Michael Kagan, Jean-Pierre Roy and RH Gallery are pleased to announce Single Fare 3. This third annual open-call exhibition invites artists to make work on a tiny, innocuous piece of plastic: the New York City Metrocard! The exhibition opens at RH Gallery on February 13^th, 2013 and will be on view through February 22^nd.

Over one thousand artists working across disciplines including painting, drawing, sculpture, photography and video will submit art on Metrocards to the exhibition. RH Gallery’s entire 3500 square foot space will be consumed by tiny works of art reflecting a network of artist communities in New York and beyond.

With last year’s edition bringing lines around the block, the expanded third edition show is sure to be a sensation. All works will be sold beginning at the reception on February 13^th open to the public, from 6-9pm. The first hour from 6-7pm will offer collectors their first choice works for $200 each, following which all works will be sold for $100. Beginning on February 14^th, works will be available for purchase at the gallery through February 22^nd as well as online at www.single-fare.com.

Please contact Anna Nearburg at anna@rhgallery.com for press inquiries and visit single-fare.com for additional information.

David Zwirner is pleased to present an exhibition of recent watercolors by Suzan  Frecon, on view at the gallery’s 525 West  19th Street space. This will be the artist’s second solo show with the gallery.

For the past four decades, Suzan Frecon has become known for her abstract oil  paintings and watercolors that are at once reductive and expressive. Each of her works is the result of a deliberative and searching process in the mediums of oil paint and watercolor paint, in tandem with graphite sketches and notes. All are part of the same unity, and new works often evolve from previous works. Frecon adamantly tries to avoid recognizable pictorial associations or symbolic explanations. Her intent is that if the work can be freed from a fixed idea or illustrative accompanying explanation, its reality can exist solely on its strength as art, in its highest possible form of abstraction. As she has stated, “The physical reality and the spiritual content of my paintings are the same.”

This exhibition consists of over forty watercolors. Each provides an arresting autonomy that focuses attention onto the unique interaction of paper and paint; as a group, the works form subtle relationships to one another and bring forward issues of horizontality and verticality, recurring shapes, and interacting arrangements of color.

Frecon has noted that the “ground for my watercolors is usually agate-burnished old Indian ledger paper, simply because I like the way it takes the paint.” Each leaf of paper has its own innate character, due to creases, holes, blemishes, and even faint writings. The sizes of the sheets vary irregularly and impose their own dynamic constraints on the compositions. The development of the artist’s oil paintings, to the contrary, starts with the very deliberately determined measurements of the support, whose outside edges and material characteristics (whether paper or stretched linen) generate the compositions that provide the bedrock for the resulting paintings. Otherwise, the elements and criteria of the work are much the same; pigment color and property, paint binder of oil or gum arabic, form or composition, and asymmetrical balances, dissonances, and harmonies. All together they contribute to the experience of Frecon’s works.

The exhibition will be accompanied by a fully illustrated artist book published by David Zwirner and Radius Books with Lawrence Markey.  A concurrent show of watercolors will be presented at Lawrence Markey in San Antonio, Texas, on view from February 22 to March 29, 2013.

Suzan Frecon was born in Mexico, Pennsylvania. Following a degree in Fine Arts at Pennsylvania State University in 1963, she spent three years at the École Nationale Supérieure des Beaux-Arts in Paris. In 2008, Frecon’s work was the subject of a major solo exhibition at The Menil Collection in Houston, Texas, form, color, illumination: Suzan Frecon painting, which traveled to the Kunstmuseum Bern, Switzerland. She was included in the 2010 Whitney Biennial, and her works are represented in the permanent collections of prominent institutions, including the Fogg Art Museum, Harvard University, Cambridge, Massachusetts; Kunstmuseum Bern, Switzerland; The Menil Collection, Houston; The Museum of Modern Art, New York; the National Gallery of Art, Washington, D.C.; and the Whitney Museum of American Art, New York. She lives and works in New York.

