuke Kitamura &quot;Hidra&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/1302EAE8">
    <Name>1500 Gallery</Name>
    <Type>Gallery</Type>
    <Address>511 W 25th St., #607, New York, NY 10001</Address>
    <Phone>917-362-0770</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Aves.  Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[The title Hidra is in Brazilian portuguese and refers to the many-headed Lernaean Hydra of Greek mythology.  These works were for the most part made in bregas (inexpensive brothels) in Salvador da Bahia (Brazil), where Hirosuke, or &quot;Oske&quot; as he is known, has been making photographs regularly for over ten years.

In the words of Miguel Rio Branco: &quot;Something quietly emerges at every moment throughout these images: ghosts halfway between sex and death; fragments of seduction that wander in-between lost worlds.  Sexuality is something transparent, smoky and elusive under our fingertips.  But how does one define sexuality in a place where the body is everything - not only material but also consumable? And here sexuality becomes all but ghostly, the way it has always been in Japanese tales: from another world, but yet somwhere here near us. These images supercede the passage of time, reaching beyond notions specific to any particular time or era.

The interesting thing in the creative process - in the artistic process - resides in the reaffirmation of the artist's individuality. This is increasingly difficult in a world dominated by advertising, publicity and marketing.  It is progressively more rare to see true creativity in an artist's work. Everything is business; nothing is personal. In these [Kitamura's] images, on the contrary, it's all personal, lived and felt. Everything is personal. This constitutes an important departure from what we typically see today, where the photographic image is becoming technically more distant from what was photographed.

In art, what counts is the soul and not the theme. Here [in Kitamura's work] the themes are diluted and mixed. Here we do not get stuck anywhere, nor to a specific moment in time; we move on to another phase. A phase that brings us to another space, another world, a limbo.  Here, what appear as skin, fingers, breasts, sexes, and clothes are tranformed into masks, gifts, lights and Bahia sweat by this Japanese artist who one day came to Salvador.&quot;]]></Description>
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  <Karma>0.849901</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-01</DateStart>
  <DateEnd>2012-04-28</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-01" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>79</DaysBeforeEnd>
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 </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>
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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/BEB4" href="http://www.nyartbeat.com/event/2012/BEB4">
  <Name>&quot;Gym Lessons The Youngest Art from the Czech post-industrial Periphery&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/13B4527A">
    <Name>Czech Center New York</Name>
    <Type>Cultural Center</Type>
    <Address>321 E 73rd St. New York, NY 10021</Address>
    <Phone>646-422-3399</Phone>
    <Fax></Fax>
    <Access>Between 1st and 2nd Aves. Subway: 6 to 77th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="0" />
    <ScheduleDetails>thursdays closinghour 19:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[The exhibition Gym Lessons  presents a selection of the latest works by students from the Faculty of Art and Design at the J. E. Purkyne University in Usti nad Labem. Exercise in its very real form is the main theme of the exhibition and as such is manifested in the presented works.  However, the title Gym Lessons also refers to the fact that all of the exhibited works came to life during the university studies as a school exercise of some sort. All of the works incorporate an apparent attempt to interpret physicality as an intimate individual expression as well as a socializing process referring to the phenomenon of learning or social skills acquisition. 
The artworks will be presented in the form of video installations (Miroslav Hašek, Adéla Marková, Libor Ptáčník), wall installations (Blanka Kirchner, Karel Konopka) and photography (Margareta Turčínová).

The Faculty of Art and Design at the J. E. Purkyne University was established in 1993 in the city of Ústí nad Labem, which is located in the northwestern region of Bohemia (the former Sudetenland).  The Faculty of Art and Design at the J. E. Purkyne University is a dynamic and growing institution focused on education in the area of contemporary art, new media and design.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/BEB4-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BEB4-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BEB4-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Depends on each event.</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-02-23</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-19" start="18:30:00" end="20:30:00">Opening Reception</Party>
 <DaysBeforeEnd>14</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.769331</Latitude>
  <Longitude>-73.957147</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/C488" href="http://www.nyartbeat.com/event/2012/C488">
  <Name>The Hilton Brothers &quot;Tyrants + Lederhosen&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/80BD8452">
    <Name>Christopher Henry Gallery</Name>
    <Type>Gallery</Type>
    <Address>127 Elizabeth St., New York, NY 10011</Address>
    <Phone>212-244-6004</Phone>
    <Fax>646-416-6437</Fax>
    <Access>Between Grand and Broom St., Subway: J/M/Z to Bowery, 6 to Spring Street</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Tuesday by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Christopher Henry Gallery presents The Hilton Brothers: Tyrants + Lederhosen.  Photographers  Christopher Makos and Paul Solberg (a.k.a. the Hilton Brothers) break new ground with an exhibition mounted concurrent with the book publication Tyrants + Lederhosen.  The duo have authored a modern take on the photo travelogue, compiled in the first ever published Hilton Brothers anthology from 2004 to 2011. After 8 years traveling the globe as non-traditional  ‘photo-anthropologists’, the duo captures a raw candor with their pictures, void of restraint and self-consciousness.  The duo are storytellers through their photographs, seeming to unconsciously explore the contradictions and obsessions of Myth.
 
