BEGIN:VCALENDAR PRODID;X-RICAL-TZSOURCE=TZINFO:-//com.denhaven2/NONSGML ri_cal gem//EN CALSCALE:GREGORIAN VERSION:2.0 BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120510T200000 DTSTART;VALUE=DATE-TIME:20120510T180000 DESCRIPTION:Able Fine Art NY gallery is pleased to present the works of A ugustus Goertz\, Tom Evans and Lee\, GanU. This exhibition will expose e ach artist’s vision of nature through the context of their own experie nce. The unifying bond between these works is found while exploring a jo urney through time of the artist’s mind and intentions.\nLee GanU’s mixed media paintings with Korean stamps harmonize the past and present. Large-scale pixilated assemblages consisting of numerous carved stamps present the meaning of time and cultural history. Beyond the traditional use of the seal stamps\, which have been used for purposes of authentic ity in times past\, Lee brings forth vibrant compositions of Contemporar y Art reflecting the reality of present life.\nWith a thick textural sur face of abstraction\, Augustus Goertz’s pieces seek to investigate the philosophical uncertainty of time. His paintings such as “\;Einste in”\;\, “\;Ancient”\; and “\;Pirate”\; evoke th e spiritual soul from the past and bring them to life.\nWith his newer a pproach to painting\, Tom Evans composes vibrant organic shapes with ric h luminosity which he believes to be essential to the life of his painti ngs. Constantly in a state of flux\, his paintings take charge with thei r dynamic and powerful presence. URL:http://www.artcat.com/exhibits/16967 SUMMARY:Journey of Time LOCATION:Able Fine Art NY Gallery: 511 West 25th Street\, Suite 507\, 21 2-675-3057 (Chelsea) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120510T200000 DTSTART;VALUE=DATE-TIME:20120510T180000 DESCRIPTION:[FEATURED OPENING]\n\nFOREVER &\; TODAY\, INC. presents AN ARANJA by New York-based\, Mexican-American multidisciplinary artist CLA UDIA PEÑA SALINAS. The exhibition features a newly commissioned site-sp ecific installation and limited edition artist book inspired by and crea ted through the context of Forever &\; Today\, Inc.ʼs location on th e cusp of where Chinatown and the Lower East Side neighborhoods meet—a s a constant state of flux pervades and boundaries are blurred.\nThis ov erall sense of intermingling extends to the title of the exhibition\, “Anaranja\,” deriving its name from Peña Salinasʼ combination of t wo Spanish words that refer to orange: “naranja\,” the fruit\, and “anaranjado\,” the color itself. Through the use of word play\, she forms a hybrid word that means both\, retaining the feminized version in Spanish by using the “a” at the end\, as a personal reference.\nDra wing from her life experience as an immigrant daughter of Mexican orange orchard cultivators\, along with wandering the neighborhood streets\, f lâneur-like\, Peña Salinas explores the relationship of the orange fru it and color\, observing its prevalence in Chinese culture and tradition . Functioning much like portraiture\, Anaranja is a parallel search for individual significance as well as for recognition of the two most popul ous and currently influential immigrant cultures in New York City.\nOran ge has a strong association for the Chinese as a symbol of prosperity\, and Peña Salinas examines it through color\, food\, folklore\, ritual\, and religious ceremony. Walking through Chinatown\, she discovers orang es are ubiquitous: for sale on fruit stands\, as ritual offerings in Bud dhist temples\, in makeshift altars in corner stores\, as a post-dim sum dessert\, in florists as miniature trees\, and as artificial plastic ob jects. Her artist book\, Anaranja\, 2012\, chronicles the experience thr ough poetry and photographs as she encounters manifestations of orange\, searching for the blossoms as a form of springtime awakening and the fl ourish of new creative life.\nThe Anaranja installation at Forever &\ ; Today\, Inc.ʼs storefront further evokes orange through color\, textu re\, smell\, light\, and assemblage. Bringing together sculpture\, paint ings\, photographs\, and found objects\, Peña Salinas makes carefully c onsidered associations to create a subtle visual language with both macr o and micro perspectives. The materials for the installation have all be en either found or sourced in the Chinatown neighborhood\, and often sig nificant is the good luck number three\, which appears in different ways within the collected works\, literally or through implied absence.\nThi s tableau includes a worn chair placed upside-down upon the floor\, with a wax orange perched upon one leg\, creating a somewhat puzzling juxtap osition. Upon the back wall\, a digital inkjet photographic print is adh ered\, depicting the view through the window from behind the counter of the Chinese family fruit market next door to Forever &\; Today\, Inc. ʼs storefront. In it\, one sees a collection of objects from reverse\, including a ceramic good luck cat and goldfish\, as well as a colorful j umble of traditional Chinese medicine packages.\nAdditionally\, two pain tings on canvas made from orange Kool-Aid face each other from opposite walls\, as if in silent dialogue. A miniature heart-shaped tombstone mod el of polished black marble sits upon the floor nearby a stacked column of decorative plastic boxes\, containing a vintage photograph of orange blossoms encased inside. An orange light fixture glows from the floresce nt lights above\, making for another pop of color on the ceiling. The sw eet smell of oranges hangs in the air\, scenting the room and adding a m editative sensory resonance to the installation.\nAt once this curious g rouping of works seems interconnected\, by the orange objects and colors \, and also the threes or triplings that begin to reveal themselves both in the installation and the artist book.\nThree being a lucky number in Chinese culture\, but also for Peña Salinas\, as a lifelong personal n umber of special meaning\, as well as the triangulation between artist\, work\, and audience.\nCLAUDIA PEÑA SALINAS (b. 1975\, Montemorelos\, N uevo Leon\, Mexico) lives and works in New York. She received her MFA fr om Hunter College\, New York (2009) and has received awards including th e Jacob K. Javits Fellowship (2007). Her recent group exhibitions includ e Queens Museum of Art\, Queens\, NY (2012)\; Convent of St. Cecilia\, B rooklyn\, NY (2010)\; Flux Factory\, Queens\, NY (2010)\; Sara Meltzer G allery\, New York (2010)\; Roebling Hall\, Brooklyn\, NY (2006)\; El Mus eo del Barrio\, New York (2005)\; as well as performances such as Swiss Institute at The Armory Show\, New York (2006)\, residencies including S OMA\, Mexico City\, Mexico (2011) and many self-published artist books a nd publications.\nFOREVER &\; TODAY\, INC. is a non-profit organizati on founded in 2008 with a mission to curate and commission projects by a single artist\, collective\, or collaborative entity\, extending opport unities to create new work and engage diverse audiences through exhibiti ons\, site-specific installations\, performances\, publications\, and ed ucational and public programs. Sponsored by New York Foundation for the Arts (NYFA)\, a 501©\;(3)\, Forever &\; Today\, Inc. currently in habits a 100-squarefoot storefront on the cusp between New York’\;s Lower East Side and Chinatown. www.foreverandtoday.org\nSPECIAL THANKS to Chris Domenick\, Alejandro Almanza Pereda\, and Denise Schatz. URL:http://www.artcat.com/exhibits/17188 SUMMARY:Claudia Peña Salinas: Anaranja LOCATION:Forever & Today\, Inc.: 141 Division Street\, 646.455.1744 (Eas t Village / Lower East Side) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120510T200000 DTSTART;VALUE=DATE-TIME:20120510T180000 DESCRIPTION:DOOSAN Gallery New York is pleased to announce Thread\, the s olo exhibition of Siyeon Kim\, from May 10 to June 9\, 2012. The exhibit ion features three digital prints and her latest installation work.\nKim is renowned for her installations and digital prints which represent an ordinary scene in a surrealistic circumstance. The point of departure i n Kim’s works often appears in the medium of her installation. She ela borates with consumable material which can disappear or expire in a flas h\, yet depicts its instant and aggressiveness.\nKim cautiously plans th e intricate composition and the fragile objects such as the skein made o f eraser dust\, needle and color pencils which explain the subtle energy . The tension from her delicate creations and uses color ‘blue’ is t he metaphors of state of gloomy sentiment\, sense of loss and lack of co mmunication in modern society. In this exhibition\, she describes parado x of the contemporary art by suggesting contradiction of approachable ma tter in the ‘inaccessible condition’ which acts as a kind of psychol ogical barricade.\nSi Yeon Kim was born in 1971 in Seoul\, Korea. She re ceived B.F.A and M.F.A. in sculpture from Ewha Womans University in Seou l\, Korea\, M.F.A. in Fine Arts from School of Visual Arts in New York\, NY\, USA. She has had solo exhibitions at 16 bungee (2011\, Seoul\, Kor ea)\, Gallery Hyundai Window\, (2010\, Seoul\, Korea)\, Gallery Satori ( 2009\, New York\, NY\, USA)\, and Gallery Em (2008\, Seoul\, Korea). Her works has also been included in group exhibitions at Seoul Museum of Ar t (2009\, Seoul\, Korea)\, Ssamzie Space (2007\, Seoul Korea)\, Seoul Ol ympic Museum of Art (2006\, Seoul\, Korea)\, National Museum of Contempo rary Art (2004\, Gwacheon\, Korea)\, Art in General (2002\, New York\, N Y\, USA)\, and Queens Museum of Art (2001\, Queens\, NY\, USA).\nAbout D OOSAN Gallery and DOOSAN Residency in New York\nDOOSAN Gallery New York and DOOSAN Residency New York are dedicated to discovery of and support for young and emerging Korean artists. Managed by DOOSAN YONKANG Foundat ion in Seoul\, Korea\, DOOSAN Gallery New York is Korea’s first non-pr ofit organization to be officially recognized by the State of New York a nd the New York City Department of Education. The organization provides artists with resources\, such as studio and exhibition space and housing in New York City. The organization’s mission is to serve as a gateway to significant exposure and opportunities for the artists by nurturing their creativity and helping them share their work with a broader audien ce. URL:http://www.artcat.com/exhibits/17093 SUMMARY:Thread LOCATION:Doosan Gallery: 533 West 25th Street\, New York\, NY\, 212 242 6 343 (Chelsea) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120510T200000 DTSTART;VALUE=DATE-TIME:20120510T180000 DESCRIPTION:[FEATURED OPENING]\n\nNicole Klagsbrun is pleased to present Billy Sullivan’s fifth solo exhibition with the gallery. With his sign ature directness and clarity\, Sullivan continues to paint portraits of close friends and acquaintances. Together with these portraits\, a new s eries of still life paintings will be exhibited\, as well as a foray int o wallpaper featuring the Yorkshire terrier\, Missy\, as the central mot if.\nSeldom seen without his camera\, Sullivan has built up an archive o f subject matter ranging from Manhattan’s downtown club scene of the 1 970s\, to close friends\, to chronicling the fashion world\, to intimate scenes on Long Island beaches. He can return to this archive for new su bjects\, or pose new and old friends in his studio. The still lifes he h as recently created are lively and luminous in their execution and refle ct the impact on Sullivan’s paintings of Long Island’s East End’s clear\, ocean- washed light\, and the occasional influence of Fairfield Porter and Jane Freilicher\, just as scenes of Manhattan’s occasionall y crowded interiors take Warhol into account.\nSullivan continues to alt ernately work in his Long Island and Lower Manhattan Bowery studios. Ove r the years his work has been included in numerous solo and group exhibi tions in the U.S. and abroad\, including the 2006 Whitney Biennial\, Day for Night\, and the more recent group show curated by Carroll Dunham fo r the Addison Gallery of American Art at Phillips Academy in Andover\, M A\, Open Windows: Keltie Ferris\, Jackie Saccoccio\, Billy Sullivan\, an d Alexi Worth. Sullivan’s work can be seen in the collections of the M useum of Modern Art and the Metropolitan Museum of Art\, both in New Yor k City\, as well as in The Parrish Art Museum in Southampton\, New York\ , the Detroit Institute of Arts\, New Orleans Museum of Art\, and the El lipse Foundation of Contemporary Art Collection\, Lisbon\, Portugal\, am ong others. URL:http://www.artcat.com/exhibits/16941 SUMMARY:Billy Sullivan LOCATION:Nicole Klagsbrun Gallery: 532 West 24th Street\, 212-243-3335 (C helsea) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120510T200000 DTSTART;VALUE=DATE-TIME:20120510T180000 DESCRIPTION:OPENING TIMES: Wednesday to Sunday 12 to 6pm\nThe work in thi s show is a continuation of my involvement with representing time and sp ace\, as well as picturing the specific formal properties of various mat erials\, utilized as both subject and object. As I’\;ve explored th e photographic medium and attempted to break down its alienating charact eristics\, such as its professional materials or the depiction of an ina ccessible time past\, I’\;ve arrived at a place where I’\;m im plementing its inherent immaterial traits – time\, representation\, an d indexicality – as catalysts for interaction with various other art-f orms. The goal is to collapse the subject and medium to produce an objec t that is inextricably linked with its process in order to involve the v iewer in the timeline of production rather than display an inert moment from the past. As I move forward in dealing with the questions surroundi ng representation\, the work accumulates to something human and emotiona l while illustrating the universal actions of the world we live in.\nFor the Joshua Tree pieces I hand dyed linen with natural colors to tune in with the environment and wrapped the fabric around rocks that acted as directive cairns within the landscape – functioning as colored beacons leading the viewer on a walk from one to the next during a temporary in stallation at High Desert Test Sites in 2011. They were left wrapped aro und the rocks for nearly four months so the shape of the rock is exposed or photographically “burnt” into the fabric while the rest of the m aterial is shaded and the color preserved under the rock or in a crevice of the boulders. Heavyweight organic linen was used to match the harshn ess of the high desert climate\, withstanding the elements while absorbi ng the salt from the rocks which succeeds in not only picturing the boul ders by exposure to sunlight\, but also literally inheriting the weather and material\, allowing the artwork to fully become a representation of Joshua Tree and transpose its essence.\nAs I’ve been working with sun light and its capacity to represent a duration of time on various substr ates\, I’ve been exploring other ways to picture time and collaborate with nature to produce a sense of place within an object. Over the winte r in Topanga Canyon I used firewood as a readily available and commonpla ce subject to illustrate the rainfall and produce an image of the wood i tself. The counteracting elements of fire and rain are spoken to as powd ered pigment was placed on each piece of wood that sat on top of terry c loth outdoors so as it rained the dry pigments were splashed onto the su rface. One color is given to each piece of wood\, but each pigment itsel f is composed of various colors\, so as the dye is splashed off the wood to the terry cloth we see the pattern of rain and its separation of the colors as the large drops that hit the wood hard shower unique pigments afar while the areas that are closer to the wood mix and produce a more homogenous color. Just as the linen was used in Joshua Tree for its dur ability\, the terry cloth was chosen for its absorbent property and the domestic reference is also appropriate since they were made in the yard of my house. The terry cloth pieces with more color depict a day of heav y rainfall while the less saturated pieces show a day of light and infre quent rain. The wood is illustrated on the fabric as a negative image – we see where the cloth was protected by the wood and the sculpture r epresents this cost on the wood itself. Wood functions as a useful subst rate as well – the porous predecessor of paper – and as the rain cat alyzed the dye it was dually absorbed into the wood as well. The sculptu re is composed of one cord of wood\, the basic volume measuring unit of firewood.\nThe hose images on burlap are made with perforated\, domestic irrigation hoses. I laid these hoses on burlap\, another common gardeni ng material\, and poured in two fabric dye colors at either end through a hole cut into the hose. I plugged the end of the hose and ran water th rough it so the colors seep out onto the fabric and outline the hose. Wh en the water reaches the end of the hose it backs up and the dyes mix to produce variations of a third color. Like the sun fades\, these pieces are direct representations of the subject at hand on the substrate and\, though not technically photographic in nature\, it is a true illustrati on of the hose. As water is the intended medium to flow through a hose\, its mixture with fabric dye allows the subject’\;s intended utilit arian nature to be traced.\nThe aluminum sculpture is powder coated with two different composites of pigment. Each piece is fully covered in a U V protected pigment\, and then the inside is re-coated with a non-UV pro tected pigment. So\, though each respective panel appears to be the same color on either side now\, the sides facing inwards will all fade in th e sun. The form that each sculpture takes dictates the shadows that fall on the inside of the sculpture and the gradient of sunlight is revealed over time\, burned into the sculpture like a photograph. Though the ima ge is seemingly abstract\, it is the shape of the sculpture itself that is represented. The goal of these sculptures is to be permanently instal led outdoors so not only do they become a representation of their form\, but also the specific path of sunlight for the site in which they are u ltimately installed. In contrast to most outdoor sculpture intended to d efy the burden of time\, these sculptures grow symbiotically with time a nd age\, just as we do. Eventually the inside pigment will fully fade aw ay and the coat of exterior pigment underneath that has been hidden will slowly begin to appear reversing the process – the most exposed parts will become saturated again and the composition will inverse until the sculpture is returned to its original all-over composition- you know\, l ike birth and death.\nThe granite\, bronze and aluminum sculptures speak more directly to life and death as they are inspired by 19th century gr avestones from Père Lachaise cemetery in Paris. Similar to the colored aluminum sculptures\, these pieces are made for outdoor installation and will trace the passage of time\, but via oxidation and rain rather than sunlight. Each piece in the diptych is composed of two parts\, one gran ite and bronze the other granite and aluminum\, one with the bronze cube on top\, the other with an aluminum cube. The bronze will change over t ime to a blue-green color as it’\;s oxidized by the elements and th e color will run down the granite staining it\, while the reciprocal pie ce will age and weather\, but not oxidize so clearly. The clean granite and aluminum function as a constant that mark the persistence and unchan ging presence of time\, while the oxidizing bronze and stained granite w ill record the linear movement of time and the harsh degenerative qualit ies of nature and the environment.\nOverall\, I hope the show offers a s ense of space and time through image and material. Each piece is not onl y a representation of a specific subject\, but an image of the material itself and its interaction with time and nature. While the fabric piece s are transported to the gallery as completed representations of a speci fic location and its environment\, the aluminum and granite sculptures a re friendly propositions to the viewer to bear witness to their completi on complementary to their own lifespan. The aesthetics of color and form are chosen to speak to the optimism of life and the comfort offered by natural elements such as the sun and rain\, while symbiotically allowing the pervasiveness of our movement toward death to show through. Sam Falls\, 2012.\nSam Falls (b. 1984\, San Diego\, CA) received his BA from Reed College in 2007 and MFA from ICP-Bard in 2010. Falls’ wor k has been exhibited in the US and abroad\, including solo exhibitions a t China Art Objects\, LA\, West Street Gallery\, NY\, Fotografiska\, His work has been written about in Modern Painters\, ARTFORUM\, Frieze and Aperture. His most recent monographs include Val Verde\, Karma\, 2011\, Paint Paper Palms\, Dashwood Books\, 2011\, and Visible Library\, Lay Fl at\, 2011. Falls lives and works in Los Angeles. URL:http://www.artcat.com/exhibits/17248 SUMMARY:Sam Falls LOCATION:American Contemporary: 4 East 2nd Street\, 347.789.7072 (East Vi llage / Lower East Side) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120510T210000 DTSTART;VALUE=DATE-TIME:20120510T180000 DESCRIPTION:The Christopher Henry Gallery is pleased to present A Cut Abo ve: 12 Paper Masters\, a group exhibition celebrating the renaissance of cut paper as an artistic medium. The exhibition features 12 internatio nal artists who choose to draw with a knife\, saw or scissors as an inte gral part of their practice. A timely show\, it responds to widespread current debates surrounding the use of cut paper and books in contempora ry artistic practice\, exploring the work of 12 artists engaged in paper manipulation. Individually\, these artists are praised for their distin ctive techniques and approach to working in this medium. As a collective \, A Cut Above provides an insight into how the medium has gained tracti on on the international art stage and presents a broad spectrum of works by emerging and established artists from the United States and abroad\, some exhibiting in New York for the first time.\nThe artist’s manipul ation of paper is a transformative act – rather than simply drawing an d painting on the surface\, the material itself becomes the key\, if not sole\, component of the artist’s expression of emotions and narrative s. The meticulous act of cutting might suggest an obsessive tendency wit h an undertone of brutality but the end result is a graceful\, often eth ereal\, arabesque of positive and negative space. Underpinning the mater ial importance of paper A Cut Above highlights the shifting use of cut p aper from a peripheral “decorative” medium\, to an art form that tra nscends the boundaries between craft\, design and fine art. The exhibit ion engages with broader contemporary concerns: for example\, the world ’s depleting natural resources\, the death of the book and our increas ed reliance on an unfiltered “virtual sphere” in a consumer-driven\, digital age. A possible reaction against the acute influence of current digital technologies on art\, this renewed enthusiasm for cut paper and books brings the focus back to the artist as maker and satisfies our ve ry human desire for the authentic\, the original and the hand-crafted.\n Exhibiting Artists: Hina Aoyama (b. Japan)\, Jaq Belcher (b. Australia)\ , Doug Beube (b. Canada)\, Zoe Bradley (b.UK)\, Brian Dettmer (b. USA)\, Danielle Durchslag (b. USA)\, Adam Fowler (b. USA)\, Chris Gilmour (b.U K)\, Dylan Graham (b. New Zealand)\, Guy Laramée (b. Canada)\, Pablo Le hmann (b. Argentina)\, and Thomas Witte (b. USA) URL:http://www.artcat.com/exhibits/16861 SUMMARY:A Cut Above: 12 Paper Masters LOCATION:Christopher Henry Gallery: 127 Elizabeth Street\, at Broome\, 21 2-244-6004 (East Village / Lower East Side) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120510T210000 DTSTART;VALUE=DATE-TIME:20120510T190000 DESCRIPTION:Artists:\nRacini Andres\, Dalal Ani\, Hyun Jung Cho\, Aron Lo uis Cohen\, Alicia DeBrincat\, Paulina Garcia\, Alice Gibney\, Reena Kat z\, Julia Kul\, Yali Lewis\, Camilo Leyva\, Cupid Ojala\, Lucille Pack\, Kalena Patton\, Leah Raintree\, Michael Ratulowski\, Summer Shiffman\, John Small\, Johnny Thornton\, Pablo Gomez Uribe\, Rebecca Volinsky\, Ja de Yumang\n(RE)PURPOSE presents the work of 22 artists who address diver se critical and socio-political questions working through a wide-ranging vocabulary of formal languages and media. While a remarkably diverse g roup\, shared ideas and intellectually collaborative spirit unite their practices. Within their work\, examples abound of reusing found materia ls\, whether straight objects or conceptual material\, through purposefu l investigations based on social\, political\, historical\, formal\, and gendered questions. The determination to contend with the pressing que stions and issues before them distinguishes this work\; for this group o f artists\, the question of making art that is “\;with broader purp ose”\; is a palpable aspiration. URL:http://www.artcat.com/exhibits/17119 SUMMARY:(RE)PURPOSE: Parsons MFA Thesis Show curated by Jane Panetta and Victoria Roberts LOCATION:The Kitchen: 512 West 19th Street\, 212-255-5793 (Chelsea) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120510T210000 DTSTART;VALUE=DATE-TIME:20120510T190000 DESCRIPTION:Heather L. Johnson . suck squeeze bang blow . May 10 –\; June 03\, 2012\nKESTING/RAY is pleased to present New York artist Heath er L. Johnson’s third solo exhibition\, suck squeeze bang blow.  In a collection of new embroideries on linen inspired by vintage motorcycles and superimposed with celestial drawings\, maps and letters\, Johnson h as stitched elegantly symmetrical works that embody the repetition\, rev olution and contradiction of natural and mechanical motion. The exhibiti on opens on May 10th and runs through June 3rd. A reception for the arti st will be held on Thursday\, May 10th\, 7–9pm at KESTING/RAY\, locate d at 30 Grand Street\, New York. \nEvent link: http://kestingray.com/20 12/04/exhibitions-2012-johnson/ URL:http://www.artcat.com/exhibits/17101 SUMMARY:Heather L. Johnson . suck squeeze bang blow LOCATION:Kesting / Ray: 30 Grand Street\, 212 334 0204 (Soho) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120510T200000 DTSTART;VALUE=DATE-TIME:20120510T180000 DESCRIPTION:Stux Gallery is pleased to announce Steven Charles’\; ne w solo show\, “\;I Don’\;t Know What My Life To Do With”\ ;. This is Charles’\; sixth solo show and first show at Stux. Worki ng with a vast repertoire of imaginative materials and painting processe s\, Charles’\; canvases offer an electrifying clash of dizzying\, e xplosive patterns\, complemented by the presence of staunch control.\nBo rn to an auto-worker father in England\, Charles grew up in Texas and be came the only artist in his family. He abandoned his original interest i n portraiture and landscape paintings after personally experiencing abst raction’\;s ability to generate confusion and mystery. His unplanne d\, spontaneous\, over-saturated and borderline psychedelic paintings ar e executed with exhausting exactness and discipline. A genuine lover of “\;clutter”\;\, Charles admires minimalists such as Agnes Mart in for their restraint.\nSeverely nearsighted\, Charles works inches awa y from the canvas\, and obsessively covers every inch of the fabric with layers of dense patterns of bright\, sometimes microscopic enamel dots and playful surfaces. Every edge is precisely calibrated\, and the inter lacing patterns allude to a possible overarching rhythm. This insistence for order creates a frustrating sense of confinement that makes the spo ntaneous\, bursting energy of his dynamic technique even more dazzling. Objects such as rulers\, towels and yarn are occasionally incorporated f renetically without apparent consideration for anything besides their co ntour and texture. Viewed at a distance\, the intricate details recede\, and the dizzying breathlessness transforms into an overwhelming sensati on of depth and expansiveness.\nCharles’\;s maximalist\, completely abstract surface questions the notion that abstraction\, by common defi nition\, is a process of reduction. Maps\, terrains\, computer circuits\ , native American references\, urban plans and biological forms all appe ar as viewers attempt to decipher his pulsating networks. His saturated images become mirrors that viewers can’\;t help but project themsel ves upon\, but any faint recognition of identifiable forms will become i mmediately overturned by Charles’\; gift for creating ephemeral\, s eemingly intentional suggestions.\n-Lucy Li URL:http://www.artcat.com/exhibits/17125 SUMMARY:“\;I Don’\;t Know What My Life To Do With”\; New P aintings by Steven Charles LOCATION:Stefan Stux Gallery: 530 West 25th Street\, 212-352-1600 (Chelse a) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120510T200000 DTSTART;VALUE=DATE-TIME:20120510T180000 DESCRIPTION:Stux Gallery is pleased to announce the first solo show of dr awings and paintings by Hiroshima born\, Japanese artist Akikazu Iwamoto . Akikazu creates wildly imaginative\, candy-colored paintings and drawi ngs that offer confronting\, amusing\, and sometimes frightening revelat ions of our inflated inner desires in their most distilled state.\nAkika zu was orphaned at a young age\, and raised by his grandmother in a hous e just one kilometer away from the Atomic Bomb Dome. The images and arti facts of the Bomb affected him greatly during his childhood\, but the ma in subject for his artwork is a general deep-seated sense of wickedness that he believes exists in every human psyche.\nAkikazu cites Maurice Ut rillo\, an early 20th century Montmartre painter of emotionally charged Parisian landscapes\, as one of his notable inspirations. His works are also influenced by the ethereal colors he witnessed during a trip to Nep al as well as the works of American painter Aaron Johnson and Canadian M arcel Dzama. His visions take place in a comprehensive atmosphere free f rom the restrictions of reality\, where violently mutated creatures\, de tached body parts and nondescript organic forms are rendered masterfully \, contesting an inherent connection between violence and innocence.\nIn Collector 2\, a tiger with five arms and a thousand legs\, which repres ents the artist himself\, is dressed in neon yellow dress. Small\, smili ng monsters float about leisurely\, and a growth from the tiger’\;s ear impales a creature that seems to be attempting to hop over the tige r like a pole-vaulter. The characters hover above a receding blue backgr ound\, and all signs of violence and feral grotesqueness evaporate tempo rarily beneath Iwamoto’\;s candied colors and balanced composition. \nHis vast portfolio of drawings further showcases his powerful imaginat ion\, and sheds light on his enigmatic compositional processes. Delicate ly rendered with pastels and colored pencils\, these images offer sponta neous\, experimental\, stand-alone frames that\, in their totality\, for m a panorama of his mental kingdom. They often emanate a sense of myster y that supplements the excitement and energy of his canvases. Their sket chbook-like quality inserts a reporter’\;s notebook-sensibility tha t makes these jarring\, candid scenes from his psychological landscape s imultaneously personable and haunting.