Over the past decade, Michael Riedel’s practice has incorporated a wide range of media and included large-scale works on canvas, fabric works, film and video, audio recordings, installations, and events. A central focus is the production and design of books, catalogues, brochures, posters, and invitation cards. For his forth solo show at David Zwirner, he will present all new silk-screened “PowerPoint” paintings.

Michael Riedel was born in 1972 and currently lives and works in Frankfurt, where he received a Meisterschüler at the Städelschule in 2000. Over the past decade, he has shown in both solo and group exhibitions at prominent venues throughout the United States and Europe. In 2012, his work was the subject of a major critically acclaimed survey at the Schirn Kunsthalle in Frankfurt. Other recent solo exhibitions include the Kunstverein Hamburg (2010); Städel Museum, Frankfurt (2009); and the Kunstraum Innsbruck, Austria (2007). He has participated in a number of international group exhibitions including the Sprengel Museum Hannover (2012); Kunsthaus Bregenz, Austria (2011); Galleria Civica d’Arte Moderna e Contemporanea (GAM), Turin (2010); Tate Modern, London (2009); Kunsthalle Bern (2008 and 2006); Lyon Biennale of Contemporary Art, France (2007); Moscow Biennale of Contemporary Art (2005); and the Secession, Vienna (2003).

Postmasters Gallery is pleased to announce our first exhibition with a NY based Italian artist Federico Solmi. The show will center around his most recent animated video Chinese Democracy and the Last Day on Earth, its prequel Song of Tyranny, and a group of heavily textured video-paintings and objects.

Solmi reinvents the visual world of animation by creating and sequencing images, capturing behind-the scenes technology that he borrowed and adapted from film and gaming. For the visually saturated videos on view at Postmasters, Solmi has created hundreds of drawings and paintings as skins for a 3D game environment. The process involves real time performance recorded inside that environment through motion capture technology. Solmi himself enacts all the main characters in his films and provides the voiceovers, becoming, in effect, a one-man film studio.

Several paintings in the exhibition incorporate screens with animated sequences that expand on the videos’ characters and storyline and literally enliven the stillness of a painted image. Other paintings re-represent the skins used for the animation resulting in images of toy-like objects and figures taken apart and flattened.

To execute the videos Solmi works in collaboration with Russell Lowe, an innovator in creative use of 3D game engines.

Through satirical commentary on authoritarian power structures Federico Solmi’s videos aim to lampoon the contemporary societies and the self–destructive nature of mankind. In contrast with their playful faux-naïve aesthetics the videos indict a male dominated, hierarchal world controlled by corrupt, arrogant dictators, politicians, business and religious leaders as forces behind the disintegration of ethical and moral values. Solmi has envisioned Chinese Democracy and the Last Day on Earth as the central component in a trilogy. The first part, or prelude, A Song of Tyranny,  introduces the Chinese protagonist being interviewed by an american journalist about his rise to power: a leader becoming a dictator - idolized, invincible and hell-bent on invasion of America. In  Chinese Democracy and the Last Day on Earth, the tale begins idyllically in the Garden of Eden and ends in a bloody triumphant takeover of the Times Square.

In Whitehot Magazine Megan Abrams writes about Solmi’s works:

A satirical tale, two years in the making, "Chinese Democracy and the Last Day on Earth,” is a fictional portrayal of a ruthless Chinese dictator who leads a surge of goose-stepping soldiers on a bloody invasion of Times Square, the last phase of his total world domination. In the triumphant finale, the larger-than-life dictator floats balloon-like in the parade above a cheering crowd. It’s ironic that while the conquering army demolishes a cartoon Times Square, an image of a billboard for “The Hunger Games” emerges in the background -- a sort of tongue-in-cheek acknowledgement of another fictional commentary on the collapse of Western civilization and culture.