It is an artistic collaboration like no other. Two photographers in an intense collaboration over several years;  one with a legendary resume photographing many of the 20th Centuries biggest pop icons and the other a rising creative talent; fearless, borderless, with fresh eyes, known firstly for his seductive flower portraits.  The Hilton Brothers are an experiment of collaboration, as well as making art.
 
The Brothers use their cameras as their paintbrush as much as to document; details of shadows and light, suggesting the ordinary as extraordinary. They open a new window on both familiar and unfamiliar worlds.  From the Far East to the Middle East, Europe and the Americas, all worlds collide into dramatic dissonance in this seminal photographic document of our time.  The Hilton Brothers have been exhibited throughout the world, including Galerie Catherine Houard, Paris and a “one man” show at la Casa Encendida Museum, Madrid.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C488-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C488-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C488-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-04</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="19:00:00" end="22:00:00">Opening Reception</Party>
 <DaysBeforeEnd>24</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.719492</Latitude>
  <Longitude>-73.995361</Longitude>
 </Event>

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

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

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

 <Event xml:lang="en" id="2012/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/D1D6" href="http://www.nyartbeat.com/event/2012/D1D6">
  <Name>Thomas Mezzanotte Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/68DDB281">
    <Name> Umbrella Arts</Name>
    <Type>Gallery</Type>
    <Address>317 E 9th St., New York, NY 10003</Address>
    <Phone>212-505-7196</Phone>
    <Fax></Fax>
    <Access>Between 1st and 2nd Aves. Subway: 6 to Astor Place.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>13:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[[Image: Thomas Mezzanotte &quot;Untitled&quot; (2009) Photograph]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D1D6-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D1D6-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D1D6-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-18</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.729033</Latitude>
  <Longitude>-73.986828</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D1DB" href="http://www.nyartbeat.com/event/2012/D1DB">
  <Name>Yinka Shonibare MBE &quot;Addio del Passato&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/145CEA21">
    <Name>James Cohan Gallery</Name>
    <Type>Gallery</Type>
    <Address>533 W 26th St., New York, NY 10001</Address>
    <Phone>212-714-9500</Phone>
    <Fax>212-714-9510</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>Screen: Film</Media>
  <Description><![CDATA[James Cohan Gallery presents an exhibition of new works by British born, Nigerian artist Yinka Shonibare MBE. In this multi-part exhibition of new sculptures, photoworks and the premiere of a new film, Shonibare explores the concept of destiny as it relates to themes of desire, yearning, love, power and sexual repression.

Yinka Shonibare, well known for creating multi-faceted, conceptual art work, continues to draw our attention to patterns of history and how they are repeated in our own time. Following the installation of the artist’s widely-acclaimed work Nelson’s Ship in a Bottle, on the Fourth Plinth in Trafalgar Square, London, Shonibare continues his explorations of Lord Nelson, the figurehead of the British Empire at its apotheosis. Nelson’s destiny was to fall a hero at the Battle of Trafalgar just as the British Empire’s ultimate destiny was its inevitable demise. Shonibare sees a similar fate reflected on the front pages of today’s newspapers, “The Imperial West is in decline at a time of great economic challenges as we see the rise of the East. The old world is in decline and new worlds are emerging through the economic successes of China and India and the revolutions in the Arab world. We are re-experiencing a new Age of the 'Decline and Fall of the Roman Empire'.”

The main gallery will feature a series of five new photoworks entitled Fake Death Pictures. The artist refers to this series as “a re-enactment of suicide through the history of death in Painting.” Shonibare imagines a dramatized vision of the tragic event of Nelson’s death as played out over a series of five photographic allegories based on classic scenes in painting. The series brings together painting, stage design and photography to create works in the manner of The Suicide by Leonardo Alenza y Nieto (1839) and Edward Manet, (1877) and The Death of Chatterton by Henry Wallis (1856), Death of St. Frances by Bartolomé Carducho (1593) and Death of Leonardo da Vinci by François-Guillaume Ménageot (1781).