\n-Lucy Li URL:http://www.artcat.com/exhibits/17126 SUMMARY:New Paintings by Akikazu Iwamoto LOCATION:Stefan Stux Gallery: 530 West 25th Street\, 212-352-1600 (Chelse a) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120510T200000 DTSTART;VALUE=DATE-TIME:20120510T180000 DESCRIPTION:[FEATURED OPENING]\n\nEDITIONS ’\;12\nEXHIBITION OPENING AND CATALOGUE LAUNCH\nReception: Thursday\, May 10\, 6-8 pm\nExhibition Dates: May 10 –\; July 8\, 2012\nHours: Monday – Friday\, 10am-6 pm\; Saturday – Sunday\, 12 –\; 6pm\nFree and open to the public\ nLower East Side Printshop is pleased to announce the EDITIONS ‘12: EX HIBITION OPENING AND CATALOGUE LAUNCH on Thursday\, May 10. The exhibiti on will be on view at the Printshop from May 10 – July 8\, 2012. With a catalogue essay by Roberta Waddell\, a renowned print expert and forme r Curator of Prints at the New York Public Library\, the catalogue and e xhibition feature new works created by recipients of the Printshop’s S pecial Editions and Publishing Residencies: Hong Seon Jang\, Jennie C. J ones\, Darina Karpov\, and David Kramer\, and Enoc Perez.\nThe Special E ditions Residency provides emerging artists with an opportunity to creat e a major new body of work in collaboration with Master Printers Erik Ho ugen and James Miller\, fully sponsored by the Printshop. Hong Seon Jang \, Jennie C. Jones\, Darina Karpov\, and David Kramer have all immersed themselves in printmaking for several months\, exploring new materials a nd techniques that have broadened their practice. What followed were out standing projects of conceptual and technical expertise that showcase th e artists’ most ambitious print projects to date.\nEnoc Perez created the Lever House suite through the Printshop’s exclusive Publishing Res idency Program\, also working with Dusica Kirjakovic\, Erik Hougen\, and James Miller. Continuing his exploration of modernist buildings and the ir architectural allure\, both symbolically and aesthetically\, Perez ha s revisited the distinguished New York City Lever House building as subj ect. Ultimately\, these prints offer both a bold point of view and a sen se of effortless completion.\nThe Printshop’\;s residency programs offer opportunities to artists of all career stages to use professional facilities and collaborate with talented printers who approach each arti st’s vision with great care and skill.\nAbout the Artists\nHONG SEON J ANG (b. 1972\, Seoul\, South Korea\; lives and works in Queens\, NY) rec eived his MFA from Rochester Institute of Technology and BFA from Dan Ko ok University. Select exhibitions include Islip Art Museum\, East Islip\ , NY\; Smack Mellon\, Brooklyn\, NY\; Dumbo Art Center\, Brooklyn\, NY\; Socrates Sculpture Park\, Long Island City\, NY\; and David B. Smith Ga llery\, Denver\, CO. He has participated in many residency programs and is the recipient of the Urban Artist Initiative Grant.\nJENNIE C. JONES (b. 1968\, Cincinatti\, OH\; lives and works in Brooklyn\, NY) received her MFA from Rutgers\, Mason Gross School of the Arts\, and BFA from The School of the Art Institute of Chicago. Select exhibitions include Sikk ema\, Jenkins &\; Co\, New York\, NY\; The Kitchen\, New York\, NY\; The Studio Museum in Harlem\, New York\, NY\; The Center for Book Arts\, New York\, NY\; Yerba Buena Center for the Arts\, San Francisco\, CA\; Atlanta Contemporary Art Center\, GA\; and forthcoming exhibitions at Th e Menil Collection\, Houston\, Texas and The Hirshhorn Museum and Sculpt ure Garden\, Washing\, DC. Jones is the recipient of grants from Creativ e Capital and The Pollock-Krasner Foundation.\nDARINA KARPOV (b. 1973\, St. Petersburg\, Russia\; lives and works in Brooklyn\, NY) received her MFA from Yale University and BFA from Maryland Institute College of Art . Select exhibitions include Hales Gallery\, London\, England\; Irish Mu seum of Modern Art\, Dublin\, Ireland\; Daniel Weinberg Gallery\, Los An geles\, CA\; Lehman College Art Gallery\, Bronx\, NY\; and Peter Fingest en Gallery\, New York\, NY. She is a recipient of The Pollock-Krasner Fo undation Grant and is represented by Pierogi Gallery.\nDAVID KRAMER (b. 1963\, New York\, NY\; lives and works in New York\, NY) received his MF A in sculpture from Pratt. His work has been the subject of national and international solo exhibitions including Galerie Laurent Godin in Paris \, France\; Aeroplastics Contemporary in Brussels\, Belgium\; Pierogi in Brooklyn\, NY\; Tom Jankar Gallery in Los Angeles\, CA\; Pollard + Mulh erin Gallery in New York\, NY\; and Heiner Contemporary in Washington DC . He is the recipient of the New York Foundation for the Arts Grant Fell owship and The Pollock-Krasner Foundation Fellowship.\nENOC PEREZ (b. 19 67\, San Juan\, Puerto Rico\; lives and works in New York\, NY) received his MFA from Hunter College and BFA from Pratt Institute. In 2007 he wa s the focus of a major survey exhibition at MoCA at Goldman Warehouse\, Miami. He has exhibited in museums and galleries internationally\, inclu ding the Centre Pompidou\, Paris\, France\; The Collezione Maramotti\, R eggio Emilia\, Italy\; the UCLA Hammer Museum\, CA\; The Aldrich Contemp orary Art Museum\, CT\; and El Museo del Barrio\, NY. Perez is represent ed in New York by Acquavella Galleries.\nAbout the Essayist\nROBERTA WAD DELL is an independent curator\, a former Curator of Prints at the New Y ork Public Library\, and a member of the Print Council of America.\nLowe r East Side Printshop’\;s programs have been supported in part by p ublic funds from the National Endowment for the Arts\, New York State Co uncil on the Arts\, a state agency\, and the New York City Department of Cultural Affairs in partnership with the City Council. Private supporte rs have included: Lily Auchincloss Foundation\, Milton and Sally Avery A rts Foundation\, Bloomberg Philanthropies\, Greenwall Foundation\, Jerom e Foundation\, New York Community Trust –\; Edward and Sally Van Li er Fund\, PECO Foundation\, Andy Warhol Foundation for the Visual Arts\, and our generous patrons and members.\nThis program is supported\, in p art\, by public funds from the New York City Department of Cultural Affa irs in partnership with the City Council.\nThis program is made possible with public funds from the New York State Council on the Arts\, a state agency.\nThis program is supported in part by an award from the Nationa l Endowment for the Arts.\nSpecial thanks to our Patrons:\nAkua Water-ba sed Inks\, Laura and Lloyd Blankfein\, Lisa Pevaroff-Cohn and Gary Cohn\ , Deutsche Bank\, Peter Ezersky\, Susan and Eddie Falk\, Courtney Finch Taylor\, Michael and Laura Fisch\, Cheri Friedman\, ICAP / John Nixon\, Martin and Shelley Kaufman\, John B. Koegel\, Esq.\, Stacey and Curtis L ane\, Stacy and John Louizos\, Jill and Thomas Marino\, Newmark Knight F rank/Jeffrey Gural\, Jane Nixon\, Andrew Charles Porter\, Carla and Tim Porter\, Jane Dresner Sadaka and Ned Sadaka\, Mary and David Solomon\, C ristin Tierney Gallery\, and Volusion\, Inc.\nWe thank our volunteers\, friends\, members\, and patrons for their dedication\, support\, and gen erosity. URL:http://www.artcat.com/exhibits/17039 SUMMARY:EDITIONS ’\;12 LOCATION:Lower East Side Printshop: 306 West 37th Street\, 6th Floor\, 21 2-673-5390 (Hell's Kitchen) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120510T200000 DTSTART;VALUE=DATE-TIME:20120510T180000 DESCRIPTION:Trinity Museum Looks at Today’s Iconography\nIconography ha s been an integral element of the human quest for spiritual fulfillment for thousands of years. Typically depicting aspects of the life of Chri st\, the saints\, and the heavenly realm\, what constitutes iconography today is open to interpretation. There are infinite choices in terms of public and private examples of the iconic\, running the gamut from trad itional emblems to ubiquitous pop culture branding.\nFrom May 11 to June 30\, 2012\, Trinity Museum\, inside Trinity Church (Broadway at Wall St reet)\, presents Soul Seekers: Interpreting the Icon\, an eclectic and s urprising collection of sculpture\, painting\, photography\, film and te xt. Karen Azoulay’\;s funereal and elegiac photographic images ref erence art historical symbolism while evoking a deeply contemplative atm osphere\; Matthew Dayler’\;s embracing fighters challenge the perce ption of intimacy and highlight the figure as a timeless cultural motif\ ; and Jeffrey Mongrain’\;s subtle expressions of human frailty and spiritual symbolism captivate with an understated\, emotive power. In ad dition\, works by Pavel Antonov\, Jordan Eagles\, Alex Frost\, Moses Hos kins\, Darren Jones\, Kara L. Rooney\, and Aida Sehovic will be displaye d.\nOpening reception: Thursday\, May 10\, 2012 –\; 6-8pm. \nHours : Sunday through Saturday. Times vary. Admission is free.\nThis exhibit is presented by Trinity Wall Street Music and the Arts\, Trinity Congre gational Arts &\; Phenomena Project. URL:http://www.artcat.com/exhibits/17182 SUMMARY:Soul Seekers: Interpreting the Icon LOCATION:Trinity Museum: Broadway\, at Wall Street\, 646 206 4933 (Tribe ca / Downtown) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120510T210000 DTSTART;VALUE=DATE-TIME:20120510T180000 DESCRIPTION:Exploring the self\, the human condition\, transformation and transcendence\, this upcoming show at PSPS brings together sculptural f orms\, pigment rich abstraction and video to investigate the metaphysica l nature of the body\, consciousness and experience.\nShowing works by A gni Zotis\, Stephan Fowlkes\, Scott Cousins and Paul Seftel\, there are many common threads in thinking and vision of this group of New York art ists. All in their late 30’s and early 40’s\, mostly self taught\, f iercely independent\, more than a wee bit anti art school/ establishment \, each continues to find reward and success in contact with their own c reative forces\, prestigious private collectors and art world luminaries . Believing that originality forms from self knowledge and exploration\, rather than through formal education\, they all share a true passion fo r exploring what cannot be seen\, drawing inspiration from experience\, spiritual awareness\, and material process. Looking to understand one ’s place in the world in the same way as scientists\, philosophers and theologians\, visual art is their collective means and method of commun icating what truly cannot be expressed in words.\nWhat we find is the vo ice of a generation emerging\, one that considers bigger questions of co nsciousness\, form and formlessness\, finding elegant and direct ways to expound these notions and living realities. A universal and common lang uage appears\, these colorful rhythms attempting to communicate the esse nce of who we are\, and where we are\, now. URL:http://www.artcat.com/exhibits/17160 SUMMARY:Travelling Light LOCATION:PS Project Space: 548 West 28th Street\, Floor 3\, 917 388 9585 (Chelsea) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120511T200000 DTSTART;VALUE=DATE-TIME:20120511T180000 DESCRIPTION: URL:http://www.artcat.com/exhibits/17113 SUMMARY:Michael Bauer\, H.S.O.P –\; 1973 LOCATION:Lisa Cooley: 107 Norfolk Street\, 212-680-0564 (East Village / L ower East Side) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120511T200000 DTSTART;VALUE=DATE-TIME:20120511T180000 DESCRIPTION:[FEATURED OPENING]\n\nA survey of sculpture thorough smaller works by\nMike Ballou\; Adam Brent\; Mary Carlson\; James O Clark\; Caro line Cox\; Dido Crosby\; Katharina Denzinger\; Matt Freedman\; Linda Gan jian\; David Henderson\; Todd Lambrix\; Bix Lye\; Shari Mendelson\; Chri stian Nguyen\; Jim Osman\; Eung Ho Park\; Thaddeus Radell\; Jude Tallich et\; Bill Thompson\; Scott Verhagen\; David Weinrib\; Natalia Zubko\nHer e are 22 artists whose unifying principle is that they think 3-Dimension ally and occasionally produce works on an intimate scale. My own feelin g is that we don’t see enough good contemporary sculpture\, and this i s an opportunity to experience a miniature survey of some great work. \ nSome artists\, such as Mary Carlson often specifically address issues o f scale and determinedly make us notice the small\, the quiet or the oth erwise overlooked. Others\, like Caroline Cox\, Linda Ganjian\, Eung Ho Park and Natalia Zubko work cumulatively\, collecting and combining sma ll individual components\, which evolve and grow\, sometimes in relation to their surroundings. Katharina Denzinger\, Shari Mendelson and Adam B rent recycle\, transform and resurrect otherwise throwaway domestic item s.\nMinimalism – in miniature\, informs the work shown by Jim Osman\, Bill Thompson\, Christian Nguyen\, Bix Lye and David Henderson\, and all six use color to accentuate form. Henderson also produces meditations in materiality\, exploiting the properties of modern materials\, particu larly in relation to weight and transparency. In this show\, Jude Talli chet uses materials performatively in a site-specific piece. Thaddeus R adell’s pieces are materials-driven\, and have a fetishistic quality a lso present in Todd Lambrix’s tiny\, portable\, obsessively worked\, s ensuous soft sculptures.\nMatt Freedman tends to create narratives: he is also a self-proclaimed ‘Clumpist’ – tendencies shared by Scott Verhagen and Mike Ballou –\; at least\, in the work they’re showi ng here.\nMike Ballou and Dido Crosby present ‘animal sculptures’ – Ballou’s come from close observation and have a theatrical dark l ife to them. David Weinrib shows a piece that continues his exploration of organic\, flowing forms. David Weinrib and Jim (James O) Clark are alike in their long tradition of defying definition. Jim’s contribut ion will be revealed at the last minute. URL:http://www.artcat.com/exhibits/17106 SUMMARY:Small Sculpture (by big people) LOCATION:Big & Small/Casual Gallery: 10-20 45th Road\, (917) 847 8613 (L ong Island City) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120511T210000 DTSTART;VALUE=DATE-TIME:20120511T190000 DESCRIPTION:[FEATURED OPENING]\n\nThe ISCP Spring Open Studios is a three -day exhibition of international contemporary art. The 35 artists\, art collectives and curators from 24 countries currently in residence at ISC P present work in their studios. Open Studios offers the public access t o innovative contemporary art practices from around the globe\, providin g an exceptional opportunity to engage with the production\, process and archives of practitioners working within a diverse range of media\, app roaches and concepts.\nAlongside Open Studios\, ISCP’s gallery is the site for a continuous program of time-based events including performance s\, screenings and lectures that address how the concept of time is both constructed/deconstructed and employed through artistic production. Unf olding over the weekend\, time is used as a material for eight separate events by ISCP residents and Brooklyn-based artists and their collaborat ors.\nFriday\, May 11th\n7pm Jennifer Tee A woman’s mind might resembl e a room\nSaturday\, May 12th\n2pm Eloise Fornieles The Orbit\n3pm Rose Eken with Nikolaj Hess Embroidered Songs\n4pm Michel Auder Talk and scre ening\n5pm Leif Elggren with Andrea Beeman\, Ken Montgomery\, Fabio Robe rti\, Marja-leena Sillanpää and Lary Seven The Kingdoms of Elgaland-Va rgaland\nSunday\, May 13th\n2pm Bertille Bak Urban Chronicle\n3pm Orit B en-Shitrit (Time Mechanism) + Work = Auctioning Off the Greek Debt\n5pm Dan Levenson presented by Forever &\; Today A Social History of the S tate Art Academy\, Zurich URL:http://www.artcat.com/exhibits/17076 SUMMARY:Spring Open Studios 2012 LOCATION:ISCP (International Studio and Curatorial Program): 1040 Metropo litan Avenue \, 718-387-2900 (Williamsburg / Greenpoint / Bushwick) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120511T200000 DTSTART;VALUE=DATE-TIME:20120511T180000 DESCRIPTION:John Goodyear: Shifting Views showcases the work of an intern ationally recognized artist who has lived and worked in New Jersey for n early half a century. The exhibition unites Goodyear’s ground-breaking artwork from the 1960s with some recent\, related pieces and features t hree distinct\, but interrelated bodies of work.\nHis “pole” paintin gs—an idea he originated in the 1960s—are painted wood constructions that spin to reveal fragmented views simultaneously. Another series in corporates moving latticed screens in front of stationary paintings. Whe n the screens are lightly pushed from side to side\, the viewer experien ces a strong optical effect that creates a new visual experience. Both these groups of kinetic works require the viewer’s active participatio n. Goodyear’s “Double Subject” paintings are based on iconic work s from art history reduced to outline drawings and superimposed one over the other. The viewer must continually shift focus to “read” the i ndividual images. The meaning for all of the works in this exhibition i s continually in flux depending on elements of chance and the spectator ’s shifting vision.\nJohn Goodyear was a professor at Rutgers Universi ty from 1964 until his retirement in 1997. Throughout his long career\, Goodyear has experimented with a broad range of processes and materials\ , including painting\, drawing\, sculpture\, installation\, light and op tics and even heat. His first solo show was in New York City in 1964. Si nce then he has participated in many individual and group exhibitions in the U.S. and abroad. Goodyear’s works are included in the collection s of the Museum of Modern Art\, the Whitney Museum\, the Solomon R. Gugg enheim Museum\, the Metropolitan Museum of Art\, the Smithsonian Institu tion\, and 50 other public collections worldwide. The artist has lived i n Lambertville\, New Jersey\, since 1972. URL:http://www.artcat.com/exhibits/17041 SUMMARY:John Goodyear: Shifting Views LOCATION:Visual Arts Center of New Jersey: 68 Elm Street\, Summit\, NJ\, 908-273-9121 (Tri-State Area) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120511T210000 DTSTART;VALUE=DATE-TIME:20120511T180000 DESCRIPTION:Mutual Friends represents the contemporaneous community that Present Company supports and is a part of\, without the imposed subjecti vity that normally comes from curation. The artists in this exhibition w ere selected using an algorithm that pointed to the combined mutual Face book friends of Balderston\, Ruiz\, and Stayrook. However\, this is not an exhibition about Facebook or a biographical/historical study of socia l media. While the term “mutual friends” is used for its populist co nnotations and as an umbrella for examining a particular artistic commun ity\, we see friendship as a mutable concept that can inform\, if not au thor\, new artworks\, projects\, performances\, events\, and writings &# 8211\; all of which will be featured throughout the course of the exhibi tion – produced by a prescribed assemblage of artists\, curators\, wri ters and designers.\nAdditionally\, Mutual Friends uses a curatorial for mat that shifts away from overt criticality\, taste\, and commercial rel evance in order to establish an arena for that which is sensible\, in th e context of that which is casual. This exhibition attempts to create a space where situations can be molded into creative experiences and excha nges\, perhaps even turning the exhibited experience into something that is collective and personally meaningful. URL:http://www.artcat.com/exhibits/17118 SUMMARY:Mutual Friends LOCATION:Present Company: 101 North 13th Street (Williamsburg / Greenpoi nt / Bushwick) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120511T210000 DTSTART;VALUE=DATE-TIME:20120511T180000 DESCRIPTION:[FEATURED OPENING]\n\nAnnual group exhibition featuring work from current Cornell MFA students.\nArtists:\nPiotr Chizinski\nElizabeth Corkery\nAmie Cunat\nBrian Dunn\nDaren Kendall\nRaja’\;a Khalid\nB aseera Khan\nChristina Leung\nKatherine Somody\nGaby Wolodarski\nBernard Yenelouis URL:http://www.artcat.com/exhibits/17040 SUMMARY:Cornell MFA Exhibition LOCATION:White Box: 329 Broome Street \, 212-714-2347 (East Village / Low er East Side) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120511T200000 DTSTART;VALUE=DATE-TIME:20120511T180000 DESCRIPTION:SYD MEAD (Future Perfect) May 11 – June 30th\, 2012\nBravi nLee programs is very pleased to present “Future (Perfect)\,” goua ches on board by the legendary conceptual designer Syd Mead. This exhi bition at BravinLee programs represents an almost unprecedented appearan ce of Syd Mead’s work in a commercial art gallery. Previously to this it has been almost impossible to acquire one of his highly sought after gouaches\, this exhibition will include available work.\nSyd Mead is on e of the most celebrated concept designers of our time\, having been res ponsible for many memorable designs from feature films to interiors and even toys. His most well-known works include production designs for Blad e Runner\, TRON\, Aliens\, Johnny Mnemonic and 2010.\nIn 1983\, Mead wa s commission to design the interior of King Fah’d’s 747 jet. Mead s tates\, “That was an enormous challenge. I had to fit a very complex g eometry and furnishings into a 747 hull\, and the first thing you have t o think about is everything has to come through that door because the pl ane is [already] made. I designed some of these spaces with a geometric precision\, linked all the spaces together by vector points. The [engine ers] tried to change them and they couldn’t\, everything came apart. ” Included in the exhibition is Mead’s yacht design commissioned by Saudi businessman Adnan Khashoggi.\nThe account of the techno-future se en in Mead’s gouaches is generally sleek\, impeccable and populated by glamorously dressed trim and tanned\, attractive movers and shakers. O ften Mead portrays them getting in and out of a fantastic vehicle\; they are in the act of goodbyes and hellos\, departures and arrivals. Mead ’s mostly utopian and idealized concept of the future\, free from many of the problems facing the present such as war\, famine\, litter\, snar ling airport security lines\, overweight badly dressed tourists\, and la te arriving trains\, planes and automobiles is that Mead is a commercial artist who is paid upfront to give the client a positive context for wh atever it is that is being marketed or merchandized. Mead conceptualize s and visualizes the effect that the client wants and needs. In the la te 20th Century “kowtowing” to the client is a terrible no-no for se rious high-minded art-makers or so it seems. But\, during hundreds of y ears of art making by Renaissance Masters like Leonardo De Vinci or Mich elangelo Buonarroti or Court Painters like Francisco Goya\, Diego Velazq uez or Peter Paul Rubens\, there were demanding clients (The Vatican\, T he Medicis and The Royals) who paid up in advance and ordered exactly wh at they wanted. Having a client with a point of view didn’t hurt the esteem of Old Master art anymore or less than it should the work of Syd Mead. That said\, like in the art of great Masters\, Mead’s richly de tailed images contain many complex signifiers that reflect the artist’ s own humor\, social\, personal and political point of view.\nIn 2006\, the Smithsonian’s Cooper-Hewitt National Design Museum recognized Mead ’s singular career at the National design Awards\, selecting him as th e recipient of its Special Jury Commendation. Also in this same year\, f ilmmaker Joaquin Motalvan made an independent film documentary of him ca lled “Visual Futurist”\, which premiered on July 23rd\, 2006 at the Dances with Films Festival in Los Angeles\, CA.\n“The future starts on e second from now\; you must prepare for the future and believe that it will happen in a nice way.” Syd Mead\, 2005 URL:http://www.artcat.com/exhibits/17056 SUMMARY:Syd Mead –\; Future (Perfect) LOCATION:BravinLee Programs: 526 West 26th Street\, #211\, 212-462-4404 ( Chelsea) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120511T203000 DTSTART;VALUE=DATE-TIME:20120511T180000 DESCRIPTION:bitforms gallery is pleased to announce its first solo exhibi tion by the London-based artist Quayola. On view will be two video insta llations\, Strata #4 and Topologies\, the second of which is a New York premiere.\nRegarded in Europe for his enigmatic video installations\, Qu ayola creates hybrid spaces of animated painting and sculpture. Informed by his experiences growing up in Rome\, and spiritually detaching from the city’\;s rich tradition in architecture\, the work is rooted in geometry and the iconography of perfection.\nQuayola’\;s installat ions dwell on the objective details of his subjects: light\, form\, shap e and color. Glorious representations are built\, as he temporally treat s familiar symbols of the baroque and renaissance periods. Crafting a pe culiar distance from his subjects\, Quayola’\;s process wanders thr ough the surface of an object\, pushing beyond its picture plane.\nIn wo rks such as Topologies the viewer is dislocated in time. Painted surface s of two pieces in the Museo del Prado collection\, Las Meninas (1656) b y Velázquez and The Immaculate Conception(1767) by Tiepolo\, transform into animated movement. Produced in high definition for a commission by the British Film Institute and onedotzero\, this video installation inte rrupts our expectations of space\, re-imagining the calculation behind s uch masterpieces.\nThe Topologies installation boldly challenges\, yet s till submits to\, the art object’\;s myth of perfection and aura\, hanging in a church or museum. Transporting this beauty into a virtual r ealm\, Quayola rigorously investigates the surface details of each objec t. Pure geometry and abstraction take over\, as he reframes his subjects using a computational method of triangulation. In the format of a dipty ch\, Velázquez is positioned on the left and Tiepolo on the right. In e ach panel\, hundreds of thousands of polygons and points comprise a wire frame core that mathematically contorts and regenerates\, driven by a s oundscape that visually is determined.\nIn speaking about the synaesthet ic quality of his compositions\, Kandinsky is a reference point that Qua yola often cites. “Time is an inseparable quality of my primary experi ence with an object\,” he says. "\;Also as I work\, I start to bec ome incredibly fascinated by the underlying shapes. Great paintings and architecture of the past are powerful icons of perfection and beauty. Th ey are somehow\, almost\, things which couldn’t have been made by man. ”\nOriginal masterpieces and collections become raw canvas in Quayola ’s work\, as he anchors this exploration in a conversation about archi ves\, collage\, intellectual property and the appreciation of an object. In an age of the Google Art Project\, which offers unprecedented access to the literal surface of a painting\, Quayola handles the time we spen d looking at art as a plastic artifact\, something to be sculpted and su spended. The gaze is a place where the logic of a picture unfolds\, seem ingly excavated from beneath the image.\nEspecially in Strata series\, Q uayola locates this practice within the archaeological process of layeri ng or stratification. Displayed on a 50” flat screen\, Strata #4 was o riginally commissioned as a multi-channel immersive video-installation\, which debuted in October 2011 at the Palais de Beaux Arts in Lille\, Fr ance. The subjects of this work are four grand altarpieces by Anton Van Dyke and Peter Paul Ruebens in the museum’s Flemish collection: Van Dy ck’s Christ on the Cross (1628) and Rubens’ Martyrdom of St. Catheri ne (1615)\, The Ecstasy of Mary Magdalene(1619) and The Descent from the Cross (1617).\n“\;Strata #4 is a study of the relationship between classical figuration and abstraction\,”\; says Quayola. “\;It is based on universal rules of beauty and perfection. The movement on-s creen creates a dialog between two eras\, two dimensions.”\;\nThe g allery exhibition also includes a selection of drawings. Related to Quay ola’s process of geometric interpretations\, they depict subjects appe aring in the Strata #4 and Topologies video installations. URL:http://www.artcat.com/exhibits/17187 SUMMARY:Strata: Quayola Solo Exhibition LOCATION:bitforms gallery: 529 West 20th Street\, 2nd Floor\, 212-366-693 9 (Chelsea) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120511T200000 DTSTART;VALUE=DATE-TIME:20120511T180000 DESCRIPTION:The gallery is pleased to announce Fully Charged by Brooklyn- based artist Palma Blank.\nBlank’s boldly colored compositions emphasi ze their own meta-structure. Their diagonal lines respond to the archite cture of the stretched canvas and to the various ways of compositionally dividing the painting’s rectangular shape. While shifts in line thick ness at times implicate subtle illusionistic depth\, these lines also co ntribute to a low relief topography that reveals the process of the pain t’s application. Even the color relationships\, initiated through auto matic\, instinctual decisions\, are then left to form their own internal structures that the artist abides by. Such internal structures build ph enomenological\, durational experiences rather than specific illusionist ic representations.\nThe color palettes that result from these initial i nstinctual choices may come to correspond with the artist’s personal e xperiences\, symbols\, and interests. Blank is inspired especially by co lor relationships of the latest athletic equipment\, technologies\, and trends. The act of playing sports and games is of particular interest to Blank because she understands the boundaries\, energy\, and flux they i nvolve to operate also in her painterly process. This correlation can be seen best when a strict adherence to certain compositional patterns is interrupted by a fast and unexpected line\, color\, or change in directi on.\nInterested as well is the changing visual experience that’\;s developing during the digital age\, Blank creates images that reveal str ata of signification. Complicating the declaration “what you see is wh at you see” made by Frank Stella\, whose work is echoed in Blank’s m eticulous stripes and diagonals\, Blank’s paintings urge viewers to un earth the various structures of her work. The construction of the work&# 8217\;s physical form\, the covert layers of symbolic meaning\, and the subtly shifting optical effects all act as transparent layers to be work ed through visually during an encounter with one of Blank’\;s paint ings.\nPalma Blank (b. 1979\, Norwalk\, CT) lives and works in Brooklyn\ , NY. She received a MFA from Yale University\, New Haven\, CT and a BFA from Rhode Island School of Design\, Providence\, RI. Her work has been included in numerous exhibitions throughout New York. Fully Charged is the artist’\;s first solo exhibition with Horton Gallery and her fi rst major New York solo exhibition. URL:http://www.artcat.com/exhibits/17069 SUMMARY:Palma Blank: Fully Charged LOCATION:Horton Gallery: 504 West 22nd Street\, 212.243.2663 (Chelsea) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120511T200000 DTSTART;VALUE=DATE-TIME:20120511T180000 DESCRIPTION:[FEATURED OPENING]\n\nINVISIBLE-EXPORTS is pleased to present Austerity Measures\, a new series of colored\, technical drawings by Mi chael Bilsborough\, and his second solo exhibition at the gallery.