Solmi’s paintings -- frozen action scenes like film stills, but with much more intensity and richness, composed with staggering and sometimes lurid detail. The artist’s vivid palette, predominated by blood red, bright green and neon yellow -- is topped off with lavish gold leaf embellishment. Spin-offs and/or precursors of the videos, the paintings offer close-up views into the artist’s imagined world.

Solmi’s imagery is childlike – but paradoxically not with the accompanying naivete of a child’s point of view. It’s clear he is having fun ridiculing the values of our misguided society -- corruption, greed, power and excess. A kind of visionary who proffers a cautionary tale in words and pictures, Solmi may be pulling our leg and warning us at the same time. His artistic vision is all once playful, imaginative, gruesome, amusing, violent and shocking. Brilliant, yes. We can only hope it is not prophetic.

Whitehot Magazine November 2012

 
 

Solmi’s earlier videos have featured a selfish and greedy Wall Street executive, Douche Bag City (2010), presented in The Dissolve—2010 SITE Santa Fe Biennial, and a fictional online porn–addicted Pope, The Evil Empire (2007), which has been at the center of several high–profile censorship cases in Europe, the most recent in 2011.

A self–taught artist, Federico Solmi was born in 1973 in Bologna. In 2009 he received a Guggeheim Fellowship Grant in Video category. 

Solmi’s work has been internationally exhibited in numerous museums and festivals including: Centre Pompidou, Paris; The Drawing Center, New York; SITE Santa Fe, NM; Haus der Kulturen der Welt, Berlin; Kasseler Kustverein, and the Kassel Documentary Film and Video Festival, Kassel; National Center for Contemporary Art, Moscow; CA2M Centro de Arte de Mayo, Madrid; Australian Center of Moving Images, Melbourne; Victoria Memorial Museum, Calcutta; Contemporary Art Center of Rouboix; Palazzo Delle Arti, Naples; Palazzo Delle Esposizioni, Rome; and Impakt Film and Video Festival, Utrecht.

Solmi’s 2013 upcoming exhibtions and screenings include: Herzliya Museum of Contemporary Arts, Israel; Paris; Italian Cultural institute of Madrid, Spain; and Shenzen Independent Animation Biennial in China.

Solmi’s work has received critical reviews and been featured in publications such as Artforum, Art in America, Flash Art, Tema Celeste, ArtNet.com, Artinfo.com, Artfacts.net, Art Actuelle, Contemporary, Marie Claire, Glamour, L’Espresso, and newspapers such as The New York Times, Le Figaro, New York Daily News, El Mundo, El Pais, il Giornale, Il Mattino, il Corriere della Sera, and La Repubblica. In 2007, SKY TV, an Italian digital satellite television platform, aired a one–hour feature presentation about his videos on their culture channel, Leonardo. 

Art for Rent $

Go to my online shop here to see the show and purchase art.

Women's Caucus for Art and the Phoenix Gallery are proud to present "Bound", juried by Cora Rosevear, Associate Curator of Painting and Sculpture at the Museum of Modern ArtMoMA. Ms.Rosevear chose 24 works and one performance piece to be displayed in the gallery (and an additional 118 works that will be displayed in the exhibition catalog only).

"Bound" featuring women artists and one performance group, represents multiple expressions of commentary on the interpretation of bound. This exhibition explores the concepts of bound and borders--be they internal, external, constructed, imagined, imposed, or embraced and how boundaries define and shape our identities, relationships, ideas and politics. This exhibition furthers the mission of the Women's Caucus for Art, which is to create community through art, education, and social activism.

Fowler Arts Collective is pleased to present Morph, a group exhibition curated by Alicia DeBrincat and Jade Yumang of eleven artists working in the mediums of photography, sculpture, performance, installation, video, and painting.

Morph investigates the body as a conduit for different artistic and theoretical strategies, revealing the body’s fundamental role in comprehending our sense of self. Working across diverse mediums, these artists approach the body as raw material. They adapt it at will in order to explore identity, gender, religion, technology, disease, and the body’s role within the social matrix. The body is reduced to nothing more permanent than a modifiable facade, which can be constantly changed and morphed to resist or compliment outside forces.