Two sculptural installations of costumes constructed in period details with Shonibare’s signature fabric will be displayed in the main gallery space. These costumes were worn by the actors in the film projected in the back gallery. Although the fabric has become a signifier of “Africaness” it is in fact a textile produced by the Dutch with patterns influenced by Indonesian batiks. And therein lays the irony: despite the misunderstanding surrounding the fabric’s cultural origins, it has come to represent a true African identity. The significance of the fabric has provided a conceptual underpinning in Shonibare’s work since his early work.

In the back gallery on view is the film Addio Del Passato (so closes my sad story) in which the character of Frances Nisbet, Lord Nelson’s estranged wife sings the eponymous aria from the last act of Verdi’s opera La Traviata. Shonibare finds a parallel in the story of Nelson’s betrayal of his wife and his passionate love affair with Lady Hamilton to the feelings of loss and yearning as expressed by the opera’s heroine Violetta, on the eve of her impending death. 

On display in the front gallery will be three sculptures of fetish objects and sex aids from bygone eras. With characteristic wit, Shonibare presents his audience with two reproductions of anti-masturbation devices—one for women and one for men—fascinating objects of beauty and horror. Complimenting the array will be a pair of fetish boots whose improbable proportions connote both domination and submission.

Yinka Shonibare, MBE (b.1962) lives and works in London, UK. Shonibare received the prestigious Fourth Plinth Commission in Trafalgar Square from the mayor of London in 2009.

[Image: Yinka Shonibare MBE &quot;Fake Death Picture&quot; (The Death of Chatterton - Henry Wallis), (2011) digital chromogenic print 50 X 62 5/8 inches, Edition of 5]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D1DB-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D1DB-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D1DB-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-16</DateStart>
  <DateEnd>2012-03-24</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="3" date="2012-02-16" start="18:00:00" end="20:00:00">Reception For The Artist</Party>
 <DaysBeforeEnd>44</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.75</Latitude>
  <Longitude>-74.003711</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/D56D" href="http://www.nyartbeat.com/event/2012/D56D">
  <Name>Joergen Geerds &quot;The Other Side&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/1A1F1D89">
    <Name>532 Gallery Thomas Jaeckel</Name>
    <Type>Gallery</Type>
    <Address>532 W 25th St., New York, NY 10001</Address>
    <Phone>917-701-3338</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave.  Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>satudays openinghour 13:00, saturdays closinghour 17:00, tuesdays closinghour 16:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>2D: Prints</Media>
  <Description><![CDATA[Through panoramic photographs, artist Joergen Geerds explores the interconnections of space and community, humans and habitats, inside and out, self and other.

Geerds highlights here not a dissociating modern city, but its underlying structures and spaces, which—temporarily freed of people by the power of the camera—allow for unity, for community. Geerds’s alchemy shows us that the city is not so much a succession of insides and outsides as it is a plastic network of other sides. If anything, he empties New York of its value as a site of exchange.

He flattens the New York of capital (snowy parks, busy restaurants, bright streets) with the New York of snow and streets. This attention to the elemental is what makes Geerds’s images so arresting: Are these photographs dark comments on a New York underneath, around, and above us all the time, hiding from us, shaping our lives?

Or are they agnostic, or even stoic works—intended to ask us questions about our city, yes, but also intended to question the spaces themselves, to bring them, in answering, into concert with one another, in the not-quite-dark of the long-exposure night?

In this critique of city spaces, Geerds’s photography recalls the maximal, place-focused interrogation of industry practiced by Allan Sekula and Noël Burch in TheForgotten Space. But—odd for a New York artist—Geerds does not bring a politics of exchange into his work.
Regardless of how we interpret or are questioned by Geerds’s many-sided New York, we can’t help but look at it, and look again.
Joergen Geerds was born in Oberstreu, Germany, in 1969. He studied photography and design under Ernst Weckert and Nicolai Sarafov at the University for Applied Science, Würzburg. Since 2000 he has resided in in Astoria, New York. Inspired by the grandeur and grime of New York City, Geerds branched into panoramic photography in 2006 after a successful career as an art director in the advertising world.
Over the years, Geerds has continually refined his love of wide-angle photography. Finding the uncropped cityscapes revealed by his flattened photographs to be unique in the market, Geerds was led to develop his own distinct style—large-scale, hyper-wide night panoramas of New York City.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D56D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D56D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D56D-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:30:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749294</Latitude>
  <Longitude>-74.004353</Longitude>
 </Event>