\nThro ugh the recurring motif of a cubic lattice\, Bilsborough works on transl ucent layers to generate dense images and complex forms. The results hav e optical depth\, while the indelible procedural marking reveals the tes ts and decisions involved. Drawing is thinking. The images maintain sc ulptural integrity: beyond linear perspective\, they also account for gr avity\, voids\, and stress. They function as plausible models. Drawing is building. Each image requires drawing a “\;perfect cube”\ ; in perspective\, and this learned skill\, repeated\, becomes a drill & #8211\; a highly regulated performance. Through it\, Bilsborough invent s a spontaneous manipulation for the cube. Drawing is action.\nIn this new series\, Bilsborough diverges from his signature scenes of multi-fig ure orgies and rituals. The cerebral conditions of Austerity Measures a re mostly stripped of human figures\, though the images can evoke the bo dy. The tensile armatures appear skeletal. The precise removals and di ssections seem surgical. Each aspect of the geometric structures is a & #8220\;face.”\; And a viewer’s gaze populates the drawings\, as the navigable coordinate systems appeal to the rational brain.\nThe draw ings are models of model thinking: demonstrative\, credible\, multi-coor dinate\, resistant to inefficient obfuscating and presumptions. For the thinking individual\, shaping thoughts might be the best response to a problem. After all\, part of the problem might be the way one thinks.\n Michael Bilsborough (b. 1979) lives and works In New York. He grew up in the California desert\, studied philosophy at Columbia University\, and earned an MFA at the School of Visual Arts. He completed the Workspace Residency of Lower Manhattan Cultural Council in 2006-7 and received a V isual Arts Grant from the Rema Hort Mann Foundation in 2006. He writes a weekly blog for the School of Visual Arts and recently contributed an essay to the monograph on Sean Landers\, Improbable History\, which was published by JRP Ringier in 2011. URL:http://www.artcat.com/exhibits/17196 SUMMARY:Michael Bilsborough | Austerity Measures LOCATION:Invisible-Exports: 14A Orchard Street\, 212-226-5447 (East Villa ge / Lower East Side) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120511T190000 DTSTART;VALUE=DATE-TIME:20120511T170000 DESCRIPTION:[FEATURED OPENING]\n\nPratt Institute School of Art &\; De sign\nGraduate Fine Arts Exhibition 2012\nAn exhibition featuring work i n all media by students receiving an M.F.A. from Pratt Institute School of Art &\; Design’s Department of Fine Arts.\nMay 12 –\; 26\, 2012\nOpening reception: \nFriday\, May 11\, 5 –\; 7 PM\nFree and o pen to the public.\nPratt Manhattan Gallery\n44 West 14th Street\, Secon d Floor\nNew York\, NY 10011\nGallery Hours: Tuesday – Saturday 11 AM – 6 PM \nwww.pratt.edu/exhibitions URL:http://www.artcat.com/exhibits/17075 SUMMARY:Graduate Fine Arts Exhibition 2012 LOCATION:Pratt Manhattan Gallery: 144 West 14th Street\, (at 7th Avenue)\ , 212 647-7778 (Chelsea) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120511T200000 DTSTART;VALUE=DATE-TIME:20120511T180000 DESCRIPTION:This exhibit of works by 50 women photographers from around t he world is the result of two juried competitions held in 2011 and 2012. \nRenowned photographer Mary Ellen Mark and Debra Klomp Ching\, owner of the KlompChing Gallery of Contemporary Photography in DUBMO\, juried th e show and selected the featured images from over 2500 submissions. The works fall into four major categories: People\, Places\, Nature\, and Di gitally Enhanced Images.\nSince 1976\, Professional Women Photographers (PWP) has worked to promote the achievements of women in photography thr ough exhibitions\, education\, community outreach and mentorship. PWP’ s 250+ members include experienced professionals and newly emerging phot ographers\, working in both film and digital. Based in New York City\, P WP’s membership has expanded across the United States and Europe throu gh international photography juried exhibitions like this one.\nSponsore d by PWP. URL:http://www.artcat.com/exhibits/17169 SUMMARY:International Women’\;s Fine Art Photography LOCATION:.NO Gallery: 251 East Houston Street\, 646-389-8229 (East Villa ge / Lower East Side) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120511T210000 DTSTART;VALUE=DATE-TIME:20120511T180000 DESCRIPTION:Artificial Paradises\nphotographs by Raul Rodriguez and There se + Joel (Therese Öhrvall and Joel Jägerroos)\nCurated by Antonio Ort uño\nMay 11th –\; 27th\, 2012\nLocal Project\n45-10 Davis Street\n Long Island City\, NY 11101\nwww.localproject.org\nOpening Reception\nMa y 11th\, 6pm to 9pm\nGallery hours\nThursday and Friday: 4- 8pm\nSaturd ay and Sunday: 12- 6pm\nTake the E\,M\,G\, or 7 train to Court Square St ation\nnear P.S.1 and 5 Pointz\nThe fundamental motivation of this proje ct is to raise the idea of “city” as an artificial paradise. Without creating any judgment\, it is a reflection of the reality of spaces in which citizens live together in large cities. The sequence of photograp hs becomes a performance of a neutral\, faceless\, synthesized character . This character roams on a structure\; also neutral\, geometric\, organ ized\, created by humans. The performance then becomes “sense” with “the world of ideas and culture” inherited from the history of manki nd. A representation of individual and space dismantled\, without any ar mor or appearance that could dress and shape. Just being present in the same space\, raw and synthesized\, interacting with both neutralized ind ividual and space. No frills or learned presentations of any kind. Abstr acting spectators from their realities\, so that they may make an object ive look carefully\, at a distance\, pausing in the frantic everyday mov ement that builds and shapes their lives and cities.\nRaul Rodriguez\, a visual artist from Canary Islands\, creates stolen moments that depart from trivial situations to bring another concept or esthetic\, by transp orting them out of context and creating new connotations and perceptions speak about the world and everything that surrounds it. His work has be en exhibited in Madrid\, Barcelona\, Málaga\, Tenerife Island\, El Hier ro Island\, and Milan. He won the International Young Emergent Artists a ward by La Casa Encendida and Obra social Caja Madrid Emergencias 2.0 in 2010.\nTherese + Joel’s work balances deliberately between fine art and fashion\, as well as the concepts of horror and beauty. A Swedish-Fi nnish photography team\, their work has been exhibited internationally\, including The Georgia O’Keeffe Museum\, Santa Fe\, New Mexico\, The H ermitage\, St. Petersburg\, Russia\, Krasnoyarsk State Museum in Siberia \, Milk Gallery &\; F.L.O.A.T. Gallery in New York City\, Gallery S.B ensimon in Paris\, France and Ricoh Ring Cube Gallery in Tokyo\, Japan. Therese + Joel were also selected as one of the 30 emerging photographer s to watch in 2011 by Photo District News.\nhttp://www.theresejoel.com/l eaving.html URL:http://www.artcat.com/exhibits/17030 SUMMARY:Artificial Paradises LOCATION:Local Project: 45-10 Davis Street\, 646-298-0969 (Long Island Ci ty) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120511T100000 DTSTART;VALUE=DATE-TIME:20120511T070000 DESCRIPTION:ASIAN ART PIERS gallery is pleased to present “Fables &\ ; Theatreality” a duo-exhibition of selected works by Zheng Hongxiang and Mu Lei\, who just exhibited at the 54th Venice Biennale. The exhibit ion marks the two artists’\; New York debut following their establi shed presence and growing popularity in Asia and Europe.\nAmong our work s on view\, Mu Lei’s Taiji Lightning Helmet series has amassed critica l acclaim from the Beijing Today Art Museum and the Taipei Museum of Con temporary Art\; Meanwhile his work Ambush is prominently featured in the recent issue of Vogue China.\nBoth born in 1980’s China\, the two art ists came of age in a period characterized by rapid economic development \, an influx of western consumerism\, a surging netizen culture and an e volving society yet with unsettled identity torn between the socialist r oot and a capitalist outlook.\nMu Lei\nBorn in China in 1984\, the iconi c year when the country officially opened its doors to the west\, Mu Lei represents a generation growing up under the ever-increased influence o f western consumerism yet without the emotional trauma suffered by prior generations. His artistic approach stands out as a departure from the c ultural attitude of his predecessors in prior art movements.\nAs one of the youngest artists to exhibit at the prestigious Venice Biennale in 20 11\, Mu captures the pulse of “his” new China with the visual symbol s that resonate with the new generations across the world who relate to a similar cultural experience shared through the global media and the in ternet. His “anime pop” style embodies the essence of contemporary C hinese youth culture meets consumerist allure that has been transforming the country for nearly three decades.\nA hint of surrealism is also vis ible in Mu’s paintings as he draws inspiration from the likes of René Magritte and Salvador Dalí. In Ambush\, a biomorphic dragonfly-blackha wk crossbreed alights on the lush leaves of a gigantic lotus bud\, behin d which lurks a mischievous-looking grinning girl\, a femme fatale who s eems ready to pounce and capture. Taiji Lightning Helmet is composed of a face portrait of a young female test pilot adorned in the half-black/h alf-white Chinese Taiji colors\, venturing through the lightning storm t owards the viewer\, no reaction to the stealth bombers collapsing into t he purview. Her gaze\, intense and decisive\, entranced somewhere betwee n wondrous awe and determinable focus\, seems to compel the audience to duck away from her unstoppable motion.\nIn the diptych Bad Girl\, the fe male protagonist (or in the context of the series\, the “antagonist” ) assumes the role of a stylishly polished yet blasé young woman. Betwe en her delicate full lush lips dangles a slim cigarette\, of which three smoke-puffs of Chinese lucky clouds slowly twirl upward. Annoyed or dis turbed about the coexistence of the mirror self\, through the lenses of their overbearing “Jackie-O” glam sunglasses\, they stare down on on e another\, as if the other is the alter ego. Their glares seem to mater ialize into an array of stealth bombers that crash into the border that divides between their dual worlds.\nSuch visually dazzling and conceptua lly stunning compositions recall what the surrealist poet Pierre Reverdy once said: "\;a juxtaposition of two more or less distant realities . The more the relationship between the juxtaposed realities is distant\ , the stronger the image will be…\;” Mu Lei’s paintings render poetic reality and convey a compelling emotional power\, characterizing the socio-psychological aesthetics of a new millennium Chinese netizen.\ nZheng Hongxiang\n“There is a dichotomy between man and society based on the assumption that man is naturally anti-social and the function of society is to restrain man’\;s evil nature. It is the function of s ociety to check and restrain the anti-social instincts…\;the more s uppression the more elaborate the culture and the greater the incidence of neurosis\, and the less suppression the less neurosis but also the le ss civilization."\; —\; Sigmund Freud\nAs an artist\, Zheng tak es an intellectual and imaginative model for understanding and interpret ing the contemporary society in all its aspects. His works offer an in-d epth dissection of the existential paradox and explore the dichotomy and dynamics between the individual and society. “As a Chinese artist bor n in the 1980’s\, when interacting with the contemporary society\, a m ixed sense of enclosure and confinement arises in me. Yet the enclosure does not feel entirely safe while the confinement seems self-contradicto ry…\;.It is rooted in our social constructs\, the hierarchy\, more specifically\, the Superstructure.” Zheng said in his statement.\nA re newed theatrical Baroquesque quality can be found in Zheng’s works\, w hich present a myriad of epic sceneries and captivating spectacles recal ling the dream state in the Freudian analysis. Developing this theme sin ce 2007\, Zheng conceives and repeatedly constructs this cryptic realm i n a series of paintings with an array of symbolic imageries and motifs\, among which\, constantly recurring are the red stage\, a gray endless s ky and the protagonist\, a disrobed muscular faceless human figure with a red box covering his head\, seeking\, exploring\, or confronting the o utside world yet with their vision blocked. The overall color palette is based on scarlet red and various greys\, exuding a mixed sense of both tension and passion.\nZheng’s precociousness is not only seen in his a rtistic vision but also well manifested in his technical virtuosity\, es pecially the mastery of large-scale painting. One of the highlights of t he exhibition\, Battle\, consisting of two panels of oil painting\, meas ures 3.6 meters in width and 2.0 meters in height. Upon the red stage re -emerge four faceless human figures\, two on each side of the stage\, on e being mounted on\, crawling forward while wearing a box with a scribbl ed horse head imagery\, the other apparently in command\, wearing a box with a mischievous grinning face\, poised with a long spear against the other side. Even in such intense confrontation and opposition\, each gro up shares with the other an eerily identical hierarchy\, assumes an iden tical poise\, and even wears identical red boxes imprinted with excerpts of the Declaration of Independence.\nIn light of the Freudian view\, ma n wants to conquer\, is willing to battle and will saddle others for his own gain. The box imprinted with democratic ideals perhaps merely provi des the means in which to “battle” without moral obligation\; the co mposition is not a criticism of any political systems\, but a carefully conceptualized commentary\, reflecting on the dichotomy between man and society.\nAbout\nMu Lei was born in Jiang Su\, China in 1984\, and earne d his Bachelor of Arts from Sichuan Institute of Fine Art. His work has been exhibited in museum shows and prestigious venues around the world i ncluding the 54th Venice Biennale\, “Future Pass\,” Abbazio di San G regorio and Palazzo Mangili-Valmarana\, Venice\, Italy\; Museum of Conte mporary Art\, Taipei\, Taiwan\; Today Art Museum\, Beijing\, China.\nBor n in 1983\, Zheng Hongxiang grew up in Gaizhou\, Liaoning Province\, and graduated from the Oil Painting Department of the Lu Xun Academy of Fin e Arts in 2006. Prior to this debut exhibition in the U.S.\, Zheng has e xhibited at prestigious museums in China and other reputable venues in A sia and Europe. Zheng currently lives and works in Beijing. URL:http://www.artcat.com/exhibits/17191 SUMMARY:Fables &\; Theatreality LOCATION:Asian Art Piers Gallery: 537 West 25th Street\, Floor 2\, 212.9 29.0108 (Chelsea) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120511T220000 DTSTART;VALUE=DATE-TIME:20120511T190000 DESCRIPTION:HELIOPOLIS PRESENTS “AN ART SHOW\, AN ART SHOW”\nA Solo E xhibition of Works by Ray Lopez\nBrooklyn\, NY\, 4/26/12 — Heliopolis Project Space in Greenpoint is pleased to present “An Art Show\, An Ar t Show\,” a solo exhibition of paintings\, drawings and photographs by Ray Lopez\, an artist living and working in NYC. Lopez’s diverse bod y of work encompasses several genres\, from sweet\, devotional portraits to grotesque scenes\, and from politically conscious images to quirky r eimaginings of movie posters. While Lopez has shown in numerous group e xhibitions at Hospital Audiences\, Inc.\, Bronx Art Space and The Point\ , this is his first solo show. An image is included below\; additional images are available upon request.\nAndy Wolf and Jason Grabowski have c o-curated the show\, which is open through Sunday\, May 13 at Heliopolis \, 154 Huron Street\, Brooklyn\, NY. URL:http://www.artcat.com/exhibits/17088 SUMMARY:AN ART SHOW\, AN ART SHOW LOCATION:Heliopolis: 154 Huron Street\, between Manhattan and Franklin\, 718-613-9773 (Williamsburg / Greenpoint / Bushwick) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120511T200000 DTSTART;VALUE=DATE-TIME:20120511T180000 DESCRIPTION:Seeking out the quintessentially American celebrations and ri tuals in his Midwestern stomping grounds\, Sinclair’s portraits of sun -dappled barbecues\, baseball games and fairgrounds possess both a comfo rt and wonderment in their honesty. Finding himself in crowds where he i s often staring at the spectacle that everyone else is immersed in\, Sin clair’s images of these loosely organized forms of congregation rumina te on the American experience\, poetically lifting the ordinary into the idyllic. URL:http://www.artcat.com/exhibits/17212 SUMMARY:Public Assembly | Photographs by Mike Sinclair LOCATION:Jen Bekman Gallery: 6 Spring Street\, between Elizabeth St. and Bowery\, 212-219-0166 (East Village / Lower East Side) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120512T220000 DTSTART;VALUE=DATE-TIME:20120512T190000 DESCRIPTION:I DREAM OF A THREESOME (with a Forget-me-not\, Pansy\, and a Bleeding Heart)\, a group exhibition of trios curated by J. Morrison\n12 ARTISTS // Joel Adas / Juan Betancurth / Geoff Chadsey / Christopher Cl ary / Richard Haines / Andrew Jordan / Amos Mac / J. Morrison / Cyrus Sa int Amand Poliakoff / Richard Saja / Nelson Santos / Grant Worth\nOPENIN G // Sat May 12 / 7-10PM \n(Preview 5-7pm)\nEXHIBITION // Through Mon Ma y 28\nGALLERY HOURS // Sat &\; Sun / 1-6PM &\; by appointment\nABO UT THE SHOW //\nThird dream’s the charm! Splatterpool artspace is plea sed to present I DREAM OF A THREESOME (with a Forget-me-not\, Pansy\, an d a Bleeding Heart)\, a group exhibition of trios curated by J. Morrison .\nThe third in J. Morrison’s Spring Dream series\, the show will pres ent unique “threesomes” of different artists’ works hung together in a dreamlike fantasy sequence. Each artist was asked for 3 artworks th at will be divided and mixed up through the exhibition.\nSimilar to the act of picking flowers for a bouquet\, the sexuality of a threesome is e quated here with the language of a “nosegay”— a small bouquet expl oring the floral language of love. The Forget-me-not\, Pansy\, and a Ble eding Heart can be seen as metaphors for the three works curated from ea ch artist\, while forming new statements and identities when placed in u nique combinations.\nPlayful\, colorful\, joyous\, and celebratory\, the exhibition will present a wide range of media including paintings\, scu lpture\, photographs\, and drawings.\n*This is J. Morrison’s 2nd curat orial show with Splatterpool\, and a continuation from last year’s My Spring Fling Turned Into My Summer Dream (an exhibition of pairs). Follo wing last year’s success\, Morrison’s show will again conclude the a rtspace’s season. URL:http://www.artcat.com/exhibits/17181 SUMMARY:I DREAM OF A THREESOME (with a Forget-me-not\, Pansy\, and a Blee ding Heart) LOCATION:Splatterpool artspace: 138 Bayard Street\, 917.412.9220 (William sburg / Greenpoint / Bushwick) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120512T210000 DTSTART;VALUE=DATE-TIME:20120512T183000 DESCRIPTION:UNITY\, AT MINIMUM IS TWO\nSilk Screen Prints by Francis Dosn e will be on view at MGC May 1 –\; May 31\, 2012\n\nJoin us for the Opening Reception on\n Saturday\, May 12\, 6:30 to 9 pm\nhttp://www.fra nkdosne.com/ URL:http://www.artcat.com/exhibits/17157 SUMMARY:UNITY AT MINIMUM IS TWO LOCATION:Manhattan Graphics Center: 250 West 40th Street\, 5th Floor\, (2 12) 219-8783 (Midtown) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120512T200000 DTSTART;VALUE=DATE-TIME:20120512T130000 DESCRIPTION:Objects in Motion\nMay 12- June 17\nArtist Talk: June 9\, 4:0 0PM\nNew York Art Residency and Studios (NARS) Foundation is excited to present Objects in Motion\, an exhibition featuring the NARS Internation al Artist Residency Program Season I 2012 participants: Santina Amato\, Suzanne Goldenberg\, Tang-Wei Hsu\, Hisao Ihara\, Jacqueline Hoang Nguye n\, Anna Tihanyi and Cullen Washington\, Jr. Opening concurrently with N ARS fifth annual Open Studios weekend\, the exhibition will showcase a g roup of seven international artists whose work explores mobility across cultural\, physical\, and imagined spheres. Some pieces consider portabi lity and adapt to the impermanence of tangible materiality. Others refer ence the state of flux of our sociopolitical practices while some disper se through a more ethereal or geometric space. Each piece is imbued with a quality of motion and rhythm\, stimulating circulation around paramet ers both concrete and abstract while embracing movement across diverse t errains.\nOpen Studios Weekend\nMay 12: 1:00-8:00 PM\nMay 13: 1:00-5:00 PM\nNARS Foundation Sunset Park Studios\n88 35th Street\, 3rd Floor\, Br ooklyn NY\, 11232\nD\, N\, R to 36th Street in Brooklyn – only 2 expre ss stops from Manhattan\nSHUTTLE SERVICE between Manhattan and Sunset Pa rk:\nPick up location: acrosss from New Museum\, 235 Bowery\, New York\, NY 10002\n2 PM / 4 PM / 6 PM \nReturn Drop off leaves from NARS Foundat ion:\n3 PM / 5 PM / 7 PM\nPUBLIC PROGRAMS: SATURDAY\, May 12th\nFamily a nd Kids Workshop: 3:00PM\, Studio 404 (4th FL)\nCollagraph Printing and Crayon Rubbing with Ellen Coleman Izzo\nMusic: 1:00 –\; 8:00pm\nDJ Edwin Peralta &\; PIANO Norman Zamcheck\nPerformance: 6:00pm\, Parlor room\nYumi Kurosawa (Koto\, Percussion\, Computer Sound)\nInternational Residency Artists 2012 Season I:\nSantina Amato\, Suzanne Goldenberg\, Tang-Wei Hsu\, Hisao Ihara\, Jacqueline Hoang Nguyen\, Anna Tihanyi\, Cu llen \nWashington Jr. URL:http://www.artcat.com/exhibits/17183 SUMMARY:NARS Foundation International Residency Artists 2012 Season I Exh ibition LOCATION:NARS Foundation: 88 35th Street\, 3rd Floor (Brooklyn Misc.) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120512T170000 DTSTART;VALUE=DATE-TIME:20120512T150000 DESCRIPTION:“I avoid labels so that I can enjoy the luxury of diversifi cation\,” Leo Rabkin has proclaimed over the course of his career. We see in his current exhibition\, A 54 Year Survey\, sculpture\, works on paper\, and collage used in unexpected ways.\nFlocking\, glued multicolo red plastics\, strung string\, and plaster armature\, are assembled play fully and inventively. While defying specific categorization\, it is cle ar Rabkin has paid homage to many movements over his decades-long career .\nThe consistent thread through Rabkin’s oeuvre is his artistic exper imentation\, both meditative and inventive. A tension exists that is bot h implied and actual. We are glad to avoid the labels\, for it is evide nt how much of the artist lives in his work. URL:http://www.artcat.com/exhibits/17228 SUMMARY:Leo Rabkin: A 54 Year Survey LOCATION:Luise Ross Gallery: 511 West 25th Street\, No. 307\, 212-343-216 1 (Chelsea) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120512T220000 DTSTART;VALUE=DATE-TIME:20120512T190000 DESCRIPTION:USA Today: Contemporary Political Satire\nGroup Exhibition + Zine Release\nIan McGillivray\nNoah Lyon\nMarshall Weber &\; Fred Rin ne\nJack Laughner\nHeather Benjamin\nHaley Shibble\nRyan Jacob Smith\nIn an age of riot and revolution the cynical observers’ growing dissatis faction with the government and media manifests itself through many form s in everyday life. We see political satire and activism dispersed throu gh various internet platforms\, in print\, on the streets\, and even in mainstream media. Political satire is a necessary time-honored tradition that inherently abandons formality and censorship. USA Today explores a captivating slice of this fluctuating medium\, showcasing sarcastic soc ial commentary in contemporary art.\nUSA Today is the ninth in a series of group exhibitions dedicated to providing self-publishing artists\, wh o generally share their work through zines and other printed matter\, wi th a platform for exhibition\, experimentation and exploration outside o f the printed format. Curated by Aimee Lusty.\nFor more information plea se contact aimee@booklyn.org\nhttp://booklynartgallery.bigcartel.com/ URL:http://www.artcat.com/exhibits/17129 SUMMARY:USA Today LOCATION:Booklyn: 37 Greenpoint Avenue\, 4th Floor\, (718) 383-9621 (Br ooklyn Misc.) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120512T200000 DTSTART;VALUE=DATE-TIME:20120512T180000 DESCRIPTION:[FEATURED OPENING]\n\n*RICHTERIANA\nGREG ALLEN\, DAVID DIAO\, \nRORY DONALDSON\, HASAN ELAHI\, \nFABIAN MARCACCIO\, RAFAËL ROZENDAAL* \nMay 12 –\; June 16\, 2012\nopening reception\, saturday\, may 12\ , 6-8\nPostmasters’\; new exhibition Richteriana attempts to examin e the current canonization of Gerhard Richter\, presenting six artists w hose works pre-date\, update\, expand\, and subvert “the greatest livi ng artist’s” own.\nIt feels interesting\, even vital\, to pause\, to take a deep breath\, and seek some perspective at this moment in Richte r’s career. When the hagiographic momentum builds from full-scale\, mu seum retrospectives in London\, Berlin and Paris. When spiraling auction records are deployed by financial advisors to commodify the artist\, no t just as a brand\, but as an “asset class” unto himself. While the reverential documentary film casts its heroicizing glow. And while emine nt scholars and curators Benjamin Buchloh and Robert Storr continue to j ockey for position under the master’s anointing hand.\nThe exhibition is not a snarky repudiation to Richter’s work\, which over the decades has rarely failed to reward close looking or to inspire invigorating di scourse. Nor is it an impertinent insult to the artist and his practice. Instead\, Richteriana contests the critical\, aesthetic\, commercial\, ideological\, and political implications of the institutional\, academic \, and market forces which seem to be attempting to disengage Richter an d his art from his context\, in furtherance of their own imperativesR 12\;and it must be acknowledged\, with a certain degree of acquiescence by or complicity of the artist himself.\nWhile long skeptical of the so- called “victor’s narrative” and Great Man [!] Theory of art histor y\, my motivation to organize this exhibition now was triggered by three additional\, synchronous occurrences:\n1. Felix Salmon\, a business blo gger for Reuters\, who often brilliantly ventures into art\, wrote an im portant post on commodification of Gerhard Richter and the relationship of his market value to his historical importance. Salmon’\;s text w as precipitated by a buy recommendation published by Citibank Art Adviso ry’s Jonathan Binstock\, because “it is clear that Richter is in the process of being catapulted to a rare and illustrious realm of authorit y.”\nhttp://blogs.reuters.com/felix-salmon/2012/03/04/the-commodificat ion-of-gerhard-richter/\n2. Greg Allen\, a filmmaker\, writer\, artist a nd art spy par excellence wrote about a previously unknown cache of earl y paintings Richter had destroyed\, which Der Spiegel lamented\, “woul d probably be worth at least half a billion euros.” Appropriating Rich ter’s own photo-based tactics\, Allen reconstituted the lost pictures by commissioning what he terms a “Chinese Paint Mill” to reproduce i mages taken from the Gerhard Richter Archiv.\n