Exhibiting artists: Dalal Ani, Alicia DeBrincat, Dean Dempsey, JIT REAL (Tara Long / Jarrod Kentrell / Yamil Rodriguez), Sara Jimenez, Kaitlynn Redell, Lavar Munroe, Kreerath Sunittramat, and Jade Yumang

Please join us for Morph's opening reception on Saturday, Feb. 16th from 7-9 pm. The exhibition will be on view from February 11th to 28th, 2013, and can be viewed by appointment. Contact us here to make an appointment. For more information on the artists, go here: morphshow.tumblr.com

Fowler is located in the historic Greenpoint Terminal building on the East River waterfront in Greenpoint, Brooklyn. The closest subway is the Greenpoint Ave. G train stop. Our address is: 67 West Street, Unit 216, Brooklyn, NY 11222

Alan Uglow was born in Luton, England, in 1941 and died in New York in 2011 (at the age of 69). The son of a master carpenter, he attended art school from a young age and became increasingly drawn towards non-figuration during the 1960s, at a time when abstract art was still relatively unpopular in Britain. Following a visit to New York in 1968, Uglow made a permanent move across the Atlantic in 1969, and settled in the then burgeoning artist neighborhood of SoHo.

Uglow quickly gained a reputation as an “artist’s artist.” He sustained himself as a printmaker for artists including Jim Dine, while working slowly and patiently on his own paintings. Characterized by a meticulous, even intuitive, attention to scale and composition, these are often monochromatic or chromatically neutral. Piet Mondrian was a great inspiration for Uglow throughout his career, as were Alberto Giacometti, Barnett Newman, and Ad Reinhardt.

Working in series that evolved slowly over decades, Uglow always remained faithful to his central vision and his practice was unaffected by the increasingly commercial demands of the art scene in the 1980s and 1990s. His paintings revolve around a subtle dialogue between notions of center and edge, and are executed gradually, with several layers of paint. They appear at once calm and dynamic, and simultaneously suggest emptiness and ground.

Writing for the exhibition catalogue accompanying Uglow’s 1992 exhibition at the Kölnischer Kunstverein, curated by Marianne Stockebrand, Saul Ostrow notes:

“His work constitutes a praxis, a unity of theory and practice which allows each element of painting to interrogate the other as well as itself. Uglow has used the conflicting, often contradictory traditions of geometric abstract art as a means to re-establish painting’s critical functions, and the artist’s self-criticality….The resulting paintings are eloquently silent, indicating that painting is a trope from which we may learn to question the manner in which we have learned to see the world.”1

1 Saul Ostrow, “Getting it Right: Once More with Meaning,”Alan Uglow. Exh. cat. (Cologne: Kölnischer Kunstverein, 1992), pp. 49-50.

On Abstraction

featuring: Regina Scully, Christine Frerichs, Kadar Brock, William Bradley, Brian Fee

Four young artists exhibiting at VOLTA NY —Regina Scully (New Orleans, showing with C24 Gallery, NY), Christine Frerichs (Los Angeles, showing with gallery km, Santa Monica), Kadar Brock (Brooklyn, showing with VIGO Gallery, London and The Hole, New York ), William Bradley (London/Yorkshire, showing with EB&Flow, London) — present their distinct processes and discuss their positions within (and beyond) the constantly evolving animal that is contemporary abstraction, in a lively panel moderated by VOLTA Press Manager Brian Fee.

Curtailing Anxieties 1: Boundaries of defining art in the Caribbean

featuring: Holly Bynoe, Charles Campbell, Heino Schmid, Lisa Howie, Christopher Cozier,

Michelle Joan Wilkinson

ARC Magazine Editor-in-Chief Holly Bynoe (St. Vincent and the Grenadines) and artist/writer Charles Campbell (Jamaica/Canada) moderate a roundtable exploring topical concerns around the recent global upsurge that has encapsulated contemporary Caribbean art. Panelists include VOLTA NY exhibiting artist Heino Schmid (Popopstudios, Nassau); Lisa Howie, Director of Bermuda National Gallery (Bermuda); artist/writer Christopher Cozier (Trinidad); and Michelle Joan Wilkinson, Ph.D. (Guyana/USA, Director of Collections and Exhibitions at the Reginald F. Lewis Museum of Maryland African American History & Culture in Baltimore, MD).