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

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

 <Event xml:lang="en" id="2012/DABF" href="http://www.nyartbeat.com/event/2012/DABF">
  <Name>&quot;Millennium Magazines&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: Photography</Media>
  <Media>2D: Prints</Media>
  <Media>2D: Other</Media>
  <Description><![CDATA[This survey of experimental art and design magazines published since 2000 explores the various ways in which contemporary artists and designers utilize the magazine format as an experimental space for the presentation of artworks and text. Throughout the 20th century, international avant-garde activities in the visual arts and design were often codified first in the informal context of a magazine or journal. This exhibition, drawn from the holdings of the MoMA Library, follows the practice into the 21st century. The works on view represent a broad array of international titles within this genre, from community-building newspapers to image-only photography magazines to conceptual design projects. The contents illustrate a diverse range of image-making, editing, design, printing, and distribution practices. There are obvious connections to the past lineage of artists’ magazines and little architecture and design magazines of the 20th century, as well as a clear sense of the application of new techniques of image-editing and printing methods. Assembled together, these contemporary magazines provide a first-hand view into these practices and represents the MoMA Library’s sustained effort to document and collect this medium.

[Image: &quot;Veneer. No. 05.&quot; (Portland, OR: MPH, 2008). Photograph by Flint Jamison]
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/DABF-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/DABF-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/DABF-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>2012-02-20</DateStart>
  <DateEnd>2012-05-14</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>95</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.761072</Latitude>
  <Longitude>-73.977008</Longitude>
 </Event>

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

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

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

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

 <Event xml:lang="en" id="2012/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/ED9D" href="http://www.nyartbeat.com/event/2012/ED9D">
  <Name>&quot;Hair: Text &amp; Image&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/3743889D">
    <Name>Chrystoph Marten </Name>
    <Type>Other</Type>
    <Address>511 W 25th St.,# 608, New York, NY 10001</Address>
    <Phone>212-414-1422</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Aves. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>20:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 09:00, saturdays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>2D: Prints</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[CHRYSTOPH MARTEN’s gallery presents a site-specific reading, book-launch, and exhibit of artwork on the subject of hair in an exhibit space that also serves as a salon. “HAIR” is a hand-bound, limited-edition chapbook of texts and images (art, poetry, and prose) from Cover Story, an imprint of Q Avenue Press. A selection of poems will be exhibited as prints. Featured art includes photographs by Paola Ferrario**, Helen Verbanz, John Kramer, and reprints of woodcuts (of samurai hair) by Beatriz Inglessis.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/ED9D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/ED9D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/ED9D-170" width="170" />
  <Karma>0</Karma>
  <Price free="0"></Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:30:00" end="20:30:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749322</Latitude>
  <Longitude>-74.003678</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/EF4E" href="http://www.nyartbeat.com/event/2012/EF4E">
  <Name>Molua Muldown and Lisa Pan &quot;The Dandy’s New York&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/DC18DAF7">
    <Name>Dorian Grey Gallery</Name>
    <Type>Gallery</Type>
    <Address>437 E 9th St., New York, NY 10009</Address>
    <Phone>516-244-4126</Phone>
    <Fax></Fax>
    <Access>Between 1st Ave. and Avenue A  Subway: L to 1st Avenue, 6 to Astor Place</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>2D: Prints</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[The Dandy’s New York 
 
The dandy's beauty consists above all in the cold appearance which comes from the unshakable resolution not to be moved; one might say the latent fire which makes itself felt, and which might, but does not wish to, shine forth. 
‐ Baudelaire 
 
Christopher Pusey and Luis Accorsi present the exhibition of &quot;The Dandy's New York&quot;.
 
Photographer Molua Muldown and multi‐media artist Lisa Pan reveal the authentic man behind New York’s celebrated and enigmatic dandy, Patrick McDonald. A series of environmental portrait photographs, mixed media collages and Patrick’s own poetry illustrate the East Village life and ethos of this unconventional artist. In this series, we look through the eyes of a man who has been described as a New York City living landmark and a walking work of art. Historically, New York City has been a haven for unique artists such as W. H. Auden, Quentin Crisp and Klaus Nomi. For over two decades, Patrick has been a muse and model for some of our most celebrated painters, photographers and illustrators. In our rapidly changing city, with it’s ever increasingly endangered environment for artists, Patrick’s uncompromising life simply inspires. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/EF4E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EF4E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EF4E-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-07</DateStart>
  <DateEnd>2012-03-04</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-07" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>24</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.728186</Latitude>
  <Longitude>-73.984243</Longitude>
 </Event>

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

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

 <Event xml:lang="en" id="2012/F35B" href="http://www.nyartbeat.com/event/2012/F35B">
  <Name>Shirin Neshat Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/3A325A19">
    <Name>Gladstone Gallery (Chelsea 24th Street)</Name>
    <Type>Gallery</Type>
    <Address>515 W 24th St., New York, NY 10011</Address>
    <Phone>212-206-9300</Phone>
    <Fax>212-206-9301</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_24">Chelsea 24th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Gladstone Gallery presents our fifth exhibition with Shirin Neshat. In her upcoming project, Neshat will present a new series of photographs and a video installation, both of which explore the underlying conditions of power within socio-cultural structures.  Inspired by the sweeping momentum of recent political uprisings in the Arab world, Neshat turned to both historical and contemporary sources to generate richly provocative metaphors for the network of relations that comprise a society.