http://greg.org/archive /2012/02/09/on_repainting_gerhard_richter.html\nhttp://www.spiegel.de/in ternational/germany/ 0\,1518\,812515\,00.html\n3. A recent conversation with David Diao —\; whose own abstract works preceded Richter’ \;s so-called “\;squeegee”\; paintings —\; reminded me of Synecdoche (1993)\, a multi-panel work we exhibited at Postmasters in 1 995. In it\, Diao reprints Benjamin Buchloh’\;s catalog essay for R ichter’\;s 1985 exhibition\, replaces the images with his own paint ings from 1968-73\, and crosses out Richter’\;s name\, writing in h is own. http://artasiamerica.org/documents/4700 (Ostrow\, Saul. “\; David Diao: Two Acts in One: a Footnote on the Critical Problems Raised by David Diao’\;s ’\;Richter’\;s Fracture Between the Syn ecdoche and the Spectacle’\; by Benjamin Buchloh.”\; NY Arts ( Dec. 2000): 19-21.)\nRichteriana offers a visual feast and a conceptual springboard for considering both Richter’s context and legacy\, but mo re importantly\, re-examining larger issues of constructed history\, inf luence\, and value.\n\nIn addition to Synecdoche\, we will exhibit Wealt h of Nations\, David Diao’\;s painting from 1972. (It is the large\ , horizontal painting on the fourth panel of Synecdoche.) About this pha se of his work Diao says: “\;Like many others\, I was looking for m echanical means to circumvent the tyranny of the painter’s hand. Movin g past sponges and window scrapers by early 1969\, my instruments of cho ice were cardboard tubes readily available from the curbside of the neig hborhood. My thought was to marry the size of the mark with the size of the support and by scaling up the “brush” enlarge the scale.”\; \nGreg Allen’s Destroyed Richter Paintings channel the elder artist’ s own private documentary images back into the photo- based painting fee dback loop he once deemed “photography by other means.” They reprodu ce the experience of encountering Richter’s lost originals\, while bec oming new objects themselves. By engaging the sprawling Chinese photo-pa inting industry that has grown up in Richter’s wake\, Allen forefronts the market’s incredulous perception of the artist’s autonomy—\ ;and his right to declare or destroy his own work.\nFabian MarcaccioR 17\;s vibrant\, three-dimensional works\, which the artist calls “\ ;paintants\,”\; combine an over-amplified materiality with politici zed subject in what might be considered Richter on steroids. The paintan t in the exhibition\, titled Militia\, contains an image of a Michigan p aramilitary group encoded in its tangled structure of hand-woven rope\, silicone\, and alkyd paint. Marcaccio’\;s disintegrating marriage o f abstraction and politicized photo-representation recalls Richter’ \;s own controversial Baader Meinhof series. http://paintantscorporation .com\nRafael Rozendaal’\;s www.colorflip.com site presents a digita l monochrome abstraction which transforms with a touch into sheets of co lor. The virtual stack\, theoretically infinite\, lasts as long as the v iewer keeps turning. Rozendaal’s motif echoes Gerhard Richter’s Umge schlagenes Blatt (Turned Sheet) series of 1965-67 http://www.gerhard-ric hter.com/art/search/?title=blatt one of the artist’s earliest forays i nto both monochrome and the relationship between representation and abst raction. After at least 15 paintings\, Richter’s Turned Sheet series c ulminated in an offset print\, which the artist intended to be unlimited edition\, but which he terminated after signing 739 copies.\nLike Richt er’\;s Atlas\, Hasan Elahi’\;s Tracking Transience is an enorm ous personal archive he established after being put on FBI list of suspe cted or potential terrorists. He countered this inclusion by publicly su rveilling himself: logging his location and activity 24/7\, and releasin g a database of hundreds of thousands of images. In the show there is a monumental 18 feet long photograph of 672 toilets Elahi visited since th e project’s inception. The site itself will be presented live in autom ode. http://trackingtransience.net/\nIn his works from Shared Roadway Ah ead series Rory Donaldson explores the space in which photography and pa inting can overlap. Bearing a strong resemblance to Richter’\;s pai ntings\, each of Donaldson’\;s works begins as a digital photograph of a landscape\, cityscape\, or other urban motif. The image is then ma nipulated through an emotive selection process until what remains takes on a look of paint that has been dragged\, dripped\, poured on and wiped off\; a digital painterly process that results in stunning abstraction. URL:http://www.artcat.com/exhibits/17080 SUMMARY:Richteriana –\; Greg Allen\, David Diao\, Rory Donaldson\, H asan Elahi\, Fabian Marcaccio\, Rafaël Rozendaal LOCATION:Postmasters Gallery: 459 West 19th Street\, 212-727-3323 (Chelse a) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120512T170000 DTSTART;VALUE=DATE-TIME:20120512T160000 DESCRIPTION:[FEATURED OPENING]\n\nAlter Minimal: Worth A Thousand Words a special presentation as part of Alter Minimal –\; Lexicon Series V ol. 1 will take place at:\nParallel Art Space on \nSaturday\, May 12th\, 2012\nfrom 4-5pm.\nPrimarily a visual presentation in projected image f ormat\, Worth a Thousand Words will show additional works from the artis ts including images of their inspirations\, Minimalist mentors and the l ike. Several of the artists will be on hand to answer questions about th eir work. This event is organized in conjunction with Actually\, It’s Ridgewood\; a multiple site art event\, organized by the Queens Museum o f Art as a part of their Queens International 2012: Three Points Make a Triangle exhibition. Light refreshments will be served.\nAlter Minimal – Lexicon Series Vol. 1 brings together the work of five artists\, wor king in a variety of visual media\, who are all variously engaged with t he aesthetic forms and preoccupations of the minimal and post-minimal mo vements\, toward the realization of their own artistic ends. Minimalism as an art movement is now generally understood to have emerged from (an d as a reaction to) Abstract Expressionism. Moving away from expression as ultimate end goal\, Minimalist artists pursued integrity in their wor k by attempting to free its’ constitution of any non-essential element s\, a visual quest for the reductive prime. Post-minimal artists carried this movement further by liberating Minimalist structure from requisite right angles and obligatory line\, creating space for a more feral\, ye t still pared down\, essential form. The artists of Alter Minimal move freely throughout these concerns\, utilizing vocabulary and sign as they see fit. From the gestural economy of Clinton King’s paintings\, to the poetic\, humanist sculptural extensions of artists Lance Lankford an d Suzanne Stroebe to the syncopated\, angular and sometimes humorous com positions of Gary Petersen and Andrew Zarou\; these artists accomplish m uch with a concerted little.\nGallery Info:\nParallel Art Space\, former ly Camel Art Space\, is an artist run exhibition space committed solely to exhibiting exceptional visual art. Located in one of New York’s pre mier art studio buildings and positioned on the border of two of New Yor k City’s most densely artist inhabited\, culturally rich neighborhoods (Bushwick\, Brooklyn and Ridgewood\, Queens) we endeavor to provide an exhibition platform based on excellence\, contribution and connectivity\ ; serving the parallel interests of artists\, community and culture alik e. URL:http://www.artcat.com/exhibits/16838 SUMMARY:Alter Minimal: Worth a Thousand Words LOCATION:Parallel Art Space: 1717 Troutman Street\, No. 220 (Williamsburg / Greenpoint / Bushwick) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120512T200000 DTSTART;VALUE=DATE-TIME:20120512T130000 DESCRIPTION:The New York Art Residency &\; Studios (NARS) Foundation i s delighted to announce its 5th Annual Open Studios. Join us for a festi ve weekend and get a glimpse into the private studios and working artist environment at the NARS studios\, located along the New York Harbor in Sunset Park\, Brooklyn. As the arts initiative in South Brooklyn continu es to rapidly evolve and thrive\, Open Studios offers an opportunity for this unique community to open their doors and showcase their work and d iverse practices and mediums. Six artists from Season I 2012 of the Inte rnational Artist Residency Program will also be inviting visitors into t heir studios to present what they have been working on during their thre e and six month terms.\nNARS Foundation Sunset Park Studios\n88 35th Str eet\, 3rd Floor\, Brooklyn NY\, 11232\nD\, N\, R to 36th Street in Brook lyn – only 2 express stops from Manhattan\nShuttle Service between Man hattan and Sunset Park:\nPick up location: New Museum\, 235 Bowery\, New York\, NY 10002\n2 PM / 4 PM / 6 PM\nReturn Drop off leaves from NARS F oundation:\n3 PM / 5 PM / 7 PM\nParticipating NARS Studio Artists:\nAust in Adams\, Jose Arenas\, Patricia Ayres\, Gennadi Barbush\, Jean Boggs\, Michael Paul Britto\, Michael Brown\, Dorothea Buschell\, Richard Caste llana\, Jacqueline Cedar\, Cathleen P. Cueto II\, Justin Davis\, Michael Ensminger\, Carlota Figueras\, Betty Hart\, Cosme Herrera\, Griselda He aly\, France Hilbert\, Aaron Hillebrand\, Mikhail Iliatov\, Rachel Kahn\ , Marat Kharisov\, Kyung Han Kim\, Esmeralda Kosmatopoulos\, Ellen Colem an Izzo\, Roberta Lawson\, Marisa Manso\, Nyeema Morgan\, Anatoly Mikhai lov\, Rose Nestler\, Tempest NeuCollins\, Marcie Paper\, Jin-kang Park \ , Dean Russo\, Mason Saltarrelli\, Steev Scott\, Chinatsu Seya\, Michael Solomon\, Francesca Paola Strada\, Masaki Takizawa\, Elizabeth Velazque z\, Kate Wattson\, Elizabeth Townsend West\, Natalia Yovane\nInternation al Residency Artists 2012 Season I:\nSantina Amato\, Suzanne Goldenberg\ , Tang-Wei Hsu\, Hisao Ihara\, Jacqueline Hoang Nguyen\, Anna Tihanyi\, Cullen Washington Jr.\nMusic: DJ Edwin Peralta\nPIANO Norman Zamcheck\nP erformance:\nYumi Kurosawa (Koto\, Percussion\, Computer Sound) 6:00pm a t Parlor room\nOn View in the NARS Foundation Gallery\nObjects in Motion \n2012 Season I International Residency Artist Exhibition\nMay 12 – \; June 17\nSantina Amato\, Suzanne Goldenberg\, Tang-Wei Hsu\, Hisao Ih ara\, Jacqueline Hoang Nguyen\, Anna Tihanyi\, Cullen Washington Jr.\nFo r further information\, please contact us at www.narsfoundation.org\, in fo@narsfoundation.org or 718-768-2765. To view a complete registry of NA RS Artists\, visit http://narsfoundation.org/artists.php\nThe 5th Annual NARS Open Studio Event 2012 is made possible by the generous support of our donors and sponsored by Brooklyn Brewery\, Maria’\;s Bistro an d Kunjip Restaurant. URL:http://www.artcat.com/exhibits/17029 SUMMARY:NARS Foundation 5th Annual Open Studios LOCATION:NARS Foundation: 88 35th Street\, 3rd Floor (Brooklyn Misc.) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120512T210000 DTSTART;VALUE=DATE-TIME:20120512T180000 DESCRIPTION:Keith Hamilton’s MFA Thesis exhibition\, “Are We Really T here ?\,” opens Saturday\, May 12 with a reception for the artist at P ratt Institute’s Dekalb Gallery from 6:00-9:00 pm. The exhibition will run from May 13-18 and gallery hours will be 11:00 am-6:00 pm.\nCombini ng the questions “Are We Really Here?” and “Are We There Yet?\,” Hamilton’s thesis exhibition explores diverse concepts including voy eurism in contemporary culture\, the impact of social media on our intim ate behavior as well as the play of the subconscious. Utilizing saturate d color\, painted backdrops\, masks\, mannequins and real humans\, Hamil ton stages his photographs in his Fort Greene studio and often reference s art historical subjects.\nDekalb Gallery\, Pratt Institute\, 200 Willo ughby Avenue\, Brooklyn\, NY. [B\, Q and R to Dekalb\, or G to Clinton-W ashington.]\nFor further information\, contact info@KeithHamiltonArt.com or visit www.KeithHamiltonArt.com. URL:http://www.artcat.com/exhibits/16903 SUMMARY:Keith Hamilton MFA Thesis Exhibition –\; “\;Are We Real ly There?”\; LOCATION:Pratt DeKalb Gallery: 200 Willoughby Avenue (Brooklyn Misc.) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120513T180000 DTSTART;VALUE=DATE-TIME:20120513T150000 DESCRIPTION:Crossing Art is pleased to announce and welcome the buoyant w orks by artists\, dEmo and DEPOE in the exhibition\, POP\, POP. Exuding elements of the movement of Pop Art\, with a 21st Century twist\, the e xhibition features a whimsical maze of dEmo’s colorful Bear sculptures in three various sizes\, with the largest measuring in at a colossal\, seven-feet! DEPOE’s creation encapsulates the rainbow bright bears wit h his massive and equally colorful wall mural\, wrapped around the entir e gallery space. While dEmo discovers hidden meanings in everyday elemen ts\, transforming them into veritable icons that invite the viewer to ad opt his playful attitude\, DEPOE challenges the viewer’s perspective w ith abstract interpretations of graffiti art in a gallery setting. Pop\, Pop is a visual narrative of dEmo’s desire to make one smile and DEPO E’s ability to stimulate the eye with his vibrant colors in a myriad o f patterns that speaks the language of the street.\nEladio del Mora\, ak a dEmo\, is one of Spain’s most original\, internationally acclaimed a rtists and a multidisciplinary creator with an unmistakable aesthetic ro oted in Pop Art. dEmo has expressed his intent\, almost like a mantra\, “…[is] to seduce the audience with humor\, without losing view of th e sculpture as a question and an engine for the mind.” Presented in a non-confrontational way\, the Bears do this without a hint of tension\, engaging the viewer to smile while drawing them deeper into the work.\nA chieving his first retrospective early on in his career at the Drissien Gallery of Munich\, Germany\, dEmo’s work has now become a constant pr esence traveling all around the world from museums to institutions to ga lleries and public spaces. His Bears and other works can be viewed in t he Skulpturenpark Artpark\, Vienna\, Museo Nacional de Bellas Artes\, Cu ba\, the Coca-Cola Foundation\, the Valencia Institute of Modern Art and all throughout Madrid\, including the IFEMA\, where his larger-than-lif e\, 18 foot Bear sculpture is permanently installed. His work has also b een exhibited in various cities of France\, London\, Portugal\, Austria\ , Mexico and Italy\, including the 2010 Venice Biennale\, which featured an installation of his\, Osos and Gatos (Bears and Cats).\nJonathan “ DEPOE” Villoch’s work is an evolution of earlier graffiti pieces. Th e artist has retained the roots of his street art by continuing to incor porate intricate line work and art deco hues synonymous with the style. By altering a cube motif\, Jonathan is able to include his fascination with traditional symbols dating back to the times of hieroglyphics and o ther primitive forms that have undergone a metamorphosis to give his mur als a three-dimensional feel. Abandoning any concern for figurative rep resentation\, his ideas and emotions are communicated through visual rhy thms and patterns.\nDEPOE has exhibited and worked at world renown Deitc h Projects\, created site-specific mural projects for the Blanket Factor y\, Ad Hoc Art Gallery and several other locations all throughout New Yo rk City\, Miami\, and California. Recent noteworthy projects include Fre sh Produce\, in participation with Graffiti Gone Global curated by Crist ina Gonzalez (Miami)\, Pop Americana\, curated by Michael Ricardo Andrev (New York City) and the private commission\, Surround Sound in Stereo i n Brooklyn. URL:http://www.artcat.com/exhibits/17095 SUMMARY:POP\, POP LOCATION:Crossing Art Gallery: 136-17 39th Avenue\, 212-359-4333 (Queens Misc.) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120515T200000 DTSTART;VALUE=DATE-TIME:20120515T180000 DESCRIPTION:The artwork Jeffrey Leder Gallery has chosen for the exhibiti on focuses on simplicity. Blending a variety of formal languages\, creat ed in different media\, the show presents pure and reductive art. With 4 5 recent works by 16 American artists the visitor sees an encompassing a pproach to arrangements of shape\, color and surface.\nReductive intends to stretch the boundaries between abstract geometric and representation al art. The components compliment each other and\, as a whole\, go beyon d what has been called Minimal art. The exhibition has an educational di mension\, that intends to create a rich experiential experience. Formal simplicity and basic structures can open sublime dialogues. We aim to ex hibit work that heralds freedom of thought and provokes awareness of one ’\;s connection to art.\nArtists: Caitlin Teal Price\, Claire McCon aughy\, Dan Weihnacht\, Jarrod C. Beck\, Jason Hoelscher\, Joyce Siegel\ , Lisa diClerico\, Marjorie Morrow\, Michelle Arcila\, Nadege Morey\, Pe ter Jones\, Sam Martineau\, Stephen Celuch\, Susie Reiss\, Wei Jia\, Yus uke Nishimura\nDina Muenzfeld\, born 1989\, studied Art History at Humbo ldt University of Berlin and New York University. URL:http://www.artcat.com/exhibits/17185 SUMMARY:Reductive LOCATION:Jeffrey Leder Gallery: 2137 45th Road\, 3rd Floor\, 212-924-8944 (Long Island City) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120515T200000 DTSTART;VALUE=DATE-TIME:20120515T180000 DESCRIPTION:The New York Academy of Art believes that when young artists are given the most extensive set of visual tools available and a complet e awareness of contemporary culture\, they will make important contribut ions to visual culture by doing what many people believe is no longer po ssible\, making great art. It has been suggested that there are no more great movements to be had from art making\, that the great contributions of the last century have been exhausted. This has an “end of history ” ring to it that is both dispiriting and contrary to cultural evoluti on. Great art is being made and will always be made by artists who refus e to adapt to the accepted norms of their era and instead forge ahead wi th work that is masterful\, critically aware and deeply contrary.\nThe g raduating class of 2012 offers a prime example of what can happen when t alent\, intelligence and willful determination meet as a counterpoint to cultural relativity. URL:http://www.artcat.com/exhibits/17153 SUMMARY:2012 MFA Thesis Exhibition LOCATION:New York Academy of Art: 111 Franklin Street\, 212.966.0300 (Tri beca / Downtown) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120515T200000 DTSTART;VALUE=DATE-TIME:20120515T180000 DESCRIPTION:Shoot the Lobster is pleased to announce an exhibition of wor ks by Bill Saylor and Aidas Bareikis. URL:http://www.artcat.com/exhibits/17162 SUMMARY:Bill Saylor — Aidas Bareikis LOCATION:Shoot The Lobster: 540 West 29th Street\, 212-560-0670 (Chelsea) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120516T210000 DTSTART;VALUE=DATE-TIME:20120516T180000 DESCRIPTION:[FEATURED OPENING]\n\n6:30pm in the Loft\, Performance\nby Ch armaine Wheatley\n“\;What Does Jesus Think of Lapdancing?”\;\n In the Screening Room\,\n3D animation video\nby Peter Daverington\nArcad ia\nKianga Ellis Projects is pleased to announce an exhibition featuring painting\, photographic sculpture\, drawing\, performance and moving im age by:\nPeter Daverington\nNikita Gale\nFederico Solmi\nCharmaine Wheat ley\nIn the 20th century\, the State\, Christian church and Advertising appropriated the visual language of artists to consequential and far-rea ching effect. Under The Influence: The Art of Power &\; Persuasion i nvestigates this history. The artworks in the exhibition re-appropriate confiscated aesthetics and methods of presentation to both expose and ma ke use of tactics by which art has been exploited for political\, religi ous and commercial ends.\nViewers are challenged to ask difficult questi ons about how the public is influenced by the powerful in society. The a rtists’\; provocations nevertheless reflect great sensitivity to th e universal experience of inner conflict aroused by their messages. As s uch\, their art should not be misunderstood as cynical\, detached critiq ue. No\; their sense of humor reveals something else. These artists coun t themselves among the seduced.\n\n“The problem is not the incapacity of art to become truly political\; the problem is that today’s politic al sphere became already aestheticized. When art becomes political it ha s to make an unpleasant discovery\, that politics already became art. Th at politics already situated itself in the aesthetic field.” \n~ Bor is Groys\n URL:http://www.artcat.com/exhibits/17031 SUMMARY:Under The Influence: The Art of Power &\; Persuasion LOCATION:Kianga Ellis Projects: 41 Kosciusko Street\, 646-312-9350 (Brook lyn Misc.) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120516T200000 DTSTART;VALUE=DATE-TIME:20120516T180000 DESCRIPTION:Sven Kroner and Martha Mysko\nMay 16th through June 17th\, 20 12\nOpening Reception: Wednesday\, May 16th from 6 –\; 8pm\nSven Kr oner\nAt first glance\, the work of Sven Kroner may seem like a simple t ribute to nature. Inspired by traditional landscape painters such as Jac ob van Ruisdael and Caspar David Friedrich\, Kroner lushly paints scenes of flora and fauna\, while loose brush strokes haze the environments in moss greens and bright ochres.\nKroner draws subjects in part from his childhood in the forested Allgaeu Mountains in the south of Germany\, an d also from the imagined world in which Kroner alone inhabits. Never hav ing seen\, for example\, an aerial view of a ship breaking icebergs\, or surreal cavernous crop circles in remote desert locales\, he paints fro m a pastiche of pop culture tropes\, nostalgic musings\, and idealized o ther-worlds.\nWhile it is easy to place a moralized message on to the wo rk of Sven Kroner\, an artist whose works almost never feature humans an d\, in their stead\, the relics of their destruction\, that’\;s not exactly his intention. By placing things in an unidentifiable land\, an d rendering the impossible with such meticulousness\, he’\;s more c oncerned with blurring the boundaries between truth and falsehood\, and dissolving the essence of time and location.\nSven Kroner was born in 19 73 in Kempten\, Germany. In 2000\, the artist graduated from Kunstakadem ie Düsseldorf. His solo exhibitions include Sies + Höke Gallery – \; Düsseldorf (2011)\, Galerie Fons Welters –\; Amsterdam (2011) a nd Yvon Lambert –\; New York (2008). Museum exhibitions include the Zuiderzee Museum –\; Netherlands (2012) and the Hudson Valley Cent er for Contemporary Art –\; Peekskill\, NY (2007). He lives and wor ks in Düsseldorf.\nMartha Mysko\nMartha Mysko uses desolated materials to create restless compositions that upon close inspection are deluged i n harmonious abstraction and beauty. Mysko’\;s work at times brings to mind a screen of a bad TV where the image flickers between reality a nd fantasy. Discarded electronics\, lumber\, furniture\, and masonry are the tools of her trade. Her acquisitions distinctly become her own lang uage\; checkerboard flooring\, pillows\, textiles and drywall are among her materials\, hand painted to create just the right environment.\nHer work investigates the current state of consumerism with a critical eye\, but concurrently derives from and depends on it\; one man gathers what another man spills. Mysko creates her own space\, sometimes wall bound t wo-dimensional objects\, other times complete environments that entrap. These constructs remind of Jessica Stockholder but Mysko\, a generation later\, is less entropic. Indeed her work seems incomplete without peopl e –\; without us. Material objects have redefined their purpose\, a s individual creations full of form. A Rubik’s Cube only has one solut ion\, but the steps to get there vary greatly. Sometimes it just takes a n artist to show us the way to solve the puzzle.\nMartha Mysko was born in Baltimore\, Maryland in 1982\, and received her MFA in Painting from Cranbrook Academy of Art in Michigan in 2011. She was an artist in resid ence at The Homestead AK in Alaska (2009) and Takt Kunstprojektraum in B erlin (2008). Mysko has exhibited throughout the United States\, and in Austria and Germany. The artist currently lives and works in Brooklyn\, New York. URL:http://www.artcat.com/exhibits/17232 SUMMARY:Solo Exhibitions: Sven Kroner and Martha Mysko LOCATION:Marc Straus: 299 Grand Street (East Village / Lower East Side) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120516T210000 DTSTART;VALUE=DATE-TIME:20120516T190000 DESCRIPTION:[FEATURED OPENING]\n\nARTISTS: Sabine Bitter &\; Helmut We ber\, Judith Fegerl\, Rainer Ganahl\, Matthias Herrmann\, Johanna Kandl\ , Mathias Kessler\, Fabian Patzak\, Rainer Prohaska\, TIME’S UP\, Woch enKlausur\nCurated by Amanda McDonald Crowley\nNew York\, April 2012  211\; The Austrian Cultural Forum New York (ACFNY) is proud to present O ur Haus\, an exhibition in celebration of its ten year anniversary. Cura ted by Amanda McDonald Crowley\, Our Haus for- goes a typical survey\, i nstead examining the many facets of the Forum’s mission as a place for the presenta- tion of contemporary culture\, as a center for the discus sion of ideas and establishing cross-cultural relation- ships. These asp ects are presented through recent and newly-commissioned works by ten ar tists with ties to Austria and New York\, who employ the landmark archit ecture of the Forum to explore themes that celebrate the history and mis sion of the ACFNY and its role within the city.\nCentral to the exhibiti on is Rainer Prohaska’\;s Cuisine à tous les étages (Kitchen on e very floor) (2012)\, an interactive installation that invites visitors t o visit kitchen stations extending throughout the narrow verticality of the building’s gallery space. Each station will provide one item to cr eate a meal\, fostering an an exploration of the space and conversation among guests. New bonds and repurposing of the building are also reflect ed in the work of the collective WochenKlausur\, who have created an off ice and meeting room within the gallery\, inviting a variety of local no n-profit organizations to both network and operate in the space for the run of the exhibition.\nJudith Fegerl –\; known for her sculptural work that combines intangible elements with the con- structed and using electricity as a medium in her work –\; will intervene within the a rchitecture of the building itself\, creating drawings via controlled el ectrical fires in the walls. Conversely\, Sabine Bitter and Helmut We- b er have created an architectural intervention upon the walls themselves through a specially commissioned wallpaper designed for New York City.\n Rainer Ganahl\, a veteran New Yorker\, has produced a video that traces the route up Third Avenue\, contrasting the open architecture and bustli ng neighborhood surrounding the ACFNY with his adopted home of Spanish H arlem and its boarded-up residential spaces. Architectural disparity is also present in the paintings of New York-born\, Austrian-raised Fabian Patzak\, who creates intimate impressions of buildings and fixtures foun d in his travels for what will be his first exhibition in the city.\nJoh anna Kandl and Helmut Kandl channel a personal sense of domesticity thro ugh vintage super-8 films of her childhood home\, edited together with c ontemporary footage of its now-abandoned state. Johanna Kandl also welco mes visitors to Our Haus with a second work\, a large painting entitled Wir haben viele Fre- unde (We Have Many Friends).\nSimilarly personal is the work of Matthias Herrmann\, who presents still lifes created from h is recent New York residency that reflect upon topics such as sexuality\ , sexual health\, and body image. For the first time these works are als o freely available as postcards\, allowing a direct and personal exchang e between artist and audience. The Linz-based collective TIME’S UP wil l present Unattended Luggage\, an installation that draws the audience i n to the vast history of immigration in New York by providing items of l uggage for them to peruse.\nLastly\, interactivity takes a more lighthea rted turn in Mathias Kessler’s Das Eismeer\, Die gescheiterte Hoffnung (The Arctic Sea\, The Failed Hope). The famous titular landscape by Cas par David Frie- drich is recreated by Kessler as a sculpture inside a mi ni-fridge that visitors are encouraged to gaze upon as they help themsel ves to a bottle of beer. A social sculpture\, the intention is that audi ence members also en- gage in conversation while contemplating the view. \nABOUT THE AUSTRIAN CULTURAL FORUM NEW YORK\nWith its architectural lan dmark building in the heart of Midtown Manhattan\, the Austrian Cultural Forum New York hosts more than 200 free events annually and showcases A ustrian contemporary art\, music\, lit- erature\, and academic thought. The Austrian Cultural Forum houses around 10\,000 volumes in its state-o f-the- art library\, and enjoys long-standing and flourishing partnershi ps with many venerable cultural and academic institutions throughout New York and the United States. The year 2012 marks the ten-year anniversar y of the building’s construction\, and will feature many special progr ams and events commemorating this milestone.\nABOUT AMANDA MCDONALD CROW LEY\nAmanda McDonald Crowley is a New York-based Australian curator and facilitator who has created pro- grams and events of new media art\, con temporary art\, and trans-disciplinary work. She was the Executive Direc tor of Eyebeam Art and Technology Center from late 2005 to 2011. She has curated exhibitions\, screen- ings and events which have been presented in New York\, Australia\, Canada\, the UK \, New Zealand and Ko- rea. H er contributions to the field of electronic art also include her work as Executive Producer of the 2004 edition of ISEA which was held in Tallin n\, Estonia and Helsinki\, Finland\, and on a cruiser ferry in the Balti c Sea. She was also Director of the Australian Network for Art and Techn ology (ANAT)and later\, Associate Di- rector of the Adelaide Festival 20 02 where she was co-curator of the exhibition conVerge: where art and sc i- ence meet. She has worked throughout Europe and Asia\, holding reside ncies in Berlin\, Germany (1994/5)\, Banff Center for the Arts\, Canada (2002) and at The Sarai Programme at CSDS in Delhi\, India (2002/3). Ama nda is also a Board member of NAMAC (National Alliance for Media Art + C ulture). URL:http://www.artcat.com/exhibits/17238 SUMMARY:Our Haus LOCATION:Austrian Cultural Forum: 11 East 52nd Street\, 212-319-5300 (Mid town) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120516T210000 DTSTART;VALUE=DATE-TIME:20120516T180000 DESCRIPTION:FB gallery is proud to present Prince Michael’s Neverland: The Measure of an Artist. Michael Anthony Pegues’ Neverland is a culmi nation of the struggle\, passion and rise of a man fully aware of his un ique aesthetic. His colorful\, intuitive and expressionistic strokes on canvas recount his resiliency through homelessness\, theft and ultimatel y his never ending hope and belief that he will be finally recognized an d accepted as a true original. Citing Jean-Michel Basquiat not as an inf luence but rather as an equal\, his work displays child-like innocence v isually coinciding with complex subject matter.\nSince 1996 Michael Anth ony has shown nationally with an eye fixed on fame—his equivalent to c redibility. However\, Pegue’s first large scale solo show in New York will honor his roots in the long tradition of the self-made\, struggling artist. The Measure of an Artist will expose the most intimate percepti ons of the artist’s self through paintings and multimedia depictions.\ nAn artist is not to be measured by wealth\, reviews\, or even aesthetic . In reality\, an artist’s process cannot be measured…\; but a li fe on visual display can. Ranging from his graffiti tag Mazike\, his roy al alter-ego Prince Michael the First\, to his sexual exploration throug h The Gingerbread Man\; Michael Anthony’s work proves that regardless of name or circumstance\, he has survived and arrived. And most importan tly\, he saw it coming.\n“I have yet to actually tell anybody how amaz ing I am…\;this show is what I’ve been trying to tell you for a l ong time.” –\; Michael Anthony Pegues URL:http://www.artcat.com/exhibits/17211 SUMMARY:Michael Anthony Pegues LOCATION:FB Gallery: 368 Broadway\, No. 209\, 917.495.2457 (Tribeca / Dow ntown) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120516T200000 DTSTART;VALUE=DATE-TIME:20120516T173000 DESCRIPTION:Please join the Bronx River Arts Center for a public receptio n showcasing “\;For Closure”\; by Gabriela Salazar that will f eature a new choreographed dance performance by the collaborative duo RE TTOCAMME. This event is part of “\;Arts and Culture Day”\; dur ing Bronx Week 2012 to celebrate Bronx-based art and cultural initiative s.\nAbout the installation:\n“\;For Closure (Outdoors\, the Bronx)& #8221\; by interdisciplinary artist Gabriela Salazar points to the curre nt crisis in the housing sector. The structure is a four-story house of cards assembled from locally salvaged doors. The thin sheet of the door stands in as shorthand for the house\, the home\, and the occupant. As m uch an image as it is a corporeal experience\, the “\;house of door s”\; looks simultaneously precarious and stable. “\;For Closur e”\; enacts the fallibility of our sense of safety\, security\, and permanence.\nGabriela Salazar is an artist and writer living and workin g in Brooklyn and the Bronx\, NY. Engaging architecture\, text\, sculptu re\, and drawing\, her work concerns our relationships and associations with the constructed environment. Salazar received her MFA from the Rhod e Island School of Design in 2009\, a BA from Yale University in 2003\, and attended the Skowhegan School of Painting &\; Sculpture in 2011. Her work has been included in group shows across the country and her ess ay\, “\;Another One Bites the Dust!”\;\, was published in the peer-reviewed Journal of Contemporary Aesthetics in October 2010.\nAbout the performance:\nCreated in response to “\;For Closure\,”\; the dance group RETTOCAMME will perform short structured sequences at in tervals throughout the reception. Each choreographed segment will includ e elements of improvisation interspersed with repeated unison movement p hrases to create unexpected interactions with the site.\nRETTOCAMME is a Brooklyn-based dance/art/design company founded by choreographer and vi sual artist Emma Cotter in 2003. In addition to having produced several evening-length works\, they have presented shorter pieces and site-speci fic works at the Jonathan Shorr Gallery\, United Photo Industries\, Figm ent 09\, Solar Powered Arts Festival\, at various chashama locations\, a mong many others.