Over the last 10 years, there has been a significant increase in major exhibitions of Caribbean art, notably Infinite Island, Rockstone & Bootheel, Who More Sci-fi Than Us? and the recently concluded Caribbean: Crossroads of the World. With this resurgence there are new opportunities and demands on Caribbean artists and institutions. As Caribbean art enters the global marketplace, its definition – along with notions of equity, independence, and the tensions existent within the region and between the region and its diasporas – has come to the fore. Countering this is a new movement of groundbreaking young and mobile artists and cultural activists intent on upsetting the defined boundaries of the region and striking their own autonomous path. 

The Chinese Rental Reading Library

featuring: Hung Liu, Ingrid Dudek

Ingrid Dudek (Senior Specialist and Vice President at Christie's in the Asian 20th Century and Contemporary Art Department) joins artist Hung Liu (San Francisco, showing with Rena Bransten Gallery, San Francisco) in discussing Liu's special installation at VOLTA NY. This meta-exhibition, which emulates a Chinese rental reading library and incorporates xiaorenshu, political graphic novellas commissioned by the Maoist State, reflects Liu's examination of tension between youthful idealism and the reality of the Cultural Revolution.

New Technology Empowers the Savvy Art Collector

featuring: Natasha Rottman

How can art collectors capitalize on advanced technology and cloud computing? Why are iPads and mobile devices transforming the way collectors manage, discover and acquire art works? Natasha Rottman, Director of Operations at Collectrium, answers these questions and explores technologies that empower the savvy collector in having 24/7 access to their collections and potential acquisitions.

Presented by Collectrium: Beautiful Technology For The Art World

TODAY IS THE DAY Conversations: The Next 10,000 Years of Creation

featuring: Noritoshi Hirakawa, David A. Ross, Arthur Ou

TODAY IS THE DAY launched in 2012 with the goal of elevating people's consciousness through art, music, and performance. We are currently in a transformational period that is unprecedented since the dawn of recorded history; the panelists will discuss the important role art plays in evolving the world's consciousness in preparation for the next 10,000 years of existence. Arthur Ou (New York, Director, BFA Photography and Assistant Professor of Photography, School of Art, Media, and Technology, at Parsons the New School for Design) moderates the discussion with TODAY IS THE DAY creator Noritoshi Hirakawa (New York, artist) and advisory board member David A. Ross (New York, Professor and Chair of the Department of Art Practice at School of Visual Arts, formerly the Director of the San Francisco Museum of Modern Art, the Whitney Museum of American Art, and the Boston Institute of Contemporary Art).

Dave Miko & Tom Thayer: Baseless Legion of Architects Rent Asunder

February 17 – March 17, 2013 | Location: 195 Chrystie and 11 Rivington St NY NY 10002

Eleven Rivington is thrilled to present new collaborative works by NY artists Dave Miko & Tom Thayer, on view at the gallery’s 195 Chrystie location from February 17 through March 17, 2013. Their first exhibition with Eleven Rivington is titled Baseless Legion of Architects Rent Asunder comprises six new video projections onto painted aluminum panels. At the gallery’s location at 11 Rivington Street will be a curated project by the two artists.

The team of Dave Miko & Tom Thayer debuted their hybrid process at The Kitchen in 2011, titled New World Pig. Their practice consists of collaboratively worked animations that are projected onto paintings on aluminum.  Both artists also maintain respective solo careers - Miko was featured in Greater New York at MoMA PS1 in 2010 and Thayer was included in the 2012 Whitney Biennial. This new series presents a progression of their work towards more ambitious scale and pictorially experimental territory.