The new photographic series, titled The Book of Kings, is named after the ancient book Shahnameh (The Book of Kings), a long poem of epic tragedies written by the Persian poet Ferdowsi between c. 977 and 1010 AD. Shahnameh retells the mythical and historical past of Greater Iran from the creation of the world until the Islamic conquest of Persia in the 7th Century. Divided into three groups—the Masses, the Patriots, and the Villains—Neshat’s portraits of Arab youth comprise black and white photographs with meticulously executed calligraphic texts and drawings inscribed over each subject’s face and body. These texts and illustrations—drawn from Shahnameh as well as from contemporary poetry by Iranian writers and prisoners—both obscure and illuminate the subjects’ facial expressions and emotive intensity, intimately linking the current energy of contemporary Iran with its mythical and historical past.  In this arresting body of work, Neshat returns to the confrontational nature of her iconic Women of Allah series, while refocusing on themes of revolution and the bold-faced defiance of youth. 

In her new three-channel video installation, Neshat draws upon themes of justice and the struggle of the artist against the constraints of authoritarian rule. Creating a space where moral judgment is questioned and the viewer’s allegiances oscillate between identifying with the victim and being accomplice to power, Neshat investigates the repressed and unspoken elements of social and cultural consensus through this bold new work.

Shirin Neshat was born in Qazvin, Iran and moved to the United States in 1974. She has had solo exhibitions at the Museo de Arte Moderno, Mexico City; Contemporary Arts Museum, Houston; Walker Art Center, Minneapolis; Castello di Rivoli, Turin; Wexner Center for the Arts, Columbus; the Art Institute of Chicago; the Serpentine Gallery, London; Museo de Arte Contemporaneo, León, Spain, and the the Hamburger Bahnhof, Berlin. Neshat was included in Prospect.1, the 2008 New Orleans Biennial, Documenta XI, the 2000 Whitney Biennial, and the 1999 Venice Biennale. Neshat was awarded the Silver Lion at the 66th International Venice Film Festival (2009), the Lillian Gish Prize (2006), the Hiroshima Freedom Prize (2005), and the First International Award at the 48th Venice Biennale (1999).  OverRuled, Neshat’s commission for the fourth edition of Performa, premiered in November 2011.  A major retrospective of Neshat’s work, organized by the Detroit Institute of Arts, will open in April 2013.  Neshat currently lives and works in New York City.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/F35B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F35B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F35B-170" width="170" />
  <Karma>12.5541</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748569</Latitude>
  <Longitude>-74.004161</Longitude>
 </Event>

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

 <Event xml:lang="en" id="2012/F414" href="http://www.nyartbeat.com/event/2012/F414">
  <Name>Miriam Romais &quot;Painted Voices: Photographs of Mission Murals&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/C08FA0A6">
    <Name>Grady Alexis Gallery</Name>
    <Type>Gallery</Type>
    <Address>2710 Broadway, New York, NY 10025</Address>
    <Phone>212-665-9460</Phone>
    <Fax></Fax>
    <Access>Between W 104th and W 103rd St. Subway: 1 to 103rd Street</Access>
    <Area areaId="harlem_bronx">Harlem, Bronx</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 closinginghour 13:30</ScheduleDetails>
    <ScheduleNote>Also by appointment</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Description><![CDATA[Images of fences, garage doors, aluminum siding or windows take on new meaning when layered with painted expressions of political action, spirituality, rebellion and playfulness, while featuring the hopes and dreams of a community.
Miriam Romais photographic series documents these murals, while helping the muralist further disseminate their histories to new and broader geographic audiences. The artist will donate a percentage of print sales to Precita Eyes in San Francisco, an organization that has been instrumental in their creation and preservation.&quot;
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/F414-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F414-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/F414-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">free</Price>
  <DateStart>2012-01-16</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote>Mon-Thurs 10am-6pm, Sat 10am-1pm and by appointment</ScheduleNote>
 <Party type="1" date="2012-01-16" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.799514</Latitude>
  <Longitude>-73.9682</Longitude>
 </Event>

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

</Events>