\nLocation:\nBRAC on the Block at West Farms Square Pla za \nLocated at the base of the subway station at West Farms Square/East Tremont Avenue\, on the corner of East Tremont Avenue and Boston Road\, Bronx\, NY 10460 URL:http://www.artcat.com/exhibits/17199 SUMMARY:For Closure\, a public sculpture by Gabriela Salazar LOCATION:Bronx River Art Center (BRAC on the Block): 2064 Boston Road\, 718-589-5819 (Bronx) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120516T200000 DTSTART;VALUE=DATE-TIME:20120516T180000 DESCRIPTION:Cheryl McGinnis Gallery is proud to present Lin Yan: Enshroud ed. Born in Beijing into a prominent lineage of Chinese artists\, Lin Ya n’s ground-breaking cross-cultural work has been exhibited extensively with our gallery as well as in national and international museums. With studios in Beijing and Long Island City\, Lin Yan honors yet liberates herself from both Eastern and Western conventions. Without use of a brus h\, her rich palette of natural and ink-soaked Xuan paper fibers are cas t and layered into minimalist reliefs of architectural elements from her surroundings and\, most recently\, from Chinese folk imagery. Simultane ously abstract and figurative\, these tactile fragments of everyday life flow with emotional organic compositions that counter the geometric str uctures usually associated with buildings as she reflects the continuing struggle between nature and global industrialism.\nLin Yan’s choice o f archival handmade Xuan paper\, historically used for Chinese writing a nd painting since the Tang Dynasty\, echoes this theme with contrasting qualities of delicacy and strength\, translucence and opacity and a broa d range of absorbency. Her obsession with Xuan paper began in 2005\, and she continues to develop new approaches to her unique language informed by the paper’s origins as processed bark from elm and mulberry trees. Ranging from layers of stiffly cast riveted floors and walls to increas ingly three-dimensional casts of roof tiles and bricks bursting with sof t\, cloth-like leaves of Xuan\, her cast images are “not simply decora tive or textural patterns in the formal sense\, but signifiers of her pa st and of China’s past” as described by art historian and critic\, R obert C. Morgan. Infused with memory and hope\, and an acute awareness o f transitions occurring from the Cultural Revolution and the modernizati on of China\, the brick form used for the Monument series is dedicated t o the lost culture of Beijing City\, and the bricks cast for her Flag se ries express remaking and going beyond borders of countries URL:http://www.artcat.com/exhibits/17135 SUMMARY:Lin Yan: Enshrouded LOCATION:Cheryl McGinnis Gallery: 466 Washington Street\, 212-594-4066 ( Tribeca / Downtown) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120516T200000 DTSTART;VALUE=DATE-TIME:20120516T180000 DESCRIPTION:[FEATURED OPENING]\n\nHunter College MFA Thesis Exhibition Sp ring 2012\nThirty-one artists\, Two Floors\nOpening May 16\, 2012 to Jun e 16\, 2012 URL:http://www.artcat.com/exhibits/17146 SUMMARY:Hunter College MFA Thesis Exhibition Spring 2012 LOCATION:Hunter College/Times Square Gallery: 450 West 41st Street\, (bet ween 9th and 10th)\, 212-772-4991 (Hell's Kitchen) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120517T200000 DTSTART;VALUE=DATE-TIME:20120517T180000 DESCRIPTION:Kathryn Markel Fine Arts is pleased to announce its fourth so lo exhibition of paintings by artist Julian Jackson.\nCrossing represent s Julian Jackson’s most recent exploration of the passage of time and movement within that passage. An exquisitely diffuse palette of geometri c shapes—the motifs which have become familiar throughout Jackson’s body of work—have become more aggressively rendered\, exploiting the t ension created by the confines of the canvas edge and its inherent symme try. He explains this impulse stating\, “I try to bring a sense of mov ement and the experience of time into the stillness of abstract painting . . . the square has built into it multiple axes\; crossing points\, whe re [they] gather energy.” His canvases—both large and small scale— are exclusively square\, fostering a particular awareness in their viewe r of the conflict between image and space. The work seems nearly to over spill its borders\, threatening to engulf its surroundings but is harnes sed by Jackson’s masterful treatment of the light within. With more th an fourteen new paintings\, Jackson’s work defies the physical limitat ions of space with a grace uniquely his own.\nJulian Jackson studied pai nting\, printmaking\, photography\, and performance art at Massachusetts College of Art in Boston\, and received his BFA from the Virginia Commo nwealth University in Richmond\, Virginia. He exhibits extensively throu ghout the United States and Germany\, and has work in several major coll ections within the United States\, including the Sundance Corporation an d the Citibank Collection. He currently lives and works in Brooklyn\, Ne w York. URL:http://www.artcat.com/exhibits/17104 SUMMARY:Julian Jackson: Crossing LOCATION:Kathryn Markel Fine Arts: 529 West 20th Street\, 212-366-5368 (C helsea) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120517T210000 DTSTART;VALUE=DATE-TIME:20120517T180000 DESCRIPTION:Artist Is Schuster returns to her digital roots in her curren t exhibit\, Manifestations\, on display at One Art Space in Tribeca from May 11th through June 2nd. Each colorful canvas features vibrant\, com plex and glowing elaborations of ancient symbols\, calling forth living energies and invoking powerful manifestations of humanity’s deepest ho pes and dreams. Ms. Schuster invites the viewer to use her work as inter active tools\, unleashing the innate power of each symbol in order to de velop the specific attributes and characteristics necessary to achieve o ne’s goals and fulfill one’s destiny.\nA member of MIT’s pioneerin g Architecture Machine Group in the 1970’s\, Is Schuster was the first artist to exhibit digital art in New York City. Her prize-winning works have been displayed throughout the United States\, Europe and the Middl e East in such places as the Brooklyn Museum of Art\, the International Center of Photography in New York City\, the National Museum of Contempo rary Art in Dubai\, and the Detroit Institute of Art in Michigan. URL:http://www.artcat.com/exhibits/17089 SUMMARY:Manifestations: Is Schuster LOCATION:One Art Space: 23 Warren Street\, (646) 559-0535 (Tribeca / Dow ntown) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120517T210000 DTSTART;VALUE=DATE-TIME:20120517T180000 DESCRIPTION:[FEATURED OPENING]\n\nWhere are the rifts and fractures\, the pivots and hinges\, the tilts and balances between open and closed syst ems?\nPeople do need to know that Polaris\, the North Star\, is always i n the North. But in today’\;s world\, daily life is increasingly di gital\, binary\, polarized\, on-off. At risk are the pleasures of ambigu ity\, possibility\, change\, and imagination.\nSeeking the terrain that lies between open and closed\, fixed and flexible\, Open::Closed offers the viewer multiple vantage points from which to view the exhibition\, d isrupting the seemingly neutral experience of looking at art. At the sam e time\, the exhibition focuses on works that explore the conflict betwe en open and closed systems. It is with this double move—one that takes place first in the artworks themselves and then in the way those works are represented—that we ask the viewer and the works to anticipate the arrival of the unexpected.\nDavid Diao\nYevgeniy Fiks\nRainer Ganahl\nD an Graham\nAndreas Gursky\nKenneth Tin-Kin Hung\nCraig Kalpakjian\nEva a nd Franco Mattes aka 0100101110101101.ORG\nJennifer and Kevin McCoy\nTsu yoshi Ozawa\nKristine Potter\nWilliam Powhida\nHiroshi Sugimoto\nKerry T ribe\nMartin Weber URL:http://www.artcat.com/exhibits/17239 SUMMARY:Open::Closed LOCATION:601Artspace: 601 West 26th Street\, Suite 1755\, 212-243-2735 ( Chelsea) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120517T220000 DTSTART;VALUE=DATE-TIME:20120517T190000 DESCRIPTION:Opening: Thursday\, May 17\, 6:00 – 9:00pm\nHappening: Thur sday\, May 17\, 7:00pm\, with live sound by Shawn Greenlee\nLudlow 38 is proud to present a new site-specific installation by Berlin-based Swedi sh artist Bo Christian Larsson. The Emperor’s New Thoughts will unfold during a happening with live music by Shawn Greenlee\, a recording of w hich will contribute to a subsequent installation in the gallery.\nBo Ch ristian Larsson uses his drawings and paintings as blueprints for his in stallations\, which often are the outcome of happenings. For each happen ing\, many of the spatial elements and references are pre-chosen\, while the spontaneous moments are not controlled. This combination of spontan eity and intention is prominent in Larsson’s practice\; the artist see s no difference between his finished work and its process. Working with obscure and mysterious symbols\, Larsson simultaneously plays with the c lichés of symbolism and the common reading of clichés.\nThe starting p oint of The Emperor’s New Thoughts is a loose adaption of Danish write r Hans Christian Andersen’s well-known fairy tale The Emperor’s New Clothes. Larsson had parts of the tale translated through synaesthesia\, a neurological condition in which certain experiences\, such as color a nd taste\, are combined. The words of Andersen’s story were translated into colors and shapes of familiar symbols\, like circles and squares. During the happening\, one of Larsson’s Alter Egos will activate the v isualization of the synaesthetic interpretation by pulling strings. The strings release pigments in a certain order\, creating forms in a bright ly lit room\, serving as a stage. This translation of movements into sha pes is followed by another translation\, into music. Drawing on his long standing interest in music\, the artist collaborates with Shawn Greenlee \, a sound artist who will make the shapes audible with customized instr uments\, in a direct reaction to the happening.\nBo Christian Larsson (b orn 1976 in Kristinehamn\, Sweden) lives and works in Berlin. He studied at AKI\, Academy of Visual Arts in Enschede\, Holland. Larsson has had solo exhibitions at Kunstverein Braunschweig\; Bregenzer Kunstverein\, A ustria\; and Gallery Bo Bjerggaard\, Copenhagen. His work has been prese nted in group exhibitions at Kunstverein Munich\; Lenbachhaus Munich\; S hiryaevo Biennale\, Russia\; Hayward Gallery\, London\; and Arario Galle ry\, Cheonan\, Korea. In 2009 Larsson received the Philipp Otto Runge Re sidency Scholarship and was artist in residence at Kunst:Raum Sylt Quell e. A selection of his sculptures\, drawings\, and paintings will be pres ented during The Emperor’s New Thoughts at Vogt Gallery\, New York.\nS hawn Greenlee is a sound and electronic media artist. In his recent perf ormance and installation work\, Greenlee has focused on generating digit al audio from graphic patterns. Via computer programs of his own design\ , he advances new methods for interpreting visual image as sound (graphi c synthesis).\nThe exhibition is accompanied by a publication with texts by Paul Stephens and Graham Parker\, and the first published interview with all of Bo Christian Larsson’s Alter Egos and Clara Meister. URL:http://www.artcat.com/exhibits/17195 SUMMARY:Bo Christian Larsson “\;The Emperor’s New Thoughts”\; LOCATION:Ludlow 38: 38 Ludlow Street\, between Grand and Hester\, 212-228 -6848 (East Village / Lower East Side) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120517T203000 DTSTART;VALUE=DATE-TIME:20120517T183000 DESCRIPTION:UNDERLINE Gallery (238 W. 14th St.) proudly presents the firs t New York solo show of Jordan Sullivan\, opening May 17\, with a recept ion from 6:30-8:30pm. Sullivan will present a two-part installation expl oring the nature\, force\, and rituals of memory through two narratives separated by seventy years.\nThe first narrative explores Sullivan’ \;s paternal grandparents and their time spent in World War II\, where h is grandparents incidentally met. His grandmother was in the Nurses Core \, while his grandfather was a tank operator in the Battle of the Bulge. Their story is explored though photographs\, sculptures\, and material artifacts –\; both authentic and replicated. Images of POW’\;s are printed on a soldier’s duffel bag\, reconstituted alongside a han d-embroidered replica of a US Army medical blanket\, and WWII medicine b ottles filled with ashes of his grandmother’s memoir. In framing his g randparents’ relationship in the context of an oft-commemorated histor ical event\, the Second World War\, Sullivan widens the scope in which m emory is conceived\, sliding between individual and collective registers .\nThe second narrative finds Sullivan investigating –\; and someti mes interrogating –\; his own recent history through a series of Me mory Studies. Photographs of friends\, family\, and lovers are inscribed with handwritten text –\; I’\;m drinking till I smell like my old man\, with no thought of yesterday\, no dream of tomorrow. We grew up to sound of factory whistles and train songs and on all the wrong roa ds. I’\;ll work where my father worked and you’\;ll cry the te ars your mother cried and we’\;ll swim in the lake that stole your brother\, cause we didn’\;t choose this town\, and you didn’\; t choose to be you\, and I didn’\;t chose to be me\, and so we have no choice but to love one another. Juxtaposed with these images are ep hemeral objects –\; burnt audio reels containing a recording of eve ry sin Sullivan can remember committing\, Sullivan’\;s childhood gu itar coated in black funeral flowers\, and a series of landscape collage s made from discarded photographs –\; each one recalling a differen t place the artist lived or passed through.\nEach piece in Sullivan̵ 7\;s installation adds another layer to the question of what it means to memorialize. Is remembering a passive process in which memories themsel ves lie dormant\, waiting to be revealed\, unveiled\, or summoned? Or is it a creative act\, in which the experiences represented by memories co me into being through their very recollection?\nDuring the exhibition\, the Gallery’s gift shop will be transformed into a sound booth\, allow ing visitors to record their own events of historical significance. In h onor of Memorial Day on May 28\, these audio archives will be available to access and share through a storytelling site developed online.\n̶ 0\;Natural History”\; never strays from Sullivan’\;s core beli ef in the importance memory has in understanding where we came from and where we are going. In this sense\, remembrance\, for Sullivan\, approxi mates the soul\; it resides in relationships of love\, friendship\, and family. URL:http://www.artcat.com/exhibits/16983 SUMMARY:Jordan Sullivan Natural History LOCATION:Underline Gallery: 238 West 14th Street\, 212-242-2427 (Chelsea) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120517T200000 DTSTART;VALUE=DATE-TIME:20120517T180000 DESCRIPTION:Ricco/Maresca Gallery is pleased to present Silhouette Vessel s\, an exhibition of paintings by Bastienne Schmidt. In this series of t hirty works on paper\, the artist explores the innate connection she has to the concept of “vessel”\, stemming from her childhood in Greece as the daughter of an archeologist. These powerful yet allusive painting s are based on images of ancient vases\, such as lekythoi\, amphorae\, o r kylikes in tones of red earth\, which the artist infuses with memory a nd process. Schmidt uses a medium of water-­down polymer paints mixed w ith pigments and espresso coffee on paper\, which she applies wet-­into -­wet\, creating varied passages of color\, shape and depth. Each work exudes a dramatic stillness\, as it explores the typology of a solitary vessel\, its outline and its interior\, within the parameters of the pic ture plane. Each vessel in turn informs the subsequent vessel as the ves sels unfold and evolve.\nAlready acclaimed for her photography\, Bastien ne Schmidt’s recent paintings continue to reflect upon the themes of w omanhood\, female identity\, and domesticity on both a deeply personal l evel and a broader cultural level.\nSeeing the world as she does—throu gh a broad but uniquely personal metaphoric and symbolic ‘lens’—re sults in work that is both reflexive and reflective. It is reflexive\, i n that she allows herself to enter the framework of a project as both th e portrayer and the portrayed. In her published photography series\, Hom e Stills\, she places herself before the camera in the context of mother \, wife\, domestic worker\, naturalized citizen\, traveler\, feminist sy mbol and faceless proxy for ‘everywoman’ in similar multi-­faceted roles\, bringing drama and political impact to her work. It is reflectin g on those very life memories\, associations\, abstractions and extensio ns of logic that allows her to serve as an artistic ‘bridge’ between her interior world and the larger one outside – realigning and layeri ng meaning as she creates.\n-­ Richard J. Friswell\, Managing Editor\, Artesmagazine.com\nBastienne Schmidt is a German-­American multi-­medi a artist\, whose formative years were spent in Greece and Italy. The art ist has had numerous solo exhibitions in the United States and abroad\, including the International Center for Photography\, New York\, NY. Four monographs of her photography have been published (Vivir la Muerte\, Am erican Dreams\, Shadowhome and Home Stills). Her work is in private and public collections including the Museum of Modern Art\, New York\, the C orcoran Gallery of Art\, Washington D.C.\, and the Victoria and Albert M useum\, London\, England. This is Bastienne Schmidt’s first solo exhib ition at Ricco/Maresca Gallery\, New York. URL:http://www.artcat.com/exhibits/17190 SUMMARY:Bastienne Schmidt: Silhouette Vessels LOCATION:Ricco Maresca Gallery: 529 West 20th Street\, 3rd floor\, 212-62 7-4819 (Chelsea) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120517T210000 DTSTART;VALUE=DATE-TIME:20120517T180000 DESCRIPTION:KANSAS is pleased to present Incidental Western\, a solo exhi bition of new work by Michael Berryhill. Opening May 17\, the works will be on view through June 23\, 2012.\nMichael Berryhill’\;s studio p ractice is an intensive exploration of temporal production and the impos sibility of painting. His recent paintings\, sculptures and works on pa per are informed by accident and recovery\; an attempt to invent his way into meaningful mystery.\nIn Empty and Full\, French scholar François Cheng quotes Chang Yen-Yuan\, a Tang Dynasty historian in praise of the incomplete:\nIn painting\, one should avoid worrying about accomplishing a work that is too diligent and too finished in the depiction of forms and the notation of colors or one that makes too great a display of one& #8217\;s technique\, thus depriving it of mystery and aura. That is why one should not fear the incomplete…\; From the moment one knows th at a thing is complete\, what need is there to complete it? For the inc omplete does not necessarily mean the unfulfilled. 894 A.D.\nBerryhill&# 8217\;s ceaseless construction begins as a Sisyphean exercise in enduran ce and culminates in a pictorial expression\, imbued with justifications and meaning. The meaning becomes an invention we believe in\; control and obsession operate as ways to shape what has been found and gleaned f rom. If “\;provisional”\; painters map a criterion of product ion that veers towards the casual or deserted\, Berryhill antiquates tho se strategies with indefatigable focus and time\, ritualistically adding and excavating layers of pigment and form.\nAt the core of Berryhill 217\;s methodology is an ecstatic belief in the inexplicable things of t he world and their effects on vision and perception. The relationships we cultivate and memories we carry are cherished\, thereby meaningful. B erryhill’\;s work isolates and creates memories out of nothing and in this way the viewer’\;s engagement becomes a shared experience w ith the author’\;s discovery. To this end\, the artist finds solace with the process\, abandonment\, and fulfillment of painting. Through w ill and faith\, Berryhill is loyal to an understanding and acceptance of why images should exist rather than disappear.\nMichael Berryhill (b. 1 972\, El Paso\, TX) lives and works in New York\, NY. He received a MFA from Columbia University\, New York\, NY\, a BFA in Painting from Univer sity of Texas at Austin\, TX and attended the Skowhegan School of Painti ng and Sculpture\, Skowhegan\, ME. His solo exhibitions include Horton G allery\, New York\, NY and Bryan Miller Gallery\, Houston\, TX. His work has been included in group exhibitions at Angstrom Gallery\, Los Angele s\, CA\; Blütenweiss Gallery\, Berlin\, Germany\; Okay Mountain and Art house\, Austin\, TX\; Bull and Ram\, New York\, NY\; David Castillo\, Mi ami\, FL and Participant Inc. New York\, NY among others.\nThis is Micha el Berryhill’\;s first show with KANSAS. URL:http://www.artcat.com/exhibits/17220 SUMMARY:Michael Berryhill: Incidental Western LOCATION:Kansas: 59 Franklin Street\, 646-559-1423 (Tribeca / Downtown) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120517T210000 DTSTART;VALUE=DATE-TIME:20120517T180000 DESCRIPTION:Grand Projects is pleased to present “Tell Me Now”\, a dy namic group exhibition of six NYC artists. The works of these artists\, by emblematic means\, touch on a primary function of art—to offer a st ory or insight into the human experience. Whether musing of the future o r exploring process in the studio these artists are creating work in whi ch one can readily find narratives of contemporary life.
 
\nUsing electricity\, Samwell Freeman’\;s work is a starry synthesis of the mysterious speedy electron and the soft slow human. Studying obsolete t echnology\, Freeman explores our potential lives as elderly Cyborgs. He supposes the advanced integration of us as organic beings with the artif icial (ie\, mechanical heart valves\, mind-controlled wheelchairs).\nMaD ora Frey tells the story of a natural world replaced by urban elements\, steel\, concrete\, glass\, asphalt and the language of the digital real m.  From everyday images found in both her physical and virtual environ ments\, she creates kaleidoscopic images that call to mind the sinewy an d geometric patterns of flora\, fauna\, Rorschachs\, and mandalas. Cultu rally they ponder our sense of reality and the ubiquity of spiritual spa ce.\nKatherine Keltner’\;s ethereal paintings express the dynamics of ephemeral experience. In the work on view\, Keltner spray paints over a random accumulation of found natural materials and detritus in an att empt to make permanent a momentary event. What remains is a negative ima ge and trace created by chance\, a result she discovers only when she li fts the canvas.\nEmily Noelle Lambert’\;s vibrant paintings and ass emblages are emblems of her journey within a work\, one in which she all ows herself to explore “\;her boundaries of permissibility”\; in terms of personal narrative and engagement with materials. Intuition and formal aspects such as color\, texture\, and line carry us through her process on sure footing. The work leaves us with a visual story of t ouch-and-go play between inner and outer self.\nIn the day and age of so cial interaction via digital space\, Leif Low-beer’\;s thoughtful i nstallations promote dynamics unique to a physical encounter. Experienci ng Low-beer’\;s work is dependent on the viewer’\;s choice of vantage point. A change in perspective or adjustment of one’\;s eye s allows the viewer to determine depth of field\, relationships between dark and light\, foreground\, background\, people\, objects.\nAn initial viewing of Albert Weaver’\;s video work provides us with a vision of calm and serenity. We are lulled by the ebb and flow of peaceful tide s\, until learning the landscape captured lies before the San Onofre nuc lear reactor. At once the piece is transformed to an emblem of potential destructive power. The duration of the video\, 6 minutes\, hauntingly c oincides with the duration of the earthquake in Japan in 2011.
 
\n Here we find artists making visible the stories of today. From the famil iar of everyday life to representations of epic events\, these images de scribe the intimate to universal\, micro to macro\, tangible to unfathom able. What emerge are emblems of modern life\, placing the human experie nce squarely in the center. URL:http://www.artcat.com/exhibits/17184 SUMMARY:Tell Me Now: Stories + Emblems 2012 LOCATION:Grand Projects: 465 Grand Street\, 6th Floor (East Village / Lo wer East Side) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120517T200000 DTSTART;VALUE=DATE-TIME:20120517T180000 DESCRIPTION:Ana Cristea Gallery is pleased to present “The Venerable Ab ject\,” the first solo exhibition in the United States by artist Nicol a Samori.\nNicola Samori makes seductive\, profound paintings by layerin g and fusing images on canvas\, wood or copper and then obliterating the m by scratching\, erasing\, fingering and painting over the surfaces mul tiple times. By violating the golden rule of all museums (“Please do n ot touch the artwork.”) Samori is making art history by corrupting his own work and imposing a new Samori on top. The resulting layers of pain t create a new skin that bears the bruises and permanent marks of all pr ior creative efforts.\nSelecting portraits and still lifes from classica l paintings but also sourcing random faces and images from the Web\, Sam ori is engaged in a project about time and corrosion. Mythological and r eligious figures dominate Samori canvasses. In “L Abietto Venerabile ” the two hands held up with open palms signal readable gestures (surr ender\, grace\, or blessing) but the spliced visage is streaked with hor ror. In “Tantalo” based on the Greek myth of Tartalus’s eternal pu nishment\, several portraits sit on top of one another\, making it impos sible to determine which figure the artist is honoring. The viewer may i nterpret the mythic or religious connotations of the many visible arms a nd wardrobe changes of this saintly figure—but time has contributed to his (or her) erasure. Samori has assumed the role of creator and destr oyer thereby giving him license to speed up or freeze time and to reinca rnate from one life to the next in between lunch. (Samori lives and pain ts in a Renaissance church in Bagnacavallo\, Italy.) By assuming this ar tist privilege to make and to erase (to give and to take)\, Samori is of fering us his deeply personal views about life and death. Each work beat s a pulse\; giant blots and thumbprints of color race across the surface s only to be stalled by a pileup of oil paint. In that moment of halt\, the viewer is invited to look into the keyhole of the experiences alread y lived.\nNicola Samori was born in Forli\, Italy\, in 1977 and studied at the Accademia d’\;Arte in Bologna. Samorì exhibited in numerous international institutions and museums. In 2011 his work was included i n the Italian Pavillon at the 54. Biennale di Venecia and at Pallazzo Re ale in Milano in a group exhibition with Nicola De Maria\, Mimmo Paladin o and Ettore Spalletti. Kunsthalle Tübingen in Germany scheduled a solo presentation of Samori for September 2012.\nFor additional information\ , please contact Ana Cristea Gallery by phone at (212) 904-1100 or by e- mail at info@anacristeagallery.com. The gallery is located at 521 West 2 6th Street between 10th and 11th Avenues and is open from Tuesday throug h Saturday from 11am to 6pm. URL:http://www.artcat.com/exhibits/17060 SUMMARY:The Venerable Abject LOCATION:Ana Cristea Gallery: 521 West 26th Street\, 212-904-1100 (Chelse a) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120517T200000 DTSTART;VALUE=DATE-TIME:20120517T180000 DESCRIPTION:FreedmanArt is pleased to present newly created work by Frank Stella. Frank Stella is respresented by FreedmanArt. URL:http://www.artcat.com/exhibits/17194 SUMMARY:Frank Stella: New Work LOCATION:FreedmanArt: 25 East 73rd Street\, 212-249-2040 (Upper East Side ) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120517T200000 DTSTART;VALUE=DATE-TIME:20120517T170000 DESCRIPTION:For over 30 years\, COPE 2 has steadily risen to become one o f the world’s most prolific and recognizable living aerosol artists on the graffiti art scene. From high fashion and sports apparel to popular video games\, COPE 2 ‘s art work has crossed over to popular culture. A self–taught artist\, born and raised in the south Bronx\, his paint ings have graduated from the subway cars of the IRT line and now grace t he walls of galleries and private collections throughout the world. Toda y his distinctive style has evolved to incorporate classic urban graffit i style “bubble letters” interwoven with intricate abstract composit ions.\nDorian Grey Gallery proudly presents Resilient\, an exhibition fe aturing recent paintings &\; unique works on paper by COPE 2.\nPlease join us on May 17th from 5-8pm as we celebrate an artist that successfu lly bridges the worlds of New York’\;s gritty street culture and fi ne art. URL:http://www.artcat.com/exhibits/17227 SUMMARY:Resilient –\; Recent paintings &\; subway signs by COPE2 LOCATION:Dorian Grey Gallery: 437 East 9th Street\, 516-244-4126 (East V illage / Lower East Side) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120517T190000 DTSTART;VALUE=DATE-TIME:20120517T170000 DESCRIPTION:Amsterdam artist Diederick Kraaijeveld will exhibit a select ion of sculptural works\; three Chuck Taylor All Stars\, a Coke Can and a Money Roll. Diederick builds constructions of classic pop icons out of vintage reclaimed painted wood. He uses the old painted wooden planks s cavenged from demolition and construction sites from the Netherlands and other countries to piece together his hand crafted photo –realistic w all reliefs. Oudhout or Old Wood is the name he gives to his studio\, af ter his unusual material. Diederick exhibits all over the world\, most r ecently in Istanbul and London.\nCome meet the artist! URL:http://www.artcat.com/exhibits/17242 SUMMARY:Diederick Kraaijeveld LOCATION:Cheryl Hazan Contemporary Art: 35 North Moore Street\, 212-343- 8964 (Tribeca / Downtown) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120518T200000 DTSTART;VALUE=DATE-TIME:20120518T180000 DESCRIPTION:With A Girl and Her Room award-winning photographer Rania Mat ar captures teenage girls in their most personal spaces — their bedroo ms. Photographing girls from both the United States and Lebanon\, these intimate portraits offer an insiders’ peek into the girls’ values\, desires\, and fears\, and speak more broadly to the universality of the adolescent experience. The accompanying monograph (Umbrage 2012)\, with essays by Susan Minot and Anne Tucker\, is a beautiful book of photograp hy that questions what it means to grow from girl to woman\, and how our identities spill over into our material worlds. URL:http://www.artcat.com/exhibits/17143 SUMMARY:A Girl and Her Room LOCATION:Umbrage Gallery: 111 Front Street\, Suite 208 \, 212-796-2707 ( DUMBO) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120518T210000 DTSTART;VALUE=DATE-TIME:20120518T190000 DESCRIPTION:The Front Room Gallery is Proud to present “The Reefing of USS Radford.” Stephen Mallon’s 3rd solo exhibition at The Front Room \, this body of work is a continuation of his ongoing series “American Reclamation\,”which chronicles and examines recycling processes in th e U.S. This series holds optimism in the innovation of salvaging techniq ues\, showing the possible gains that can be made as industrial waste is revivified.