Using mutually culled imagery as a point of departure, Dave Miko & Tom Thayer develop their work through an ongoing visual dialogue. Motifs from Thayer’s heavily processed, vivid animations carry over onto—and sometimes derive from—the surfaces of Miko’s mixed media paintings. Their newest work revolves around the movement of various beings through physical space, oscillating between the external appearance of objects and an internal visual cogitation. Portal imagery (windows, doors, frames) fuse with faces and masks, architecture and nature as the figure travels from one type of space to the next. They use a breadth of painting materials aimed at blurring the boundary between projected and painted image. The colored light of the projected animation reacts differently to each specific surface, be it oil, chalk, enamel, fluorescent colors, spray paint, or raw metal. The works are conceived and developed over months through a back-and-forth dialogue about changes in narrative structure and tone, fine-tuning the relationship between Miko’s unorthodox painting style and Thayer’s use of analog video effects. The result is a beautifully tenuous installation; an expansive and experimental incarnation of painting that unifies two seemingly exclusive media.

Dave Miko was born in 1974 in Shelton, CT and educated at Yale University and SUNY Purchase, NY. Miko's solo exhibitions include Real Fine Arts, Brooklyn; Galerie Parisa Kind, Frankfurt; and Wallspace, NY. Tom Thayer was born 1970 in Chicago Heights, IL and educated at Northern Illinois University. Thayer’s solo exhibitions include Derek Eller, NY and Tracy Williams, LTD, NY; he was included in the 2012 Whitney Biennial.

Eleven Rivington’s two locations are at 11 Rivington St and at 195 Chrystie St, NY NY 10002 USA.  Gallery hours are Wed-Sun 12 to 6 pm.  Please contact gallery@elevenrivington.com for more information.

 Dave Miko & Tom Thayer: Baseless Legion of Architects Rent Asunder

February 17 – March 17, 2013 | Location: 195 Chrystie and 11 Rivington St NY NY 10002

Eleven Rivington is thrilled to present new collaborative works by NY artists Dave Miko & Tom Thayer, on view at the gallery’s 195 Chrystie location from February 17 through March 17, 2013. Their first exhibition with Eleven Rivington is titled Baseless Legion of Architects Rent Asunder comprises six new video projections onto painted aluminum panels. At the gallery’s location at 11 Rivington Street will be a curated project by the two artists.

The team of Dave Miko & Tom Thayer debuted their hybrid process at The Kitchen in 2011, titled New World Pig. Their practice consists of collaboratively worked animations that are projected onto paintings on aluminum.  Both artists also maintain respective solo careers - Miko was featured in Greater New York at MoMA PS1 in 2010 and Thayer was included in the 2012 Whitney Biennial. This new series presents a progression of their work towards more ambitious scale and pictorially experimental territory.

Using mutually culled imagery as a point of departure, Dave Miko & Tom Thayer develop their work through an ongoing visual dialogue. Motifs from Thayer’s heavily processed, vivid animations carry over onto—and sometimes derive from—the surfaces of Miko’s mixed media paintings. Their newest work revolves around the movement of various beings through physical space, oscillating between the external appearance of objects and an internal visual cogitation. Portal imagery (windows, doors, frames) fuse with faces and masks, architecture and nature as the figure travels from one type of space to the next. They use a breadth of painting materials aimed at blurring the boundary between projected and painted image. The colored light of the projected animation reacts differently to each specific surface, be it oil, chalk, enamel, fluorescent colors, spray paint, or raw metal. The works are conceived and developed over months through a back-and-forth dialogue about changes in narrative structure and tone, fine-tuning the relationship between Miko’s unorthodox painting style and Thayer’s use of analog video effects. The result is a beautifully tenuous installation; an expansive and experimental incarnation of painting that unifies two seemingly exclusive media.

