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March 05, 2010

DORIAN GRAY IS TONIGHT - DON'T MISS THE PARTY OF THE YEAR!

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I've joined forces with Derrick Adams and Miss Nico Wheadon to create and exciting new party on Friday nights. The party is called Dorian Gray. It's a party centered around the art world, but open to everyone. Artists, curators, gallery owners, models, fashion professionals, regular people with a creative spirit, black, white, latino, straight, gay, bi, everyone is welcome. This event is our contribution to a new world where people come together in the spirit of creativity, love and all things funky.

Derrick Adams, Nico Wheadon and Ricky Day present

DORIAN GRAY
"This party will never get old"

Every Friday starting this Friday March 5, 2010
at Le Royale
21 Seventh Avenue (at the corner of Leroy Street)
10pm until 4am (Free before Midnight and $10 after)
21 and over with i.d.
Attire: Chic, but casual, creative and sexy (don't be afraid to let your creativity reign)
VIP bottle service available upon request. (advance table reservation suggested)

Dance-pop, hip hop, freestyle and b-more beats by our deejays:
Derrick Adams and Designer Imposter

Featuring special performances by:
Lainie Dalby
Jacolby Satterwhite
Tiny Dinosaur

March 03, 2010

NEW YORK ART FAIR WEEK

It's that time of year when all the Art Fairs are in town, PLUS the Whitney Biennial, PLUS a group photography show that I am participating in. So grab your walking shoes, some cab fare and your reading glasses and get out and enjoy great art from all over the world.

After you look at all the great art you can join Derrick Adams, Nico Wheadon and myself as we host a great new party:

Dorian Gray "This party will never grow old"
Check for details in a separate post. So for now here's the information on the largest fairs. Google NY Art Fairs to find out about other fairs and events.

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THE ARMORY SHOW
Piers 92 & 94

The Armory Show is America's leading fine art fair devoted to the most important art of the 20th and 21st centuries. In its eleven years, the fair has become an international institution. Every March, artists, galleries, collectors, critics and curators from all over the world make New York their destination during Armory Arts Week.

Twelfth Avenue at 55th Street
New York City

The Armory Show 2010 Opening Day takes place Wednesday, March 3rd for invited guests.
Opening Hours:
Thursday, March 4 - Saturday, March 6 Noon to 8 pm
Sunday, March 7 Noon to 7 pm

Piers 92 & 94 are located on Manhattan's far West side on the Hudson River (Twelfth Avenue) at 55th Street in the Passenger Ship Terminal complex. The piers are easily accessible by public transportation, taxi, and private vehicle. The nearest subway stop is four cross-town blocks east at 50th Street and Eighth Avenue.

Ticket prices

General Admission US$30
Students US$10
Groups (10+) US$15
Run of Show Pass (4 day) US$60
The Armory Show/VOLTA NY Pass US$40

Shuttle Bus Service
Shuttles are available between The Armory Show on Piers 92 & 94 and VOLTA NY on 34th street near 5th Avenue.

Mass Transit
Piers 92 & 94 can be reached by public transportation via the Eighth Avenue subway, E or C trains to 50th street, then via M50 bus line. The M50 bus runs West on 49th Street (to the pier) and East on 50th Street (from the pier) connecting at Eighth Avenue (E or C subway) and at Seventh Avenue (1 or 9 subway). Also, bus lines M16 and M42 provide service to 42nd Street and Twelfth Avenue. For subway and bus information and schedules, call (718) 330-1234 or click here.

By Car
From the Lincoln Tunnel, take 42nd Street west to Twelfth Avenue. Continue north on Twelfth Avenue to Piers 92 & 94 (at the Passenger Ship Terminal). From the Queens-Midtown Tunnel, go west via 34th Street to Twelfth Avenue. Continue north to the piers (at the Passenger Ship Terminal). Access to the piers for private cars via at 55th Street and Twelfth Avenue. All vehicles should follow signs for the Passenger Ship Terminal parking.

Parking
Roof top parking is available for all visitors and exhibitors. No reservations are necessary. Only cash and travelers checks are accepted. For more information, call (212) 246-5450. Additional public parking facilities are available across Twelfth Avenue and throughout the neighboring vicinity.
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PULSE Contemporary Art Fair

PULSE Contemporary Art Fair is the leading US art fair dedicated solely to contemporary art. Held annually in New York and Miami, PULSE bridges the gap between main and alternative fairs and provides participating galleries with a platform to present new works to a strong and growing audience of collectors, art professionals and art lovers.