\nIn the summer of 2010\, American Marine Group (AMG) assume d responsibility of sinking the longest vessel ever reefed in the the At lantic Ocean to date. 135 feet deep\, and 28.5 nautical miles southeast of Cape May.\n563-feet in length\, the USS Arthur W. Radford has nobly s erved her country for over 26 years as a US. Navy Spruance destroyer. He r impressive military background includes 10 deployments ranging from Ve nezuela\, Panama\, Argentina\, Brazil\, Senegal\, Oman\, Bahrain\, the A zores\, Nova Scotia\, Italy and Turkey. Campaigns from Persian Gulf War\ , peace keeping operations off Lebanese coast\, and finally retiring fro m her latest tour to battle in Operation Enduring Freedom makes her as d ecorated a hero as any Naval Admiral.\nThis ship\, once home to over 340 sailors at a single time\, was given it’s last mission\; to retire an d become an underwater eco system to house algae\, fish\, anglers\, and other under water life alike. Creating an underwater community not only for fish\, but for divers as well.\nStephen Mallon’s new series charts the final stages of this glorious vessel’s life and the destructive b eauty of preparing it for reefing. URL:http://www.artcat.com/exhibits/17223 SUMMARY:Stephen Mallon: The Reefing of USS Radford LOCATION:Front Room Gallery: 147 Roebling Street\, 718-782-2556 (Williams burg / Greenpoint / Bushwick) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120518T210000 DTSTART;VALUE=DATE-TIME:20120518T190000 DESCRIPTION:Teleportraiture is a series of small\, intimate oil portraits \, painted from live poses\, by remote video chat\, via Skype\, Google H angout\, or iChat. Janet Bruesselbach launched Teleportraiture in 2011 a s a Kickstarter campaign. The subject of each portrait is a backer of th e campaign\, or a loved one volunteered by the backer.\nJanet is pleased to announce that the 45 resulting paintings\, completed between October 2011 and February 2012\, will be displayed in a 2-week gallery exhibiti on in New York City –\; more precisely\, in downtown Long Island Ci ty. Attendance at the opening reception on Friday\, May 18th\, will also be possible remotely through a simultaneous online video chat.\nThe pri cing and experimentalism of the series made the fine art portrait experi ence open to people who had never before considered commissioning one. T he subjects include the artist’s friends and relatives as well as peop le met only through the campaign\, and only online. Some posed from the other side of the world\, others from the same room\, all framed by thei r computer screens. The ages of subjects ranged from under a year old to septuagenarian. Many subjects had never used video chat before. The pro ject reflects a moment when a flexible technology is still finding its s ocial niche.\nJanet has been working as a portrait artist since she was 15\, and was further trained at RISD and the New York Academy of Art. He r painting is traditional but fresh and lively\, and feeds on the energy of interaction with a live subject. Paintings reflect on both the artis t’s personality and her subjects’. Yet as artifacts of sittings\, th ey are not quite realistic\, and often contain traces of awkwardness in every level of communication.\nSome of the portraits remain available fo r purchase\, as are a limited number of catalogs. The artist will be wor king in the gallery and will be available for live video chat Monday (21 \, 29)\, Tuesday (22\, 30)\, and Thursday (24)\, from 12-6pm EST. The ga llery is also open Friday\, Saturday\, and Sunday\, 12-6pm. To commissio n a portrait during this or another time\, to schedule a viewing\, and f or any other inquiries\, contact:\njanet@bruesselbach.com\n(310) 617-336 6 URL:http://www.artcat.com/exhibits/17137 SUMMARY:Janet Bruesselbach-Teleportraiture LOCATION:Space Womb Gallery: 22-48 Jackson Avenue\, 917-670-1342 (Long Is land City) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120518T230000 DTSTART;VALUE=DATE-TIME:20120518T210000 DESCRIPTION:Sickly Sweet Products\nPerformance Art by: \nCarlos Monroy\, Theo Pelmus\, and Luisa Nobrega\nFriday\, May 18 \n9:00 Doors\n9:30 Perf ormances\n$10 Donation\nLUISA NOBREGA\nLuisa Nobrega\, born in Sao Paulo \, Brazil\, majored as an actress in Teatro Escola Celia Helena (Celia H elena’s Theater School) and graduated in philosophy at the University of Sao Paulo. As a performer\, she participated in events such as Perife rias festival\, in Huesca\, Spain\; Dimanche Rouge\, Paris\, France\; Sp a das Artes\, Recife\, Brazil\, Performa Paulo\, Sao Paulo\, Brazil\, V. E.R.\, in Terra Una\, MG\, Brazil\, and Trampolim\, Vitoria\, Brazil. In april 2008\, she took part in the Expeditio Francisco project (www.expe dicaofrancisco.net)\, supported by Funarte and Petrobras. As an actress\ , she worked in collaboration with Teatro da Vertigem company. In Januar y 2008 she took an extension course in GITIS\, university of theatre and performing arts in Moscow\, Russia. With her vocal experiments\, she co llaborated with the collective of contemporary eletronic music Al reves (www.alreves.org)\, with whom she recorded in 2006 the independent album menagerie.\nTHEO PELMUS\nTheo Pelmus is a performance artist who has re ceived several awards\, including an emerging artist grant and integrate d arts grant from the Ontario Arts Council (2006\; 2009)\, the Dennis To urbin Fund for emerging artist in performance art (2007) and an emerging artist grant from the City of Ottawa (2009). He has exhibited nationall y and internationally\, including shows in Copenhagen and the Bucharest Biennial. Theo has a BFA and MFA from the University of Fine Arts in Buc harest and a second MFA at the University of Ottawa. He is an active par ticipant in the Ottawa arts community\, most notably as a programming me mber of Available Light Screening Collective. He is represented by La Pe tite Mort Gallery in Ottawa. \nTheo Pelmus: www.theopelmus.com\nCARLOS M ONROY\nCarlos Monroy (Colombia) was born in 1984 in Bogot�\, is a f ine artist and performer\, he graduated from art with two bachelors \, o ne in Electronic media and time art\, and another in Art History and the ory from Universidad de los Andes\, Bogot�\, Colombia in 2008. Afte r he came back from a one year exchange at the arts department from the University of Săo Paulo\, he developed his thesis ›Performance Prod uct Ltda‹ \, work that allowed him to finish his studies as an outstan ding student. In November 2008 He participated at the ›Septimo Festiva l de Performance de Cali‹\, that took place within the activities of ›41 Salon Nacional de Artistas‹ the most important art event of Colo mbia\, invited by the curatorial program of the Helena Producciones Coll ective. In 2008 he flew again to Săo Paulo invited by the Galeria Ver melho to the festival ›VERBO 2008‹ to show his performance ›La per formola‹ or ›The perforbox‹. En 2007 he did his first two solo exi bithions at the alternative exhibition space ›La Vitrina‹ located at the Universidad de los Andes. The first one\, an installation called ›Jesus Flow project vol.1‹\, and the second\, a series of 4 performa nces named ›I see you kissing damn you look good‹. After this\, in o ctober of the same year\, he was part of the selected artists in the fir st art-action encounter from Bogot� called ›Primer encuentro arte -acci�n 27 al azar‹.\nABOUT GRACE EXHIBITION SPACE for PERFORMANC E ART\nGrace Exhibition Space\, since 2006\, is devoted exclusively to P erformance Art. We offer an opportunity to experience visceral and chall enging performance works by the current generation of international perf ormance artists\, whether emerging\, mid career or established.\nBeing a Brooklyn loft\, our events are presented on the floor\, not on a stage\ , dissolving the boundary between artist and viewer. This is how perform ance art is meant to be experienced and our mission is the glorification of performance art.\n“\;Grace Exhibition Space is the sole gallery in this city that shows specifically\, in its most intentionally narrow definition\, Performance Art.”\; Patricia Milder\, The Brooklyn Ra il (May\, 2011)\n“\;Through such intimate encounters between perfor mance groups and their guests\, they could follow in the spirit of Yoko Ono’\;s Chamber Street loft or the Surrealist soirees of Paris.R 21\; Warren Fry\, The Brooklyn Rail (August\, 2007) URL:http://www.artcat.com/exhibits/17139 SUMMARY:Sickly Sweet Products LOCATION:Grace Exhibition Space: 840 Broadway\, 2nd Floor\, 718-388-6780 (Williamsburg / Greenpoint / Bushwick) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120518T210000 DTSTART;VALUE=DATE-TIME:20120518T190000 DESCRIPTION:Lionel Soukaz + Guy Hocquenghem\, Race d’\;Ep (aka The H omosexual Century)\, 16mm on DV\, 84 mins.\, 1979\nFilmmaker Lionel Souk az and translator Bruce Benderson in attendance\nDirty Looks and Artists Space present a new translation\, overseen by Bruce Benderson\, of Lion el Soukaz and Guy Hocquenghem’\;s infamous Race d’\;Ep (transl ating\, literally\, to Breed of Faggots)\, which traces representations of homosexual desire from the advent of photography through gay liberati on. Produced in tandem with the book Race d’\;Ep!: Un Siecle d̵ 7\;Images de l’\;Homosexualité by Hocquenghem\, the film is a fran k experimental documentary charting gay visibility and a cultural emerge nce from the shadows.\nNot screened in this country since its initial Am erican run in the early 1980s\, Race d’Ep is an important and exciting film in need of rediscovery. Presented with a new\, improved translatio n\, this screening will introduce a contemporary audience to a key work in the formation of queer theory and radical queer culture and politics. URL:http://www.artcat.com/exhibits/17147 SUMMARY:Dirty Looks + Artists Space: Race d’\;Ep\, a film by Lionel Soukaz + Guy Hocquenghem LOCATION:Artists Space: Books & Talks: 55 Walker Street\, 212 226 3970 (S oho) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120519T210000 DTSTART;VALUE=DATE-TIME:20120519T180000 DESCRIPTION:Gallery Brooklyn is pleased to present Lightness\, Being\, cu rated by Trong G. Nguyen. Red Hook’s newest space inaugurates with a g roup exhibition that includes the work of Miami collective TM Sisters (M onica and Tasha López de Victoria) and three New York-based artists – Judith Braun\, Jon Elliott\, and Rebecca Reeve.\nLightness\, Being exce rpts its title from the Milan Kundera novel The Unbearable Lightness of Being (1984)\, a philosophical meditation on the ’68 Prague Spring. Th ough not venturing down those depths of connection\, Lightness\, Being f ocuses on the “little illuminations”–literally and metaphorically –that qualify one aspect of art and art-making.\nThe works in Lightnes s\, Being begin at one semblance of romantic idealism–the personal\, “inner chapel” one might say–to broader contexts of an enlightenme nt that has been quietly stirred by such collective uprisings of the sou l. From 1968 to the Velvet Revolution\, and now the second decade’s pr imaveras\, such ideas are not to be the hoarded territories of geopoliti cs\, but rather the manifest destiny of ‘creative design’ and evolut ion.\nDismantling the walls of time\, tense\, and consciousness\, the TM Sisters have developed an exuberant\, “tropical-topical’ brand of m ulti-media work that court viewers with the inherent movement of telepat hy\, hypnosis\, light tricks\, and the seriousness of play. Their collag es reflect reflection in an eternal\, youthful summer of love.\nVarious modes of revelation also take turn in Judith Braun‘s shaped “windows ” collaged from direct xeroxes of flowers. Braun creates symmetry from these natural forms by cutting up and arranging them into panes on a bl ack background that recall church windows. The spiritual is countered by the mechanized draftsman whose carbon toner faithfully copies any objec t placed on its glass bed.\nRebecca Reeve‘s photographs employ an equa lly direct approach to discovery. In one body of work\, the artist uses flashlights to detect her subject matter while navigating through a dark ened warehouse in the Brooklyn Navy Yards. Objects are allowed to surpri se while meaning and life’s vestiges are searched for in the comfort o f shadows.\nNavigation and narration seem to also flow freely from Jon E lliott’s The Approach\, a gigantic painting consisting of 303 individu al acrylic panels of varying scales. An indeterminate pattern emerges fr om the whole\, while each painting reveals a feeling of incipience that could be likened to plein air painting in the dark.\nTrong Gia Nguyen is a Brooklyn-based artist and curator who has organized numerous exhibiti ons\, including Room without a View (Freies Museum Berlin)\, ROY G BIV ( Waterhouse and Dodd NY)\, Never Late Than Better (EFA Project Space\, NY )\, By Invitation Only (Kinz\, Tillou\, + Feigen\, NY)\, The Guy Debord Show (New General Catalog\, NY)\, and Who? Me? (Zabriskie Gallery\, NY). URL:http://www.artcat.com/exhibits/17245 SUMMARY:Lightness\, Being LOCATION:Gallery Brooklyn: 351 Van Brunt Street\, 347-460-4063 (Brooklyn Misc.) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120519T230000 DTSTART;VALUE=DATE-TIME:20120519T190000 DESCRIPTION:The Berlin\, Germany based art collective KLUB7 is creating a rt on various surfaces\, making murals\, customizations and illustration s throughout the world. Together they developed a collective trademark s tyle that combines the diverse backgrounds of the six members. KLUB7 has been around for more than 10 years. Born out of the graffiti scene in t he east of Germany\, this collective has undergone an amazing transforma tion. Since the group’s inception\, all five men and its one female me mber have entered their 30s and developed a very diverse range of activ ities\, that leaves the collective creation of graffiti art behind\, alt hough they have not completely renounced those roots. From the subcultur e of urban art to projects under legal conditions KLUB7 has progressivel y and continuously expanded its network. Alongside\, Berlin as a melting pot and a centre for contemporary art has become their home – and it demands as much as it supports.\nThe fact that KLUB7 uses chalk\, appear to be a tricky consequence on unfriendly experiences. Increased surveil lance\, fines and numerous campaigns against tagging and other media\, i ncluding posters\, stickers and stencils\, have seen a real boom in deve loped countries. Official advertizing campaigns trying to avoid juristic debates or even punishment with using chalk spray. This should feel and look like rebellion without being subject to criminal charges. KLUB7 is motivated for other reasons in using chalk. They work on walls and the ground. First of all\, this simple drawing and painting material is easy available and seems particularly fit for spontaneous artistic interacti ons. Most often\, their activities involve children as well as the adult public in a sort of “jam session” that expands the view of graffiti art to an acceptable public act. URL:http://www.artcat.com/exhibits/17210 SUMMARY:KLUB7 Is Up To Something LOCATION:Pandemic Gallery: 37 Broadway (Williamsburg / Greenpoint / Bushw ick) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120519T200000 DTSTART;VALUE=DATE-TIME:20120519T180000 DESCRIPTION:[FEATURED OPENING]\n\nTwisted Sisters is an exhibition of wor ks that are made by women artists and depict women as the subjects. Insp ired by 1960’s performance works wherein women turned to the body as t he site of creation and content\, the exhibition casts the body as prota gonist. Twisting cultural endorsements of beauty\, the depictions of wom en in these works are unsettling\, unexpected\, or up side down. Whether the works are driven by narrative\, fantasy\, or portraiture\, they inc ite an attraction\, repulsion or amusement response from the viewer. The nuance of body and form expressed within and between works refuse singu larity. Identity is not definitive. The combination of pieces\, includin g painting\, sculpture\, video\, installation\, prints\, mixed media\, a nd performance\, will itself be unsettling\, providing few relief points between eyes looking out.\nHannah Barrett\nKatherine Bernhardt\nKathe B urkhart\nKatie Cercone\nSerena Cole\nPatricia Cronin\nLeah DeVun\nMoyna Flannigan\nChitra Ganesh\nJulie Heffernan\nNina Katchadourian\nLauren Ke lley\nAnya Kielar\nJudith Linhares\nXander Marro\nKim McCarty\nAna Mendi eta\nWangechi Mutu\nAlex Prager\nAllison Schulnik\nDana Schutz\nXaviera Simmons\nNancy Spero\nMickalene Thomas\nSummer Wheat\nLorna Williams\nMo lly Zuckerman-Hartung\nIn collaboration with: Anna Kustera Gallery\, Bar bara Gladstone Gallery\, CANADA\, Catherine Clark Gallery\, David Castil lo Gallery\, Edward Thorp Gallery\, Galerie Lelong\, Lehmann Maupin Gall ery\, Mark Moore Gallery\, Morgan Lehman Gallery\, PPOW\, Rachel Uffner Gallery\, and samsøn. URL:http://www.artcat.com/exhibits/17168 SUMMARY:Twisted Sisters LOCATION:DODGEgallery: 15 Rivington Street\, 212-228-5122 (East Village / Lower East Side) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120519T220000 DTSTART;VALUE=DATE-TIME:20120519T140000 DESCRIPTION:Saturday May 19\, 2012 from 2 –\; 10 p.m. at Gallery One twentyeight\nSOMETHING will be hosting A HAPPENING to celebrate this uni que Spring\nthere will be minstrels\, dancers\, jugglers\,\ngo-go girls (in the cages of your mind)\nelectric yellow elocutions and recitations\ nacid green inquiries and hot pink pretense\nthe spirits of the Beats wi ll be conjured\nsounds of the sixties will echo in your mind\ntime trave l is mandatory\nblack hole and black tie optional\nspontaneity is welcom e\, freedom required\nportraits pursued\, a 3-D (conceptual) canvas\nto celebrate what’s left of “New York City”\nthe future is unwritten\ , but we are hoping\nHenry the Horse will Dance the Waltz\nbring your fr iends and don’t forget your wig\nIt’s All Happening\nRSVP and invite friends on Facebook http://www.facebook.com/events/276610122435698/ URL:http://www.artcat.com/exhibits/17226 SUMMARY:A Happening hosted by Something at Gallery Onetwentyeight LOCATION:Gallery OneTwentyEight: 128 Rivington Street\, 212-674-0244 (Eas t Village / Lower East Side) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120519T200000 DTSTART;VALUE=DATE-TIME:20120519T180000 DESCRIPTION:Curated by Eleanor Heartney\, the program’\;s notable Vi siting Critic in Residence this year\, the exhibition will feature the f ollowing artists who will graduate with a MFA in Studio this May: Kriste n Brandoff Alyssa Fanning Samantha Fricano Klimentina Jauleska Christoph er Luongo Miranda Maher David Oquendo Michelle Orsi-Gordon Caleb Prewitt Ashli Sisk Kristen Sweeney Heartney said the title of the show\, from t he oft-heard maxim A camel is a horse designed by committee\, is apropos . “\;An MFA show is\, like a camel\, an entity that is at once perf ectly functional and inherently awkward\,”\; explains Heartney.  220\;It reflects the individual trajectories of the artists whose work i t represents. But it is also possible to read the ghost of a group dynam ic in any MFA show as these are individuals who have been working\, livi ng and evolving in close proximity for two years as they have pursued th eir MFA degrees. These two readings are in potential conflict\, which is best resolved by considering the show to be a whole made up of fully in dependent parts.”\; Heartney said the students’\; thesis work addresses issues that range from the personal to the political to the ph ilosophical\, taking up everything from ecological threat and the shifti ng paradigms of science\, to family dynamics and the search for existent ial meaning. She added the works reflect "\; the multiplicity of app roaches and ideas evident in artists across the globe\,"\; which is only fitting since the MFA students “\;come from diverse background s and bring to bear very different personal histories and intellectual c oncerns.”\; She adds of interest to note with these students’\ ; work is hybridity. “\;Many of the works here exist between conven tional categories\,”\; she says. Montclair State University’\; s MFA in Studio Art is a 60-credit degree program designed to further th e growth of students as practicing professional artists. Comprised of a diverse group of faculty and students who share a vision to explore\, sy nthesize\, innovate and create\, the rigorous MFA is a full-time\, two-y ear\, in-residence program that fosters opportunities for critical disco urse in an environment where individuals collaborate or work independent ly to make meaningful contributions to contemporary culture. Over the ye ars\, the program has invited an exceptional group of artists\, curators and visiting critics\, such as Heartney\, to the program to engage with students in in-depth capacities. Other notables have included Vito Acco nci\, Roberta Smith\, James Rosenquist\, Philip Pearlstein\, Shirin Nesh at and Dana Schutz. (Further information about the MFA program may be ob tained by contacting program assistant Louise Davies\, or its director D r. Andrew Atkinson\, or by calling (973) 655-4074. URL:http://www.artcat.com/exhibits/17207 SUMMARY:Montclair MFA Graduating Exhibition | Horse Designed By Committee LOCATION:White Box: 329 Broome Street \, 212-714-2347 (East Village / Low er East Side) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120519T210000 DTSTART;VALUE=DATE-TIME:20120519T180000 DESCRIPTION:Whether documenting trash\, cataloguing obscure images or vid eotaping paranoid worlds the artists in this exhibition are all trying t o bring order to something that is intriguing and out of their control.\ nSean Paul Gallegos starts with abandoned sneakers preferably Nike’s. Taking these discarded items that were at one time highly coveted and ve ry expensive articles of clothing\, he refashions them into mask-like ar mor. He feels these pieces reflect his Native American ancestry from New Mexico –\; something that is sacred to him. It is an odd juxtapos ition that while he is setting out to create religious inspired objects\ , he uses materials from his neighborhood surroundings\, i.e. Nike’s t o create these pieces that look like protective gear or imaginary amour. The “sacred” includes protection against the unknown or perhaps his surroundings. The religious importance of these pieces that are constru cted out of material associated with basketball stars\, fashion and stre et culture creates offbeat hermetic sculptures.\nRichard Moszka continue s this thread of using discarded materials by chronicling the deteriorat ion of food. \nIn his piece “Tortilla 5\,"\; he sets a rotting tor tilla against a black background. By simply isolating and enlarging the tortilla it becomes something else. The mold becomes the surface of a b eautiful planet or strange moonscape. He shows us the beauty of the deca y.\nBy lifting images from the Internet Chris Bors’ catalogues subvers ive groups such as WWF superstars and marijuana culture. His strict adhe rence to the rules of the arrangement\, which is not tampering with the size constraints or borders of the jpeg that he uses\, dictates the visu al outcome. By arranging these images in a systematic yet detached manne r\, he renders the often aggressive or illegal subject matter harmless y et at the same time the impractical and seemingly illogical rules that g o into creating his collages add to the esoteric quality to his work.\nC arol Saft documents her Brother Todd’s fantasy world of guns and heroi sm. Internalizing the myths of past heroes as an integral part of being a “\;man\,”\; Todd leads a life of collecting guns and role-pl aying ultimately to protect himself and his family from the “danger” that is always lurking. Her videos cast a very personal eye on Todd’s preternatural behaviors. The strong relationship that is between the ar tist\, and her subject softens the disturbing characteristics that are r evealed in the piece.\nIrene Hanenbergh searches to visualize the enchan ted world that is in her subconscious. Her work is a combination of phan tasmal analogies and fragile lines that describe obsessive\, mechanical and emotional characteristics arrived at through a spontaneous process o f drawing.\n\nThere is an offbeat quality in the work for this exhibitio n. The influences that feed the artists work comes from discarded trash\ , subversive material\, odd behaviors or phantasmal worlds. By visualizi ng that which is scary\, distasteful\, unpalatable\, strange or unknown the artists in Show #2 can perhaps if not control the emotions associate d with their imagery at least gain an understanding as to what they are feeling. URL:http://www.artcat.com/exhibits/17180 SUMMARY:Show # 2 LOCATION:The Parlour Gallery: 791 Bushwick Avenue\, (718) 360-3218 (Will iamsburg / Greenpoint / Bushwick) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120521T210000 DTSTART;VALUE=DATE-TIME:20120521T170000 DESCRIPTION:[FEATURED OPENING]\n\nFor more than a century-and-a-half\, th e Cooper Union End of Year Show has marked its students’ transition fr om studios\, laboratories and classrooms to the gallery. A time honored tradition\, the first recorded exhibition took place in 1860 at the his toric Foundation Building\, now joined by 41 Cooper Square\, the institu tion’s LEED Platinum academic building. Works on view represent the c ulmination of each student’s unique experience in Cooper Union’s top ranked programs. Prominent Cooper Union alumni of the past century in clude Alex Katz (visual art)\, Daniel Libeskind (architecture) and Russe ll Hulse (physics). Admission is free and open to the public.\nOpening n ight: Monday\, May 21\, 2012\, 5–9 p.m.\nIrwin S. Chanin School of Arc hitecture\nThrough June 9\, 2012\nFoundation Building\, 7 East 7th St.\, b/w 3rd and 4th Aves.\nAn exhibition of student works that explores the role of architecture in contemporary culture and society through concep tual and scaled drawings\, detailed three dimensional models and digital renderings. Projects range from the development of **new methods of dr awing and investigating space to proposals for New York City and sites i n Darwin\, Australia\; a military area on the border between North and S outh Korea\; Lima\, Peru\; a rural area of Kansas\, and other locations. The Cooper Union End of Year Show has become a significant New York Cit y tradition that has consistently showcased innovative and visionary pro jects by emerging architects\, helping to launch the careers of such not able alumni as John Hejduk\, Elizabeth Diller\, Ricardo Scofidio\, Shige ru Ban\, Laurie Hawkinson\, Diane Lewis\, Stanley Allen\, Daniel Libeski nd\, Toshiko Mori and Rolf Ohlhausen.\nThe School of Art \nThrough June 9\, 2012 \nFoundation Building\, 7 East 7th St.\, b/w 3rd and 4th Aves.\ nWith a commitment to radical and experimental exploration\, the School of Art’s experience based curriculum has produced some of the most com pelling individual and collaborative projects\, year after year. Illustr ating the school’s continuing role as an incubator of significant arti sts from historically influential artists: from Alex Katz\, Eva Hesse an d Lee Krasner to recent alumni including the Bruce High Quality Foundati on and Sara VanDerBeek. A diversity of sculpture\, painting\, graphic design and video installations will be on view in gallery spaces in the Foundation Building and 41 Cooper Square.\nAlbert Nerken School of Engin eering \nThrough June 3\, 2012\n41 Cooper Square\, 3rd Ave.\, b/w 6th an d 7th Sts.\nRepresenting the different engineering disciplines\, a dynam ic array of projects will be on view for live demonstrations including b attling robots\, an interactive display for deaf children\, a student de signed friction welder\, a pumpkin chucking catapult\, augmented reality interactive posters\, and the design and construction of a Formula 1 ra ce car. The installation at 41 Cooper Square\, Cooper Union’s LEED Pla tinum building\, showcases the inventive and invaluable outcomes generat ed by the fields of mechanical\, electrical\, civil\, and chemical engin eering. URL:http://www.artcat.com/exhibits/17036 SUMMARY:Cooper Union End of Year Show LOCATION:Cooper Union: 7 East 7th Street\, 212-353-4120 (East Village / L ower East Side) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120523T200000 DTSTART;VALUE=DATE-TIME:20120523T180000 DESCRIPTION:Component 5/7 from the performative cycle ACTIVE VOICE\nExhib ition by Maria José Arjona\nMay 23-June 22\, 2012\nSound design by Shaw n Greenlee\nVideographer: Agata Domanska\nThe Kiss is an exhibition mapp ing a system uniting two bodies. It is a gesture\, magnified by the use of sound\, emerging from the action of kissing and intensified by the wo rking presence of the performer’s body.\nThroughout the space each ele ment is woven by simple associations between body (present and absent)\, sound\, and various materials which are all used to reveal the nature o f this binding gesture: the kiss. The exhibition does not display one pr ivileged moment of the kiss – rather\, it dislocates it through its ma ny representations\, thereby underlining an aural intensity which evokes the possibility of an image of kissing within each spectator.\nThe exhi bition could also be thought of as a microscope slide where some of the components of kissing are extracted and isolated in order to better unde rstand them. It is not a rendering\, it is not a choreographed sequence\ , it doesn’t function within linear time. But it proves the force cont ained in a simple gesture (kissing) simultaneously giving it a voice and an expanded corporeality.>\;/p>\;\nThe audio element is integral to the piece\, much more essential than simply serving as a “soundtrack. ” On the video “Strap”\, the association between a plastic strap u sed to connect two cables\, and the sound it produces when closed is lin ked with the sound of a kiss. Both sounds are connected by an image wher e the actual gesture of sending a kiss is recorded while simultaneously two hands close a plastic strap. These two parallel actions\, shown digi tally\, are reflected into the space in the form an object created by th e plastic straps.\n“The Kiss” (long durational performance)\, a brea thing system where the performer’s body becomes the intersection enabl ing the entire organism to work\, reveals the intricate rhythm between l ungs\, fluids and muscles while kissing. The body is the kiss: the plane of action created by it. This intersecting plane finds its translation into sound via the repetitive action of inflating and deflating two huge latex balloons.\n“Muted”\, the second video in the installation\, r efers to childhood memories of wondering what kissing might feel like\; the embracing aspect of it\, is associated with the binding function of the straps\, the sound carried by the cables interconnecting the speaker s\, the kisses sent and the edited sound produced by a couple kissing (f rom where the actual sound emerges)…all of them fluid extensions of th e kiss into the space.