Dave Miko was born in 1974 in Shelton, CT and educated at Yale University and SUNY Purchase, NY. Miko's solo exhibitions include Real Fine Arts, Brooklyn; Galerie Parisa Kind, Frankfurt; and Wallspace, NY. Tom Thayer was born 1970 in Chicago Heights, IL and educated at Northern Illinois University. Thayer’s solo exhibitions include Derek Eller, NY and Tracy Williams, LTD, NY; he was included in the 2012 Whitney Biennial.

Eleven Rivington’s two locations are at 11 Rivington St and at 195 Chrystie St, NY NY 10002 USA.  Gallery hours are Wed-Sun 12 to 6 pm.  Please contact gallery@elevenrivington.com for more information.

The Museum of Arte Útil is a collaboration between the artist Tania Bruguera, the Queens Museum of Art, New York and the Van Abbemuseum, Eindhoven, the Netherlands. The Museum of Arte Útil is the result of Tania Bruguera’s decade of research into a concept that emphasizes effectiveness and implementation over representation, looking at historical and contemporary examples of alternative strands in socially informed art practice.

“Útil” as a term refers to something being useful. But it goes further than the English translation, encompassing the idea of a tool or device. Bruguera states that “Arte Útil moves beyond a propositional format, into one that actively creates, develops and implements new functionalities to benefit society at large.”

The project will comprise research, an online platform, an association of Arte Útil practitioners, a series of public projects, a lab presentation at the Queens Museum of Art beginning in February 2013, culminating in the transformation of the old building of the Van Abbemuseum into the Museum of Arte Útil in the Fall of 2013 and a publication. The aim is to present a survey of past and present projects that are rooted in the notion of art’s use to its users and to society at large. Central to the project’s various forms is this open call.

The notion of what constitutes Arte Útil has been arrived at via a set of criteria that Bruguera and the participating museums’ curators have formulated. These criteria will set the parameters of the project and its working methodology. Arte Útil projects should:

1- Propose new uses for art within society

2- Challenge the field within which it operates (civic, legislative, pedagogical, scientific, economic, etc)

3- Be ‘timing specific’, responding to current urgencies

4- Be implemented and function in real situations

5- Replace authors with initiators and spectators with users

6- Have practical, beneficial outcomes for its users

7- Pursue sustainability whilst adapting to changing conditions

8- Re-establish aesthetics as a system of transformation
We are inviting the public to submit information on past or ongoing projects that align with these criteria. Submitted projects should meet as many of these criteria as possible. The selected projects will be listed on this website, to be launched in February and will be considered for inclusion in the artist association, the exhibition at the Queens Museum, the Van Abbemuseum, and/or the publication. Projects can be submitted by anyone, from any field, and need not be submitted by the initiators of the project.

The deadline for project submissions is February 15, 2013.

Pierre St-Jacques video work explores transcendent moments in everyday life and the expressed gestures that connect us. As these ordinary yet extraordinary moments transpire, a small door opens up into a larger new world that lets us glimpse what it means to be human.

New York University’s Robert F. Wagner Graduate School  of Public Service,  in partnership with the  Steinhardt School  of Culture, Education, and Human Development, is pleased to announce the opening of working on it, our Winter/Spring-2013 exhibition at the Gallery Space  at Wagner. Staged  in commemoration of Black History Month, working on it features  oil paintings  by celebrated artist and New York University alumnus Danny Simmons. The exhibit is cosponsored by the NYU Wagner Black Student  Alliance (BSA) and curated  by NYU Steinhardt faculty Ann Chwatsky and NYU Wagner’s Frankie Crescioni-Santoni.  An opening reception featuring  live music by the NYU African Percussion Ensemble will be held on Wednesday, February 20th, 6:00-8:00pm, and  is open to the public via RSVP at wagner.nyu.edu/events.  