The Fair is divided into two sections and is comprised of a mix of established and emerging galleries vetted by a committee of prominent international dealers. The IMPULSE section presents galleries invited by the Committee to present solo exhibitions of artist's work created in the past two years.

In addition, PULSE develops original cultural programming with a series of large-scale installations, its PULSE Play> video lounge, the PULSE Performance events, and the recently launched PULSE Profiles series of artists and curators talks. The PULSE Prize is awarded in New York and in Miami to one of the artists presented in the IMPULSE section. PULSE supports numerous nonprofit art organizations and schools.

PULSE New York
330 West Street @ West Houston
New York, NY 10014

Fair Hours

Thursday, March 4
Press and VIP Private Preview
9am - 12pm
Open to public 12pm - 8pm

Friday, March 5 12pm - 8pm
Saturday, March 6 12pm - 8pm
Sunday, March 7 12pm - 5pm

Admission

General Admission $20.00
Students/Seniors $15.00
Group Discount $12.00

Please note that the group discount applies to groups of ten or more.

Entrance for Children under 12 is free.

Shuttle Service

PULSE will offer a shuttle service, Thursday March 4 - Sunday March 7, between the Armory Show at Piers 92 and 94 and PULSE.

MASS TRANSIT

Via Subway
Take the 1 or 9 train to Houston Street. Walk west four blocks on Houston to the West Side Highway. 330 West is the building just before crossing the West Side Highway.

Via Bus
From the East. Take the #21 bus west on Houston Street to Washington Street. Walk west on Houston to the West Side Highway.

From the North or South. Take the #20 bus (Hudson Street north, 7th Avenue south) to Houston Street. Walk west on Houston to the West Side Highway.

DRIVING

East Side and New England
Take the FDR Drive south to the HOUSTON Street Exit Make a right onto HOUSTON and head west to the Hudson River.

Via Queens- Midtown Tunnel
Go Southwest on FDR DR and turn RIGHT onto E 34TH ST. Turn LEFT onto 12TH AVE/ WEST SIDE HWY. Continue to follow NY-9A S/WEST SIDE HWY. Make a U-TURN at CLARKSON ST onto West St. WEST SIDE HWY. End at 330 West ST.

Via Lincoln Tunnel
Start out going SOUTH on WEST SIDE HWY toward W 34TH ST. Continue to follow NY-9A S / WEST SIDE HWY. Make a U-TURN at CLARKSON ST onto WEST SIDE HWY. End at 330 West ST.

Via George Washington Bridge
Merge onto NY-9A S via EXIT 1 toward DOWNTOWN. Make a U-TURN at CLARKSON ST onto WEST ST/ WEST SIDE HWY. End at 330 West ST.

Via Holland Tunnel
Take EXIT 1 toward WEST ST. Turn SLIGHT LEFT onto LAIGHT ST. Turn RIGHT onto WEST ST/WEST SIDE HWY. End at 330 West ST.

Parking
Parking is available at Pier 40. Please see the costs below:
Up to 12 hours - $21.96
Up to 24 hours - $27.03
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SCOPE New York 2010

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Photo by James Painter Belvin

NEW YORK- Building on Miami's overwhelming success, SCOPE launches its 2010 season with its flagship fair, SCOPE New York Art Show. SCOPE proudly returns to Manhattan's most famous cultural icon, Lincoln Center, with a glass facade pavilion situated in Lincoln Center's Damrosch Park, at the corner of 62nd Street and 10th Avenue. SCOPE New York is just blocks from the Armory Show and serviced daily by shuttles and pedicabs.

Last year's fair featured galleries from four continents and 20 countries, including China, Mexico, Japan, Korea, Brazil, Italy, France, Belgium, the Netherlands, Norway, Switzerland, Germany, UK, Spain, and Canada. SCOPE New York's invitees will uphold its unique tradition of solo and thematic group shows presented alongside museum-quality programming, collector tours, screenings, and special events. The fair opens to Press, SCOPE and Armory VIPs on Wednesday, March 3, 3-9pm with the FirstView benefit, a $100 charitable donation for all non-VIP cardholders.

Introducing artists, curators, and cutting-edge galleries to new audiences internationally has made SCOPE the most comprehensive destination for the emerging art world available anywhere. With art fairs in Miami, Basel, New York, London, and the Hamptons, SCOPE is proud to be an influential presence in the expanding global art market.