\nSound as fluid\, sound as connector\, sound as i mage\, sound as memory\, sound\, body\, sound…time suspended in and by a gesture…also a sound…a minimal voice.\nSpecial thanks to Heather and Tony Podesta\, Andre Lepecki\, all the staff at Location One\, Julia n Navarro\, Laura Lona and Anita Beckers. URL:http://www.artcat.com/exhibits/17121 SUMMARY:The Kiss LOCATION:Location One: 26 Greene Street\, 212-334-3347 (Soho) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120524T200000 DTSTART;VALUE=DATE-TIME:20120524T180000 DESCRIPTION:A.I.R. Gallery is pleased to announce vault\, an exhibition o f new work by 2011-2012 Fellowship artist Aimée Burg. The opening recep tion will be held on Thursday\, May 24\, from 6:00 to 8:00 PM.\nIn her f irst solo show in New York\, Burg exhibits an installation of sculptures and painting. Metallic finishes are used with deliberate subtlety\, no t intended to hide or mask the materials they adorn. The subtle use of m etallic and shiny media avoids ostentatious signifiers such as ‘bling ’\, while offering a nod to genuine artifacts and the nostalgia for fi nding them.\nWe now live in the era that speculative fiction authors ima gined as “the future”. We have unprecedented access to information\, but there is profound uncertainty about how true or beneficial this inf ormation actually is. vault investigates the disorienting possibilities of removing meaning from knowledge-packed imagery\, i.e. science diagram s and test patterns. The objects and images are stripped of purpose\; th is simplicity provides a sense of safety. The viewer is at ease despite being surrounded by the unknown.\nAimee Burg is a 2011-2012 A.I. R. Fell owship Artist. URL:http://www.artcat.com/exhibits/17107 SUMMARY:Aimee Burg\, vault LOCATION:A.I.R. Gallery: 111 Front Street\, Suite 228\, 212 255 6651 (DU MBO) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120524T200000 DTSTART;VALUE=DATE-TIME:20120524T180000 DESCRIPTION:Nancy Margolis Gallery is pleased to announce Ferne Jacobs’ fourth solo exhibition at the gallery. Jacobs has had an extraordinary career and long relationship with the gallery. An innovator in the fiber arts field\, Jacobs is known for her unique three dimensional sculpture s constructed with a simple traditional weaving technique\, waxed linen thread wrapped around a cord.\nEva Hild\, known for her white and dark e thereal flowing ceramic forms\, has ventured to another material and pro cess. Hild’s new sculpture is made of aluminum in editions of three an d may be installed outdoors.\nJacob Ouillette paints patterns of brillia nt to muted hues creating canvases of dazzling color and form. The color s\, freely applied are not pre-planned\, but chosen intuitively. In spit e of the tight grid formation the paintings have a spontaneity\, effecti vely parlaying them into vibrating motion\, color and form. URL:http://www.artcat.com/exhibits/17244 SUMMARY:Ferne Jacobs\, Eva Hild\, Jacob Ouillette LOCATION:Nancy Margolis Gallery: 523 West 25th Street\, 212-242-3013 (Che lsea) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120524T200000 DTSTART;VALUE=DATE-TIME:20120524T180000 DESCRIPTION:Churner and Churner is pleased to announce an exhibition of w ork by Elise Adibi. In “Da Capo\,” Adibi’s second solo exhibition in New York\, the artist extends her investigations of painting and draw ing\, working with a limited set of materials – canvas\, carbon powder \, charcoal\, and oil paint – to create artworks that embody her ongoi ng relationship with philosophical notions of repetition and precedence. \nAdibi works with six-foot square canvases that avoid the connotations of landscape or portraiture\, and allude to the body with their scale. I n the drawings\, she creates a grid\, following the weave of the canvas\ , and traces it with graphite or fills it in with charcoal. But as the s weep of her hand carries her to the end of one line\, only to start agai n just below\, smears and smudges mark the spaces where the grid is met by its materiality. In the paintings\, Adibi covers the canvas in a base of gold or copper and paints a thick impasto topped with graphite powde r. This technique is a reversal of her earlier use of graphite\, moving what is typically a base material to the painting’s very surface. Thro ugh the physicality of her process and the nature of her materials\, Adi bi finds contingency within a highly determined structure.\nThe musical term “da capo” means “from the beginning\,” or literally\, “fr om the head.” It tells the performer to repeat a section of music\, ma rking a return to the beginning of a repeated phrase. Adibi begins the w orks in this series with similar basic parameters\, and with the same af firmative notion of repetition. For Adibi\, starting from the beginning while simultaneously repeating what has come before is an optimistic act . She derives freedom from limitation\, in a Modernist vein\, but realiz es that what her practice is after is not an endpoint\, but a becoming. These paintings strive for what Nietzsche described in Beyond Good and E vil: the essence of the “most high-spirited\, alive and world affirmin g being who has not only come to terms and learned to get along with wha tever was and is\, but who wants to have what was and is repeated into a ll eternity\, shouting insatiably da capo.”\n\nABOUT THE ARTIST\nElise Adibi was born in Boston MA. She lives and works in New York. In 2010 s he had a solo exhibition at Southfirst\, Brooklyn\, which was reviewed i n Artforum in February 2011. Adibi has a BA in Philosophy from Swarthmor e College\, and a Master of Architecture from the University of Pennsylv ania. She received her MFA from Columbia University in 2007. In 2008-200 9 Adibit received a grant from the Pollock-Krasner Foundation\, and in 2 007 she was awarded a fellowship in Giverny\, France by the Terra Founda tion. She has been an Adjunct Professor of Painting at Columbia Universi ty and Brooklyn College. In 2009-2010 she curated “Gold in Braddock\, ” an exhibition of seventeen artists in Braddock\, Pennsylvania. Most recently\, works from her series Oxidation Painting (2011) have been dis played at The Andy Warhol Museum. URL:http://www.artcat.com/exhibits/17241 SUMMARY:Elise Adibi: Da Capo LOCATION:Churner and Churner: 205 10th Avenue\, 212 675 2750 (Chelsea) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120524T200000 DTSTART;VALUE=DATE-TIME:20120524T180000 DESCRIPTION:A.I.R. Gallery is pleased to present an exhibition of Recent Work by Kathleen Schneider from May 23 – June 17\, 2012. The opening r eception will be held on Thursday\, May 24 from 6 -8pm.\nNew sculpture a nd works on paper in this exhibition extend the imagery\, materials and methods of manipulating materials employed in earlier pieces from the Pe tals and Wings series and easily identify themselves as relatives of the paper warplane arrays\, exploded bouquet clusters\, and gridded helicop ters from 2009-10.\nThe new work continues the artist’s engagement wit h locating gesture and movement (implied-action\, stopped-action\, incre mental transformation) in sculptures that are hand-made\, mult-part\, ri chly articulated\, geometric/biomorphic conglomerates. All new pieces fe ature “equal and opposing actions happening at the same time” and e mbody the characteristics of simultaneity. The sculptures fluctuate in imagery and appearance between the recognizable and abstract while their structural integrity shifts between the fixed and mutable. Highly tacti le surfaces and discontinuous edges/boundaries suggest the possibility f or reconfiguration. URL:http://www.artcat.com/exhibits/17109 SUMMARY:Kathleen Schneider LOCATION:A.I.R. Gallery: 111 Front Street\, Suite 228\, 212 255 6651 (DU MBO) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120524T210000 DTSTART;VALUE=DATE-TIME:20120524T180000 DESCRIPTION:Joshua Liner Gallery is pleased to present Dark Island\, an e xhibition of new mixed-media works by the Denver-based artist Evan Hecox . This presentation will mark his second solo show with the gallery.\nEv an Hecox has a roving traveler’s eye—it is the gateway to his art. H is passion for exploring unfamiliar cities has taken him to London\, Mex ico City\, and Hanoi. With vintage Polaroid camera in hand\, he scours t he urban landscape\, looking\, lingering\, absorbing\, and editing. The images he captures are not documentary records\, per se\, but rather imp ressions of cities left behind in his memory. They set the stage for a s timulating dialogue with personal experience that crosses between differ ent artmaking media and disciplines.\nDark Island—a suite of acrylic a nd gouache works on vintage newspaper—is inspired by Hecox’s recent hikes across lower Manhattan and west Brooklyn in New York City. As in e arlier series inspired by specific locales\, the artist focuses here on telling urban fragments: a building façade\, rooftop\, isolated alleywa y\, waterfront\, or elevated train trellis. Working precisely from photo graphs\, he uses a highly refined process to subtract certain elements\, laying down a skeletal vestige of a remembered setting that is then rei magined (or “amplified”) with painterly techniques. Though photograp hy is an early stage in his artmaking practice and employed only as a re ference\, Hecox relishes the use of his near-obsolete cameras and film\, noting\, “I like to have a high level of materials and artistry run t hrough the whole process.”\nIn The Stranger’s Grave\, the lumbering side view of a tenement—rendered in a flat wash of gray gouache\, draw n in ink—is punctuated with the fine lines of fire escapes\, small win dows\, crisscross security grate\, bicycles\, a street tree\, and the st ray human silhouette. Rising up through the image are faint columns of p rinted type\, the remnants of city life deposited over a century ago in the New York Weekly Times. Hecox has appropriated and specially treated this newspaper as a surface for the painting. Here\, this palimpsest of recorded history is an evocative backdrop for a passage of contemporary graffiti writing recreated on the building’s façade.\nIn works like I deal Hosiery\, Hecox riffs on the columnar attributes of the newspaper l ayout that mimic the blocky shapes in the windows and storefronts of his layered cityscape. Elsewhere\, monochromatic parallelograms and bands o f pure color—red\, black\, orange\, green—course across the street s cene like quotations from Malevich-style constructivism. These bold\, ab stract elements replace features from the source photographs in their pl acement\, scale\, and perspective\, but they also appear to shift betwee n fore- and background or exist in their own imaginative dimension.\nIn Five Boroughs\, Hecox dispenses with representation altogether\, depicti ng instead the names of the city’s boroughs in an eye-popping\, early- Modernist font. These graphic block forms\, in an assortment of grays an d other muted hues\, conjure up Manhattan’s “Dark Island” of archi tectural greatness\, intensity\, and romantic memory. Across all of thes e works\, Hecox distills his fascination with urban complexity\, layerin g photojournalistic details\, urban detritus\, and art history into pent imenti from his own inner landscape. As the artist notes\, “I like to use abstract elements\, words\, and small symbols as ways of breaking ap art the original image and putting it back together as something new. My work ultimately looks out into the world to make an observation while a t the same time pushing back into my own mind and demonstrating how a pa rticular environment affects my senses.” URL:http://www.artcat.com/exhibits/17198 SUMMARY:Evan Hecox –\; Dark Island LOCATION:Joshua Liner Gallery: 548 West 28th Street\, 3rd Floor\, 212-244 -7415 (Chelsea) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120524T210000 DTSTART;VALUE=DATE-TIME:20120524T180000 DESCRIPTION:Masters &\; Pelavin is proud to present Silence\, a group exhibition of international artists\, curated by Estonian artist and cur ator Jaanika Peerna. A variety of media will be shown—video\, sculptur e\, painting\, photography and installation—a number of artists repres ented\, including: Peter Baumann\, Anne Lindberg\, Janine Magelsen\, Kaz umi Tanaka\, Thomas Fougeirol\, Kaido Ole\, Jaan Toomik\, Jaanika Peerna and Krista Mölder.\nWithin Western culture\, silence is defined as the relative or total lack of audible sound. By analogy\, the word silence may also refer to any absence of communication\, even in media other tha n speech. Yet\, silence is used as total communication\, in reference to non verbal communication and spiritual connection. It is the absence or omission of mention\, comment\, or expressed concern. A freedom from th e onslaught of thoughts and thought patterns. A state of being forgotten . A bringing to rest or stillness. A hush. A quell. A muzzle. URL:http://www.artcat.com/exhibits/17221 SUMMARY:Silence: Curated by Jaanika Peerna LOCATION:Masters & Pelavin: 13 Jay Street\, Ground Level\, +1 212 925 942 4 (Tribeca / Downtown) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120524T200000 DTSTART;VALUE=DATE-TIME:20120524T180000 DESCRIPTION:Gary Snyder Gallery is pleased to announce Sven Lukin\, an ex hibition of paintings and drawings at 529 West 20th Street. Opening on M ay 24\, 2012\, the exhibition is the first since 1978 to present new wor ks by the artist. Seven of Lukin’s recent paintings will be on view\, alongside seven of his famed “shaped canvases” from the 1960s. The e xhibition will also include a selection of preparatory drawings\, many o f which have never been shown before.\nThe exhibition offers detailed vi ews of the artist’s work during the 1960s and the past decade. Works s uch as Diamond Head (1964)\, Trafalgar (1965)\, Piano Lesson (1968)\, an d Janus (2009) illustrate Lukin’s career-long involvement with bringin g painting out from two-dimensional space and into the realm of architec ture. Unlike his peers Richard Smith\, Frank Stella\, and Neil Williams\ , Lukin was not merely satisfied with changing the shape of his stretche rs. He wants his paintings to exist in real space\, to attack and confro nt it.\nBorn in Riga\, Latvia in 1934\, Sven Lukin immigrated to the Uni ted States in 1949. After graduating high school in 1953\, Lukin was acc epted into the University of Pennsylvania\, School of Architecture. Whil e enrolled\, he attended lectures by the influential architect and urban designer Louis I. Kahn. Although Lukin left the program in 1956\, Kahn ’s ideas had a profound impact on the young artist. Kahn’s celebrati on of monumental scale\, unadorned surfaces\, and volumetric forms was a source of endless fascination for Lukin—one that continues to this da y.\nIn 1958\, Lukin moved to New York to pursue his career as a painter. During the 1960s\, he had solo exhibitions at many of New York’s most influential and prestigious galleries\, including: Betty Parsons Galler y (1961)\, Martha Jackson Gallery (1962)\, and the Pace Gallery (1963\, 1964\, 1966\, and 1968). During this period\, his work also figured prom inently in many landmark museum exhibitions\, such as The Quest and the Quarry (1961\, Rome-New Art Foundation)\, Vormen van de Kleur (1964\, St edelijk Museum)\, The Shaped Canvas (1965\, Solomon R. Guggenheim Museum )\, Color\, Image\, and Form (1967\, Detroit Institute of Arts)\, Painti ng: Out from the Wall (1968\, Des Moines Art Center)\, and L’art vivan t aux États-Unis (1970\, Fondation Maeght)\, among others. In 1972\, at the height of his success\, Lukin severed his ties with the Pace Galler y and refused to display his work in a commercial setting. His paintings were not seen again publicly until 1978\, when the Los Angeles County M useum of Art mounted a solo exhibition of his work. In November 2010\, a survey of the artist’s early work\, Sven Lukin: Paintings\, 1960–19 71\, opened at GARY SNYDER Project Space.\nLukin’s work is featured in the collections of major museums around the country\, including: the Al bright-Knox Art Gallery\, the Los Angeles County Museum of Art\, the Mus eum of Modern Art\, and the Whitney Museum of American Art.\nGary Snyder Gallery is pleased to represent Sven Lukin.\nSven Lukin will be on view at Gary Snyder Gallery\, 529 West 20th Street (between Tenth and Eleven th Avenues)\, through Saturday\, June 30\, 2012. The gallery is open Tue sday through Saturday\, 11:00 A.M. to 6:00 P.M. For more information\, p lease contact Garth Greenan at (212) 929-1351\, or email garth@garysnyde rart.com. URL:http://www.artcat.com/exhibits/17170 SUMMARY:Sven Lukin LOCATION:Gary Snyder Gallery: 529 West 20th Street\, 10th Floor\, 212 929 1351 (Chelsea) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120524T220000 DTSTART;VALUE=DATE-TIME:20120524T180000 DESCRIPTION:A ten day solo exhibition celebrating the life and times of M arlon Brando\nMarlon Brando is considered by many to be the world’s gr eatest actor of both stage and screen. He died at the age of eighty on July 1st\, 2004 in Los Angeles\, California. Working in oil\, acrylic\, enamels and mixed media\, Charles Printz Kopelson has created a dozen w orks of both large and small scale commemorating the late actor’s life . His portraits\, a mix of unsettling nostalgia\, irony\, and humor ass emble a touching homage to the late screen legend. This exhibition marks the start of Printz Kopelson’s Biographies campaign. URL:http://www.artcat.com/exhibits/17204 SUMMARY:Charles Printz Kopelson LOCATION:Orchard Windows Gallery: 37 Orchard Street\, between Hester and Canal (East Village / Lower East Side) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120524T210000 DTSTART;VALUE=DATE-TIME:20120524T180000 DESCRIPTION:Conflicting Cosmologies is a series of abstract color paintin gs given a linear narrative by short\, five-line poems which start at th e creation of the universe and end with the discovery of writing and art .\nThe name Conflicting Cosmologies references the period we’re curren tly in where our old religious sensibility\, Gnosis\, is being stripped away by the new usurper\, Science. This battle between logic and magic\, the head and the heart\, takes place in the body and is expressed throu gh Art\, which becomes the fulcrum upon which the knowledges can achieve balance.\nThe conflict between our cosmologies\, both ancient and moder n\, manifests in the form of disbelief and demonization of opposing camp s. What both parties need to understand is that Science without Spirit i s empty and Gnosis without Mind is an anachronism. URL:http://www.artcat.com/exhibits/17120 SUMMARY:Conflicting Cosmologies –\; Paintings and Poems by Jason Bla sso LOCATION:Rogue Space: 526 West 26th Street\, Suite 9E (Chelsea) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120524T200000 DTSTART;VALUE=DATE-TIME:20120524T170000 DESCRIPTION:[FEATURED OPENING]\n\nCurated by denisse andrade\, Liz Park\, Tim Saltarelli\, and Kristina Scepanski\nHelena Rubinstein Curatorial F ellows of the Whitney Museum of American Art Independent Study Program\n “Creative destruction” initially described the periodic crises that cleared the ground for the creation of new wealth. More recently\, the t erm has been interpreted by finance capital as the ability to profit at the expense of the majority and their livelihoods. The exhibition reclai ms the phrase in order to emphasize the potential to reconfigure and reb uild from pre-existing language for different political purposes. The ar tworks take aim at how these signs perpetuate a constructed yet naturali zed state of inequality. Similar to many of the recent global protest mo vements\, they collectively engage in a critical analysis of the existin g socio-economic and ideological order.\nWith works by Melanie Gilligan\ , Hans Haacke\, Alfredo Jaar\, Liz Magic Laser\, Raqs Media Collective\, Kerri Reid\, SUPERFLEX\, and Fred Wilson\, among others.\nExhibition Ho urs: Tues–Fri\, 12–6 pm\; Sat 11–6 pm FREE\nSupport for the Whitne y Museum of American Art Independent Study Program is provided by Margar et Morgan and Wesley Phoa\, The Capital Group Charitable Foundation\, th e Whitney Contemporaries through their annual Art Party benefit\, the Ea ston Foundation\, the National Committee of the Whitney Museum of Americ an Art\, the Edward and Sally Van Lier Foundation\, and an anonymous don or. Endowment support is provided by Joanne Leonhardt Cassullo\, the Dor othea L. Leonhardt Fund of the Communities Foundation of Texas\, the Dor othea L. Leonhardt Foundation\, the Helena Rubinstein Foundation\, and G eorge S. Harris. URL:http://www.artcat.com/exhibits/16833 SUMMARY:Creative Destruction LOCATION:The Kitchen: 512 West 19th Street\, 212-255-5793 (Chelsea) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120526T220000 DTSTART;VALUE=DATE-TIME:20120526T180000 DESCRIPTION:BASILICA HUDSON is pleased to present THIS IS CONGO: Exhibit and a sneak peak preview of the documentary film SHORTCUT TO HEAVEN with director and photographer Daniel McCabe and crew + Special Guest Filmma ker and Field Producer Horeb Bulambo.\nPhotography Exhibit will feature images touching on Congo\, its people\, its conflict and its beauty.  S hot on location during the production of the film Shortcut to Heaven\, i n the Democratic Republic of Congo (DRC) by photographer filmmakers Dani el and Michael McCabe. URL:http://www.artcat.com/exhibits/17234 SUMMARY:This is Congo LOCATION:Basilica Hudson: 110 S. Front Street\, Hudson\, NY\, 518 822 10 50 (Tri-State Area) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120530T210000 DTSTART;VALUE=DATE-TIME:20120530T183000 DESCRIPTION:UNICEF’\;S NEXT GENERATION photo benefit will be showcas ing photographers from UNICEF’\;s work in the field. With a water t heme\, this year’\;s event will be supporting UNICEF’\;S highl y successful TAP Project to help fund water\, sanitation and hygiene pro grams in Togo\, Vietnam\, Mauritania &\; Cameroon. Come enjoy cocktai ls\, appetizers and amazing photography while putting an end to the prev entable deaths of children from lack of clean water. URL:http://www.artcat.com/exhibits/17197 SUMMARY:UNICEF’\;S Next Generation Photo Benefit LOCATION:R 20th Century Gallery: 82 Franklin Street (Tribeca / Downtown) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120530T200000 DTSTART;VALUE=DATE-TIME:20120530T180000 DESCRIPTION:Performance Dates:\nWednesday\, May 23\, 7pm \nFriday\, Septe mber 7\, 7pm\nThird Streaming presents Gifted and Talented\, a group exh ibition comprised of photography\, video\, and live performance curated by acclaimed artist Clifford Owens. Extending the timeline created in hi s recent exhibition\, Anthology at MoMA P.S.1 – which highlighted perf ormance scores that Owens solicited from a multigenerational group of Af rican-American artists – Gifted and Talented features the work of a yo unger generation of up-and-coming artists whose practices are centered a round performance. The exhibition includes artists Tom Chung\, Élan Jur ado\, Ali Kheradyar and Tameka Norris\, with contributions by Clifford O wens.\nThe artists\, featured in Gifted and Talented\, all of whom have studied with Owens\, work with the specifics of ritual\, and explore the labyrinth of identity politics without regard for the limitations of an y specific media. Their practices incorporate live performance and those specifically created for the camera\, blurring the boundaries between t he two. This is especially evident in Norris’ Venus of the Rags (2012) \, in dialogue with Michelangelo Pistoletto’s work of the same name fr om 1967-68\, and Chung’s Antidote (2012)\, which was taken just before the artist ingested a pill containing a wasp.\nChung’s work challenge s preconceived attitudes towards race\, gender and sexuality as shaped b y religion. For this exhibition\, Chung will premiere a performance that is part prayer\, part confession to powerful effect\, interweaving biti ng snippets of personal history conjuring otherworldly spirits while aff irming his identity as a gay man of Chinese descent. Chung further explo res the conflicts of religious representation through his interest in my th\, shamanism and divination. While Chung claims a place for those that are ‘other’\, Jurado’s performances painfully exploit and test th e boundaries of physical endurance and tolerance through his submission to violent acts of aggression. In White Action Red Reaction (2012)\, the artist is shot with a paintball gun from close range nineteen times bef ore falling to the ground in agony\, providing an intense study of the l imitations of the human body.\nNorris’ investigation of the body takes a more outward approach\, directly engaging with the audience to foment uncertainty\, discomfort and critique. Her performance for Gifted and T alented leaves the viewer in control of her body\, giving the audience m embers complete freedom to act out intimate hygienic routines. Norris th us engages concepts of surrender and accessibility\, while activating th e desirous nature of the gaze. Kheradyar’s photographic series of Bett y Hair Dye deals with similar themes of sexual identity and the body\, w hile referencing Minimalist photography in the clean lines of Dye (2011) . Using seriality through the repetition of the female figure\, with onl y the thighs and pubic hair visible\, each image is defined by the speci fic dye applied. With titles such as Lucky Betty and Sexy Betty\, the ar tist playfully questions individual ritualized practices and unconventio nal concepts of beauty.\nThe works featured and performed in Gifted and Talented challenge traditional notions regarding what is cultural or soc ially acceptable\, particularly as defined by the current conservative p olitical agenda. Collectively\, their work clearly indicates that art an d identity politics are as relevant and timely as ever. URL:http://www.artcat.com/exhibits/17094 SUMMARY:Gifted and Talented LOCATION:Third Streaming: 10 Greene Street\, 2nd floor\, 646-370-3877 (So ho) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120601T230000 DTSTART;VALUE=DATE-TIME:20120601T180000 DESCRIPTION:[FEATURED OPENING]\n\nBushwick Open Studios 2012\nHappy BOS ’12: June 1-3\, 2012 — it’s our 6th birthday!\nJune 1 –\; eve nt party\, 6pm- 3am\nJune 2 –\; open artist studios\, 12pm –\; 7pm\nJune 3 –\; open artist studios\, 12pm –\; 7pm\nWe’re c reating an open and inclusive event that benefits the neighborhood by sh aring artistic projects and encouraging community interaction and dialog ue. BOS brings the neighborhood’s thousands of artists and performers out into the streets and in view of each other\, other community residen ts\, and the general public.\nArts in Bushwick presents Bushwick Open St udios and Art Festival\, June 1-3\, 2012: a volunteer-organized event ce lebrating the thriving local arts scene and building bridges within its dynamic community. Arts in Bushwick is pleased to announce that Bushwick Open Studios and Arts Festival is back and bigger than ever. Now in its sixth year\, BOS ’12 includes over 400 individual studios\, shows and events involving more than 500 artists in over 160 locations. This free annual festival invites visual artists\, performers\, musicians\, desig ners and the public to celebrate creative expression \ntogether in the o ne of the most vital arts districts in New York City.\nOn June 2 – 3\, participating artists will open their studios from 12pm-7pm. Visitors w ill have the opportunity to view an impressive variety of work from hund reds of artists\, and to meet and talk with the artists directly. Detail ed profiles of participating artists\, including images\, can be found o n the interactive artist directory at artsinbushwick.org\nSUBWAY SERVICE \nThe MTA has promised that the L train will be running normally! URL:http://www.artcat.com/exhibits/17149 SUMMARY:Bushwick Open Studios 2012 LOCATION:Brooklyn Fireproof East: 119 Ingraham Street\, at Porter Ave\, 7 18-456-7570 (Williamsburg / Greenpoint / Bushwick) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120601T200000 DTSTART;VALUE=DATE-TIME:20120601T180000 DESCRIPTION:NOoSPHERE is pleased to pair Peter Fend\, a U.S. artist known for his collaborative practices melding art and science who recently re turned to New York after being active in Eurasia for the past decade\, w ith Morten Traavik\, one of Norway’\;s most challenging and product ive artists\, who exhibits in NYC for the first time.\nFor POWER GAMES\, the gallery space will be transformed into a single installation where works by Fend and Traavik converge to present the artists’ different t akes on borders\, distribution of resources\, and what constitutes wealt h ‒ both physical and mental. Their approaches are poles apart: while Fend is stern and formal\, Traavik is witty and sly.\nFend\, who has be en labeled a “\;global architect”\;\, applies ideas from art t o major real-life problems. He produces maps and models for: deconstruc tion of dams\, diversion of rivers\, collection of aquatic or marine bio mass to yield methane\, ultra-lightweight city structures to reduce spra wl\, and replacement of monoculture with wild-animal terrain\, suited fo r hunting-fishing-foraging. To the dismay of some\, Fend shows how art c an serve to end dependence on nuclear power and fossil fuels\, change po litical borders\, and convert military technology into eco-industry tool s. For controversy\, he developed “\;Geopolitical Billiards”\ ;\, “\;Global Soccer Fields”\;\, TV scenarios like “\;Ita ly Wins World War”\; and a gas-station advertising campaign for  220\;Global Warming.”\;\nTraavik operates in many different artisti c genres\, often in mental and/or physical conflict zones. For instance\ , his MISS LANDMINE ANGOLA (2008) and MISS LANDMINE CAMBODIA (2009)\, a beauty pageant for female landmine survivors\, sparked massive internati onal attention and debate\, also in the US. His latest project\, a trilo gy titled THE PROMISED LAND (2012)\, is still being developed in North K orea in close collaboration with the country’s cultural authorities\, and has already made world headlines\, not least through its clever use of social media (nearly 2 million YouTube views so far) and playful deco nstruction of our established preconceptions about the world’s most re clusive state and its people.