Daniel “Danny” Simmons, Jr. is a painter, author, philanthropist, and art scene visionary. He earned a degree in social work from New York University and was the recepient of a master’s in public finance and a honorary PhD in fine arts from Long Island University. Older brother of hip-hop impresario Russell Simmons and rapper Joseph Simmons (“Reverend Run” of Run DMC), he is founder and president of the Rush Arts Gallery in Chelsea and the Corridor Gallery in Brooklyn. He also founded and serves as vice-president of the non-profit Rush Philanthropic Arts Foundation, and until recently was a chairman for the New York State Council on the Arts. Along with his brother Russell, he established Def Poetry Jam, which has enjoyed long-running success on HBO. In 2004, he published Three Days As The Crow Flies, a fictional account of the 1980s New York art scene. He has also written a book of artwork and poetry called I Dreamed My People Were Calling But I Couldn’t Find My Way Home. Simmons’ artwork has been widely exhibited both nationally and internationally and in several world-renowned collections, including those of the United Nations, Chase Manhattan Bank, Deutsche Bank, and the Schomburg Center for Black Culture. Further samples of his work may be viewed at dannysimmons.net.

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working on it runs February 20 through April 10, 2013. The Gallery Space at Wagner is located on the 2nd floor of the Puck Building, at 295 Lafayette Street, corner of Houston Street (B/D/F/M trains to Broaway-Lafayette, 6 train to Bleecker, or N/R/Q trains to Prince Street). Viewing hours are Monday–Thursday 9:00am-9:00pm, Fridays 9:00am-7:00pm, and Saturdays 9:30am-6:00pm (closed on Sundays). For more information, including adjusted holiday hours, please contact Frankie Crescioni-Santoni at 212.998.7400.

The body of work that is “Automat” explores the ties between memory and location. These drawings and paintings are Julia Pascones personal documentation of the everyday textures, particular signs and local symbols that represent home and evoke a sense of place. In this frenetic world of mass-produced culture and homogenizing conglomerates, Pascone pens a love letter to all things small. She examines the origins of each place she has been, the physical actualities as well as the more intangible coordinates. Pascone nods to the past, celebrates the vestiges.

DATES: February 20th to March 6th

AT: Con Artist Ludlow Gallery, 119 Ludlow St. Lower Level

02.20.2013 Wednesday 8pm til 11pm /// Opening Party

02.27.2013 Wednesday 8pm til 11pm /// Gallery Night

03.06.2013 Wednesday 8pm til 11pm /// Closing Party

More info coming available daily at:

http://conartistnyc.com/blogs/news/7264022-julia-pascone-automat

Art Connects New York (ACNY), is pleased to announce the opening of “A Haven” on February 20, 2013 at ACNY Exhibition Space. This multimedia group exhibition will feature the works of artists Jesper Aabille, Hackworth Ashley, Center for Utopian Socialist Studies, Aoife Collins, Mustafa Faruki, FASTWÜRMS, Maximilian Goldfarb, Julian Osti, Paul Lloyd Sargent and Angela Washko. Curator Alex Young will present these artists’ articulations of escape within the extremes of both the real and the imaginary.

“A Haven,” whose title derives from JK Huysmans' anti-romantic novel 'En Rade', suggests that in our attempts to flee from present reality we are often led to further entrenchment within that very reality. The works in “A Haven” are positioned together not out of shared working methods but rather the consideration for the specifics of location, the simultaneous fortification and stagnation of place, and the entropic stillness produced in the actualization of one’s ideal.

“A Haven” will run until March 27, 2013, with an opening reception on February 20, 6:30-8:30pm at ACNY Exhibition Space, 220 36th Street, B-515, Brooklyn, NY 11232. ACNY Exhibition Space is open Monday-Friday, 12pm-6pm. For more information on ACNY Exhibition Space, please visit www.artconnectsnewyork.org or contact gingers@artconnectsnewyork.org.

This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in Partnership with the City Council. Additional funding provided by The Fay Slover Fund at The Boston Foundation. The exhibition is also sponsored by the Danish Arts Council Committee for International Visual Arts.