\nThe two artists share a belief in ‘\ ;truth disclosure’\; projects conducted to challenge their own and others’ comfort zones. In this pursuit\, they both play many roles: ac tivist\, pundit\, craftsman\, conceptualist\, realist\, fantasist\, bad- boy artiste ‒ sometimes all at once! URL:http://www.artcat.com/exhibits/17166 SUMMARY:Power Games: Peter Fend and Morten Traavik LOCATION:.NO Gallery: 251 East Houston Street\, 646-389-8229 (East Villa ge / Lower East Side) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120601T210000 DTSTART;VALUE=DATE-TIME:20120601T180000 DESCRIPTION:Causey Contemporary is pleased to present a solo exhibition o f James Cathcart’s black and white photography. Boneyards will featur e two series\; one documenting the rough\, ghostly landscape of late-198 0’s Williamsburg\, Brooklyn\; the other capturing rare views of the U. S. Military’s aircraft repository. URL:http://www.artcat.com/exhibits/16853 SUMMARY:James Cathcart: Boneyards LOCATION:Causey Contemporary: 92 Wythe Avenue\, 718.218.8939 (Williamsbur g / Greenpoint / Bushwick) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120601T210000 DTSTART;VALUE=DATE-TIME:20120601T180000 DESCRIPTION:[FEATURED OPENING]\n\nAbdolreza Aminlari and Drew Shiflett dr aw on traditions of minimalism\, architecture\, and craft to transport t he viewer to a place of the imagination. For the exhibition at Storefron t Bushwick\, Aminlari exhibits pieces made with thread sewn on paper\, S hiflett\, a single\, mixed-media sculpture. The pieces exist as aesthet ic objects but also function as meditations on one’s place in a specif ic culture or world that has both familiar and unfamiliar coordinates. T he work is beautiful and mysterious\, offering an entry into a poetic an d exotic realm.\nAbdolreza Aminlari explores ideas of cultural memory an d identity\, specifically the idea of “home” in relation to the Iran ian Diaspora. His work examines the familiar and the unknown in the terr itory of the physical and the subconscious. In the Compositions\, Aminla ri uses thread and/or ink to draw and sew on paper\, a process that allo ws chance and repetition to guide the outcome. The blindness of the ind ividual repetitive action is simultaneously absent-minded and full of co ncentration. The outcome takes the form of false landscapes\, textured f ields\, and topologies that recall maps of geographies that never existe d or are waiting to be created. In the untitled series of gold thread d rawings\, the focus is more on the domestic. The geometric shapes refer ence the patterns found in Persian rugs and miniatures\, while the use o f gold refers to the divine and ornaments for earthly pleasure. Intense and ethereal\, the drawings are like cosmic explosions.\nDrew Shiflett ’s sculptures are abstract in nature but reference landscape\, archite cture and textiles. Mixed materials\, such as handmade paper\, cheesecl oth\, styrofoam and polyester stuffing are used to create textured\, tra nslucent surfaces. Thin strips of cut paper layered with strips of shee r fabric produce a woven effect throughout each piece. The sculptures ar e the result of a cumulative process of layering and building linear and planar forms. There is a focus on line\, light and texture\, as well as form\, transition and perception.\nAbout the artists:\nAbdolreza Aminla ri is a Brooklyn-based artist. He received his BFA in 2002 from College for Creative Studies in Detroit\, Michigan. He has exhibited his work na tionally and Internationally\, including at the Derfner Judaica Museum ( NY)\, KVKM Kunstverein (Cologne)\, and a solo show at Spare Room Project s\, in Bushwick\, NY. He was recently honored with a residency at SIM R esidency\, Reykjavik\, Iceland\, in 2012.\nDrew Shiflett lives and works in New York City\, and is currently preparing for a solo exhibition of constructed drawings at Lesley Heller Workspace in New York City. She ha d solo exhibitions at Guild Hall Museum (East Hampton\, NY)\; The Drawin g Room (East Hampton\, NY)\; Lesley Heller Workspace (New York\, NY)\; I slip Art Museum (East Islip\, NY)\; InterArt Center (New York\, NY)\; Wh ite Columns (New York\, NY)\; and Fashion Moda (Bronx\, NY). She is the recipient of Artists’ Fellowship Awards in Printmaking/Drawing/Book Ar ts and in Sculpture from the New York Foundation for the Arts\; a Mid At lantic/NEA Regional Visual Arts Fellowship Award in Sculpture from the M id Atlantic Arts Foundation\; and a Guggenheim Fellowship Award in Sculp ture from the John Simon Guggenheim Memorial Foundation.\nIn the project space: Cosmology\n“Cosmology” focuses on the work of four artists: Nancy Bowen\, Matthew Mahler\, Paula Overbay\, and Lauren Seiden. The a rtists use the vocabulary of abstraction to create mini cosmologies\, wi ndows into vast worlds beyond everyday reality. The work is controlled\, skillfully executed\, and full of visual pleasure.\nNancy Bowen is a mi xed media artist known for her eclectic mixtures of imagery and material s in both two and three dimensions. Born in Rhode Island\, Bowen receiv ed a BFA from the School of the Art Institute of Chicago and a MFA from Hunter College. Bowen has had over a dozen solo exhibitions throughout the United States and Europe including the Lesley Heller Gallery in NYC\ , Annina Nosei Gallery in NYC\, Galerie Farideh Cadot in Paris\, the Bet sy Rosenfield Gallery in Chicago\, and the James Gallery in Houston. She has won awards from the National Endowment for the Arts\, the New York Foundation for the Arts\, The MacDowell Colony\, Yaddo\, The Jentel Foun dation and the European Ceramic Work Center among others. Bowen maintain s a studio in the Brooklyn Navy Yard and is a an Associate Professor of Sculpture at SUNY Purchase.\nMatthew Mahler grew up in the suburbs of Lo ng Island\, New York. He currently lives in Ridgewood\, Queens\, and ma intains a studio in Greenpoint\, Brooklyn. Matthew is the co-founder of Small Black Door\, an experimental art space in Ridgewood. His work ha s been exhibited recently at Klapper Hall Gallery at Queens College\, th e Rosenberg Gallery at Hofstra University\, and in a two-person show at Camel Art Space in Brooklyn.\nPaula Overbay’s work has been exhibited widely in galleries across the United States\, including Jeffrey Coploff Gallery in New York\; The Gallery at 38 Cameron in Cambridge\, Massachu setts\; and at Pulliam Deffenbaugh in Portland\, Oregon. She has been a warded residencies from the Ragdale Foundation and the MacDowell Colony. Her work has been reviewed in publications such as The New York Times and Art in America. She lives and works in Brooklyn.\nLauren Seiden was born in New York\, New York in 1981. She received her B.A. in Painting a nd Drawing from Bennington College in 2003\, and has been living and wor king in New York City since. She was a recipient of the “AOL\, Chuck Close 25 for 25 Grant” in 2010. She has shown throughout the New York area and in London\, Dallas\, and Miami. Her work has been featured in Satellite Magazine\, ArtSlant\, Assembly Journal\, Chicago Art Review\, ArtInfo\, and AOLArtists.com. URL:http://www.artcat.com/exhibits/17178 SUMMARY:Abdolreza Aminlari and Drew Shiflett / Project Space: Cosmology LOCATION:StorefrontBushwick : 16 Wilson Avenue\, 917-714-3813 (Williamsbu rg / Greenpoint / Bushwick) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120602T220000 DTSTART;VALUE=DATE-TIME:20120602T180000 DESCRIPTION:Everything is Index\, Nothing is History explores a world chr onicled by gestures and physical traces that establish a factual connect ion to the world independent of cultural codes. Nearly a century and a h alf ago\, philosopher Charles Sanders Peirce defined index as a sign tha t is caused by that which it refers to. A footprint\, a scar\, the smoke of a fire—all are signs that simultaneously demonstrate what they sig nify. An index may attest to the immediate truth of a substance or physi cal state\, as fever announces illness\; or it may depict the truth of t ime\, like the sun dial’s reading of a minute and the dust pile’s ac cumulative presence. As our relationship to history and the present chan ge in an expanding field of information\, Everything is Index\, Nothing is History presents works that point to physical realities and trace pur ported histories through archives\, found objects\, photographs\, materi al states\, and physical actions.\nCurated by Melanie Kress and Natalie Bell\, Everything is Index\, Nothing is History features work by Kate Bo nner\, Eric Carlson\, J and James Carpenter\, Courtney Chappell\, Sarah Crofts\, Lizzy De Vita\, Shannon Finnegan\, Ben Garthus\, Max Glaser\, S am Keller\, Yujin Lee\, Antoine Lefebvre\, Hudson Lines\, Saul Melman\, Peter Neu\, Leah Raintree\, Kameelah Janan Rasheed\, Jordan Rathus\, and Nancy Woods. Everything is Index\, Nothing is History features the foll owing events\, which are free and open to the public.\nThe League of Dar ters’\; B.Y.O. Darts Workshop: Wednesday\, June 6\, 7–9 pm\n$10/p erson includes refreshments and dart-making supplies. RSVP required\; ma xiumum 15 participants. \nTickets available at http://www.brownpapertick ets.com/event/247617\nThe League of Darters is an evolving installation that includes crafting darts with artist Ben Garthus. Participants are e ncouraged to bring their own scissors and needle-nosed pliers.\n8 Hours of Work | A Performance by Shannon Finnegan\nSaturday\, June 9\, Perform ance 11 am–7 pm\, Reception 6–8 pm\nShannon Finnegan addresses idea s of productivity by pursuing the same action at length. For this perfo rmance\, she will write for 8 hours\, “I should be working more\,” a nd “I should be working less.” The work’s ephemera will be include d in Landfill Quarterly\, a project that studies social art works throug h the material surplus they generate.\nFilm Night: …Then Again\, Maybe Not: Thursday\, June 14\, 7:30–9 pm\nJoin us for an evening of short films and performances\, curated by Melanie Kress and Natalie Bell\, fea turing a group of artists whose works delve into the themes of Everythin g Is Index\, Nothing Is History. The program will include Peter Fankhaus er\, Nate Flagg\, Theresa Himmer\, Jordan Rathus\, and others.\nThe Leag ue of Darters’ Pin-The-Tail-On-The-Invisible-Dog: Saturday\, June 16\, 3–5 pm\nThe League of Darters is an evolving installation that is acc ompanied by a series of activities and games that aim at symbolically cl aiming both interior and exterior spaces within the building and through out the city\, all while leaving a trace of the territory that has been claimed. Return with your darts from the BYO Darts Workshop or borrow so me of ours to play.\nMelanie Kress is a New York-based independent curat or . She is the curator of RAC\, Recession Art’\;s Manhattan galler y and store\, as well as the Development/Communications Assistant at the American Federation of Arts. Her curatorial work includes: the POTLUCK series at Art in General (2007-2009)\; the French-American collaboratio n DIALOGUES with programs at Artists Space\, New York and Bétonsalon\, Paris (2009)\; and the exhibition and publication i am not a good enough feminist (2011). In 2009 she was the recipient of a Curatorial Fellowsh ip at Slought Foundation in Philadelphia\, and in 2010 founded the proje ct space Concrete Utopia (www.concreteutopia.org). She received her BA i n Art History with a concentration in Visual Arts from Barnard College i n 2009\, and in September will begin her MA in Contemporary Art Theory a t Goldsmiths College\, London.\nNatalie Bell is a New York-based writer\ , researcher\, and curator. Her previous experience includes work at the Guggenheim\, The New Museum\, and Harvestworks Digital Media Arts Cente r. She is a frequent contributor to Art Papers and the recipient of the Arts Writing Workshop award through Creative Capital (AICA/USA). She rec eived her BA in philosophy from Barnard College and will complete an MA in philosophy from the CUNY Graduate Center in May 2012.\nRecession Art is an arts organization that connects emerging artists with aspiring col lectors and provides an affordable and accessible alternative to the tra ditional art market. Visit Recession Art at The Invisible Dog during Eve rything is Index\, Nothing is History\, or at RAC on 9 Clinton Street be tween Houston and Stanton streets\, accessible from the 2nd Avenue F Sta tion and Essex Street J/M/Z trains. To learn more visit RecessionArtShow s.com or email info@recessionartshows.com.\nThe Invisible Dog Art Center is located on 51 Bergen Street between Smith and Court streets\, near t he Bergen F/G stops. Gallery hours are 2–8 pm Wednesday–Sunday. URL:http://www.artcat.com/exhibits/17235 SUMMARY:Recession Art presents Everything is Index\, Nothing is History LOCATION:The Invisible Dog: 51 Bergen Street\, 646 270 2550 (Brooklyn Mis c.) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120602T220000 DTSTART;VALUE=DATE-TIME:20120602T190000 DESCRIPTION:[FEATURED OPENING]\n\nIn “\;Freewheeling\,”\; Debor ah Brown exhibits paintings of car salvage lots\, cement factories\, and detritus from the landscape of Brooklyn’\;s Bushwick neighborhood. The new work enters the domain of fantasy\, leaving literal interpretat ion in favor of a Bushwick of the imagination. Carcases of flattened and stacked cars resemble ziggurats from the ancient world\, while cement t rucks and tanks buried in sand masquerade as amphora and rocket ships. T he palette is high-key and odd\, the light source eerie. Through their l ush paint handling and loopy lexicon of images\, the paintings celebrate the power of place to inspire the imagination.\nDeborah Brown is repres ented by Lesley Heller Workspace in New York where she showed “\;Th e Bushwick Paintings”\; in January/February 2011. She has had a stu dio in Bushwick since 2006\, and\, in 2010\, started a gallery now calle d Storefront Bushwick\, which she owns and directs. She serves on the bo ard of Momenta\, NURTUREart and Brooklyn’\;s Community Board #4. I n addition to her work as a painter\, she has executed public art projec ts around the country including permanent artwork commissioned by the MT A for the Houston Street subway station in Manhattan and a series of rou ndels for the Royal Caribbean Cruise Terminal at the Port of Miami for M iami-Dade Art in Public Places. Her interview with Lucie Alig\, “\; Not an Aesthetic\, But an Attitude: Artist Deborah Brown on the Future o f Bushwick’\;s Art Scene\,”\; appeared in ArtInfo in September 2011. URL:http://www.artcat.com/exhibits/17110 SUMMARY:Deborah Brown\, Freewheeling LOCATION:The Active Space: 566 Johnson Ave\, 646-284-6364 (Williamsburg / Greenpoint / Bushwick) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120606T200000 DTSTART;VALUE=DATE-TIME:20120606T180000 DESCRIPTION:Spattered Columns\, an exhibition space operated by the non-p rofit Art Connects New York (ACNY)\, is pleased to announce the opening of “Deconstructing the Habit” curated by Angela Washko on June 6\, 2 012.\nIn an era characterized by conspicuous consumption\, a slipping mi ddle class\, 60 hour work weeks\, and systematically habitual models and standards for living\, the exhibiting artists respond to the foundation s of routine. The artists in “Deconstructing the Habit” respond to c ontemporary lifestyle models shaped by the blurring of news and advertis ing—the dissolving of “wants” into “needs”. Exhibiting artists include Pauline Bastard\, Yana Dimitrova\, Hannah Heilmann\, Ann Hirsch \, Zehra Khan and Tim Winn\, Kristoffer Orum and Anders Bojen\, Molleind ustria\, Nathaniel Sullivan\, and The Council on Gender Sensitivity and Behavioral Awareness in RPGs.\nLooking at the dangerous archetypes of wo men created in reality television\, Ann Hirsch shares her experience and mental state on “Frank the Entertainer in a Basement Affair.” Hanna h Heilmann\, Zehra Khan\, Nathaniel Sullivan and Molleindustria look at the effects of consuming projected models for successful lifestyles on q uality of life. Pauline Bastard and Yana Dimitrova present detailed mome nts that are consumed daily and frequently taken for granted. The Counci l on Gender Sensitivity and Behavioral Awareness in RPGs unearths both s ubtle and not-so-subtle gender-based stereotypes in role-playing video g ames while Kristoffer Orum and Anders Bojen create live action role play ing opportunities for already marginalized enthusiasts.\nIn conjunction with the exhibition Angela Washko has organized “HABIT: A Video Festiv al” at Spattered Columns on June 13 at 7:30pm. The short videos presen ted in this program question the reality that we are passively consuming and the dangerous confines of systematic expectations regarding accepta ble lifestyle choices. The artists included in HABIT create realistic fi ctions and diaristic narratives based on real-life experiences in combin ation with bizarre surrealism and hyperbole. “HABIT: A Video Festival ” features video works by Pauline Bastard\, Mike Bonanno (The Yes Men) \, Kerry Downey\, Dynasty Handbag\, Ann Hirsch\, Jaime Iglehart\, Sunita Prasad\, Robby Rackleff\, Nathaniel Sullivan\, The Council on Gender Se nsitivity and Behavioral Awareness in RPGs\, and Angela Washko.\nThe ope ning reception for “Deconstructing the Habit” will take place from 6 pm to 8pm on Wednesday\, June 6\, 2012 at Spattered Columns\, 491 Broadw ay\, 5th Floor\, New York\, NY 10012 featuring performance artists Zehra Khan and Tim Winn. A closing event will take place Wednesday\, June 27 from 6pm to 8pm at Spattered Columns featuring performance artists Hanna h Heilmann\, Ann Hirsch\, Matthew Silver\, Nathaniel Sullivan\, Angela W ashko and Chester Zecca. The exhibition will run until June 28. The gall ery is open Monday through Friday\, 12pm to 6pm.\nThis program is suppor ted\, in part\, by public Funds from the New York City Department of Cul tural Affairs in Partnership with the City Council. Additional funding i s made possible in part with public funds from the Fund for Creative Com munities\, supported by New York State Council on the Arts and administe red by Lower Manhattan Cultural Council. URL:http://www.artcat.com/exhibits/17219 SUMMARY:Deconstructing the Habit LOCATION:Spattered Columns: 491 Broadway\, Suite 500\, 646-546-5334 (Soh o) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120607T210000 DTSTART;VALUE=DATE-TIME:20120607T180000 DESCRIPTION:Open Studio: Thursday\, 7 June\, 6 – 9 pm\nThis is furnitur e\, and it is passive aggressive.\nIt is a negotiation between the objec t of comfort and \nits generosity: the manipulation of an object’\; s reply to visceral memory.\n- Pooneh Maghazehe\nTransparent Studio at B ose Pacia is pleased to announce the current artist-in-residence\, Poone h Maghazehe. During the residency program\, Maghazehe will adapt the sto refront space for multiple uses: a furniture store\, a boutique hotel lo bby\, an office\, and a living room. She will be interrogating the funct ional and obstructed uses of pre-owned recliners\, sectionals\, love sea ts and sofa beds. Methodically peeled and destabilized\, the structures reveal vulnerability and underscore the interdependence between material s inherent to prefab seating furniture. Maghazehe traces the background of specific objects and anthropomorphizes reactions to emotions that are inherent in the objects of comfort.\nGallery hours are by appointment o nly: Tuesday through Friday from 11 to 6 pm and Saturday 12 to 6. There will be an open studio event with the artist on 7 June from 6 to 9 pm. T he space is open to the public.\nPooneh Maghazehe was born in Brooklyn a nd raised in Levittown\, Pennsylvania. She has exhibited in national and international exhibitions including Perry Rubenstein Gallery\, Arario G allery\, Beijing 798 Biennale\, Chelsea Art Museum\, DePaul University M useum in Chicago\, Rossi &\; Rossi Gallery\, ZKM Center for Art and M edia\, and Asian Contemporary Art Week. Select publications include The New York Times\, Art Asia Pacific Magazine\, Art Map Magazine\, The Wash ington Post\, 1 Magazine\, and Guernica Magazine. She lives and works in Brooklyn\, NY.\nAbout Transparent Studio at Bose Pacia\, NY:\nLaunched in January 2012\, Transparent Studio is an artist residency program foun ded by Bose Pacia. Emerging and mid career artists are chosen for the st udio program through a submissions process based on project proposal and artistic merit. Residents are provided with a studio in the main galler y space for a 1-3 month period. By turning the transitional gallery spac e into temporary artist studios on the street-level in an active arts ne ighborhood\, we are hoping to allow for an atmosphere of engagement and conversation around the creative process. During the residency\, the pub lic is invited to interact with the artist during their creative process allowing exchange and collaborative relationships. URL:http://www.artcat.com/exhibits/17215 SUMMARY:Transparent Studio: Pooneh Maghazehe LOCATION:Bose Pacia: 163 Plymouth Street\, 212.989.7074 (DUMBO) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120607T210000 DTSTART;VALUE=DATE-TIME:20120607T170000 DESCRIPTION:The Walsh Gallery is pleased to present “Linear Thinking\, ” a group exhibition curated by Jeanne Brasile. Thematically\, the sh ow is an exploration of the power and potential of the line. This inves tigation of a single\, privileged formal element demonstrates the variou s attributions that can be imparted to the line including architectonics \, vectors\, inter-connectivity\, data transmission\, scientific and his torical studies\, and line as pure form. Each of the participating arti sts has a unique perspective that provides a rich dialogue on a seemingl y limited subject.\nParticipating artists include Gianluca Bianchino\, W illiam Cromar\, Jillian Clark\, Lorrie Fredette\, Jones and Roa\, Nick L amia\, Bernard Sloco and Injoo Whang. This international line-up of art ists work in numerous media including installation\, drawing\, sculpture and painting. The inclusion of both two and three dimensional work pro vides another framework through which to interpret the line\, inviting viewers to further reconsider the possibilities of visual language and p henomenology.\nFor 150 years\, Seton Hall University has been a catalyst for leadership\, developing the whole student\, mind\, heart and spirit . Seton Hall combines the resources of a large university with the perso nal attention of a small liberal arts college. Its attractive suburban c ampus is only 14 miles by train\, bus or car to New York City\, with the wealth of employment\, internship\, cultural and entertainment opportun ities the city offers. Seton Hall is a Catholic university that embraces students of all races and religions\, challenging each other to better the world with integrity\, compassion and a commitment to serving others . For more information\, see www.shu.edu. Seton Hall University is loca ted at 400 S. Orange Avenue\, South Orange\, New Jersey\, 07079. The W alsh Gallery is open 10:30am to 4:30pm Monday through Friday. URL:http://www.artcat.com/exhibits/17216 SUMMARY:Linear Thinking LOCATION:Walsh Gallery\, Seton Hall University: 400 South Orange Avenue\, 973-275-2033 (Newark) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120612T200000 DTSTART;VALUE=DATE-TIME:20120612T180000 DESCRIPTION:Peggy Serdula’s solo exhibition consists of portraits\, abs tracts\, and pastels that convey an immediate emotional impact. The arti st works from spontaneous inspiration to capture each character’s prim al core. Peggy has created illustrations for Yoshimasu Gozo’s book\, D rop of Light\, and has worked with illustrator Robert Grossman to creat e castings for a Claymotion commercial. She has also contributed pastel work for internationally recognized physicist\, Dr. Michio Kaku\, as pa rt of his documentary\, The Universe. Serdula’s austerity of palette a llows her to pull us into a complex and fractured narrative populated by a diversity of emotional beings. URL:http://www.artcat.com/exhibits/17165 SUMMARY:Peggy Serdula LOCATION:Gallery OneTwentyEight: 128 Rivington Street\, 212-674-0244 (Eas t Village / Lower East Side) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120614T210000 DTSTART;VALUE=DATE-TIME:20120614T180000 DESCRIPTION:An excellent opportunity to acquire wonderful original art fr om accomplished\, well-known and emerging artists at a delightful and fu n evening raffle event by purchasing a $200 ticket. Each ticket admits t wo. Admission for two to the Caribbean fun party $20. Please visit www.f ivemyles.org for online preview. URL:http://www.artcat.com/exhibits/17233 SUMMARY:FiveMyles Benefit 2012 LOCATION:FiveMyles: 558 St. Johns Place\, Crown Heights\, 718-783-4438 (B rooklyn Misc.) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120614T200000 DTSTART;VALUE=DATE-TIME:20120614T180000 DESCRIPTION: URL:http://www.artcat.com/exhibits/17214 SUMMARY:Awol Erizku LOCATION:Hasted Kraeutler: 537 West 24th Street\, 212.627.0006 (Chelsea) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120620T200000 DTSTART;VALUE=DATE-TIME:20120620T180000 DESCRIPTION:DESIGN FOR THE REAL WORLD – REDUX: EXHIBITION PRESENTS WINN ERS OF THE 2011 VICTOR J. PAPANEK SOCIAL DESIGN AWARD\nAustrian Cultural Forum NY\, the University of Applied Arts Vienna partner with White Box in NYC to present four winners and thirteen finalists of the internatio nal social design competition from June 18 to July 15\, 2012\nThe Austri an Cultural Forum\, the University of Applied Arts Vienna\, the Museum o f Arts and Design\, and White Box are pleased to present an exhibition s howcasing the winners and finalists of the 2011 Victor J. Papanek Social Design Award at White Box from June 18 to July 15\, 2012 (329 Broome St reet\, New York\, NY\, whiteboxny.org).\nThis exhibition celebrates the outcome of the inaugural “Design for the Real World Redux” internati onal social design competition taking place from March to June 2011\, or ganized by the Victor J. Papanek Foundation at the University of Applied Arts Vienna and the Museum of Arts and Design in New York City\, in par tnership with the Austrian Cultural Forum New York.\nForty years ago\, V iennese-born designer and thinker Victor J. Papanek published his influe ntial book Design for the Real World in which he put forth the idea that “design\, if it is to be ecologically responsible and socially respon sive\, must be revolutionary and radical”—a concept which formed the point of departure for this global endeavor.\nA total of 92 submissions were received from 20 countries\, including Argentina\, Australia\, Aus tria\, Canada\, China\, Costa Rica\, Denmark\, Finland\, France\, German y\, Hungary\, Indonesia\, Israel\, Netherlands\, Norway\, Slovenia\, Sou th Africa\, Taiwan\, United Kingdom\, and the United States. From these submissions the jury selected 17 projects — 4 winners of the Victor J. Papanek Social Design Award and 13 finalists — which will be exhibite d at White Box.\nThe winning projects were Wendy Brawer and Green Map Sy stem’\;s “Open Green Map” social mapping platform\, which highl ights thousands of sustainable living\, natural and cultural sites in co mmunities worldwide\; Lauren Busto and Yves Béhar’s and Fuseproject ’s “OLPC XO-3 Tablet\,” a children’s educational tool for worldw ide distribution\; Lars Vedeler\, Marc Hoogendijk\, Sophie Thornander\, Karin Lidman\, and Kristin Tobiassen’s “Jani Sanitary Pad” made fr om biodegradable biopolymers and water hyacinth paper\; and Planetary ON E + Terreform ONE’s “Urbaneering Brooklyn 2110: Ecological City of t he Future\,” a collaboration for urban environment strategies.\nThe li st of finalists includes Kristina Drury and St. John’s Bread &\; Li fe (New York)\, Gianpaolo Fusari (Great Britain)\, EOOS Design (Austria) \, Anatoliy Omelchenko (New York)\, Talia Radford and Juan Sebastian Gom ez (Austria)\, Angie Rattay (Austria)\, Hilla Rudanko and Annsi Kankunne n (Finland)\, Elizabeth Schultz\, Zane Coffin\, Sung Jun Kim\, and Jung Min Lee (Georgia)\, Yasaman Sheri (Canada)\, Lars Vedeler (Oslo)\, and A lberto Vasquez (Hungary).\nThe competition was judged by an internationa l panel consisting of: Gerald Bast (President\, University of Applied Ar ts Vienna)\, Alison J. Clarke (Chair\, Design History and Theory\, Unive rsity of Applied Arts Vienna)\, Holly Hotchner (Director\, Museum of Art s and Design)\, Ronald Labaco (Curator\, Museum of Arts and Design)\, Da vid McFadden\, (Chief Curator\, Museum of Arts and Design)\, Katarina Po sch (Associate Professor\, History of Art and Design\, Pratt Institute)\ , Fiona Raby (Principal\, Dunne and Raby)\, Stefan Sagmeister (Graphic D esigner)\, Andreas Stadler (Director\, Austrian Cultural Forum\, New Yor k)\, John Thackara (Director\, Doors of Perception)\, and Allan Chochino v (Editor-in-Chief\, Core 77).\nTerreform ONE has generously agreed to p rovide the exhibition design for this show at White Box.\nFor details an d further information on the competition\, please visit\n>\;>\; vjps ocialdesign.madmuseum.org\nFor information on the winners and finalists\ , please visit\n>\;>\; vjpsocialdesign.madmuseum.org/submissions\nFo r further information on the Papanek Foundation\, please visit >\;>\ ; papanek.org\nWith its architectural landmark building in the heart of Midtown Manhattan\, the Austrian Cultural Forum New York hosts more than 200 free events annually and showcases Austrian contemporary art\, musi c\, literature\, and academic thought. The Austrian Cultural Forum house s around 10\,000 volumes in its state-of-the-art library\, and enjoys lo ng-standing and flourishing partnerships with many venerable cultural an d academic institutions throughout New York and the United States. The y ear 2012 marks the ten-year anniversary of the building’s construction \, and will feature many special programs and events commemorating this milestone.\nSince its founding in 1998 by a group of international curat ors and artists\, White Box has been continuously committed to the prese ntation of broad ranging contemporary art forms by innovative artists an d curators whose efforts to exhibit thought-provoking\, intellectually a nd visually challenging art is many times overlooked and\, at times\, qu estion the more popular\, media and market-oriented focus of other New Y ork contemporary arts venues. URL:http://www.artcat.com/exhibits/17208 SUMMARY:Design for the Real World Redux LOCATION:White Box: 329 Broome Street \, 212-714-2347 (East Village / Low er East Side) END:VEVENT BEGIN:VEVENT DTEND;VALUE=DATE-TIME:20120627T200000 DTSTART;VALUE=DATE-TIME:20120627T180000 DESCRIPTION:Curated by Lumi Tan\nTime and space in the urban setting are often highly regimented\, with different moments and places typically al located for specific behaviors\, both public and private. Yet often over looked in any such structure is the personal history carried within each individual\, which inevitably informs her or his experience at the same time that it offers the possibility of reshaping the use of any site. T aking its title from anthropologist Mary Douglas’s analyses of how dis turbances arise in the city’s physical contours and social order\, Mat ter Out of Place presents new work by New York–based artists who obser ve\, represent\, and activate public sites\, generating alternative rela tionships to such strictly defined spaces as the housing project\, park\ , and museum lobby. Artists include Paul Branca\, Frank Heath\, David Ho rvitz\, Fawn Krieger\, Sara Jordenö (in collaboration with Amber Hornin g)\, and Anna Lundh.\nThis exhibition is made possible with support from Dedalus Foundation Inc.\, The Andy Warhol Foundation for the Visual Art s\, and with public funds from the New York City Department of Cultural Affairs and the New York State Council on the Arts\, a state agency. URL:http://www.artcat.com/exhibits/16832 SUMMARY:Matter Out of Place LOCATION:The Kitchen: 512 West 19th Street\, 212-255-5793 (Chelsea) END:VEVENT END:VCALENDAR