Location
Lincoln Center Damrosch Park
62nd Street and Amsterdam (10th Avenue)
New York, NY 10023

General Admission Fair Hours
Thursday | March 4 | noon - 8pm
Friday | March 5 | noon - 8pm
Saturday | March 6 | noon - 8pm
Sunday | March 7 | noon - 6pm

SCOPE FOUNDATION

Film Program | Daily | March 4 - 7
Thursday | March 4 | Martha Colburn | "Political Revolution in my Basement"
Friday | March 5 | A Shaded View on Fashion Film curated by Diane Pernet | A selection of films for A Shaded View on Fashion Film Festival
Saturday | March 6 | Zach Layton | "d.i.y. sci-fi"
Sunday | March 7 | Divya Mehra and Rammy Lee Park | "The Interruption" a hyperreal installation and selection of films from the MFA Film Program at Columbia University

Markt | Curated by Diane Pernet | March 4 - 7
PDA (Personal Development Auction)
Final Bid | Saturday March 6 | 6p

Admission
Free for VIP cardholders
FirstView | Wednesday Only | $100
General | Thursday - Sunday | $20
Student | Thursday - Sunday | $10

Subway
Take the 1 train to 66th Street/Lincoln Center Station or the 1, A, B, C, D to 59th Street/Columbus Circle and proceed towards 62nd Street on Columbus Avenue.


Bus
The M5, M7, M10, M11, M20 M66, and M104 bus lines all stop within one block of Lincoln Center.


By Car
From Long Island
Take Long Island Expressway to Midtown Tunnel. Follow signs to Uptown/West Side and go cross-town at 34th Street to 8th Avenue. Turn right onto 8th Avenue and proceed to 59th Street. Turn right onto Columbus Circle, making another right onto Broadway. Take Broadway to West 62nd Street and turn left. Cross Columbus Avenue. The Lincoln Center parking garage entrance is on the northern side of the street (right side).

From Southern New Jersey
Take the Lincoln or Holland Tunnels.
From Lincoln Tunnel take the exit on the left towards 40th Street and North. Turn left onto West 42nd Street. Turn right onto 10th Avenue, continuing all the way to 65th Street. Turn right onto West 65th Street. The Lincoln Center parking garage entrance is on the southern side of the street (right side).
From Holland Tunnel follow signs to Exit 1 (Uptown and Canal Street) into Laight Street. Follow Laight Street to West Side Highway (Joe DiMaggio Highway). Follow to 56th Street, staying to the right after 42nd Street. Turn right onto West 56th Street. Turn left onto 11th Avenue. Turn right on West 65th Street. Cross Amsterdam Avenue. Lincoln Center parking garage entrance is on the northern side of the street (right side).

From Northern New Jersey
Take I-95 North/US-9 North/US 1 North. This becomes I-95 North/Upper Level George Washington Bridge/US-9. Take the Henry Hudson Parkway/178th Street exit. Follow signs to Henry Hudson Parkway South/West Side Highway (Joe DiMaggio Highway). Merge onto Henry Hudson Parkway South. Take the West 79th Street (Boat Basin) exit. Follow the circle and exit onto 79th street. Turn right onto West End Avenue, heading south. Turn left onto 65th Street. Cross over Amsterdam Avenue, continuing on 65th Street. The Lincoln Center parking garage entrance is on south side of the street (right side).

From Southern Connecticut
Take I-95 South to Cross Bronx Expressway, taking the last Manhattan exit (leading towards George Washington Bridge). Follow the Henry Hudson Parkway South. Take the West 79th Street (Boat Basin) exit. Follow the circle and exit onto 79th street. Turn right onto West End Avenue, heading south. Turn left onto 65th Street. Cross over Amsterdam Avenue, continuing on 65th Street. The Lincoln Center parking garage entrance is on south side of the street (right side).
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VOLTA NY

VOLTA NY is the American incarnation of the successful young fair founded in Basel in 2005. VOLTA NY was conceived to continue the original mandate to create a tightly-focused, boutique event that is a place for discovery and a showcase for current art production and relevant contemporary positions—regardless of the artist or gallery’s age.

VOLTA NY is an invitational show, organized by art critic and Fair Director Amanda Coulson, to complement the offerings across town at The Armory Show, with whom VOLTA NY shares the VIP and Talks Programs and shuttles to and from both fairs. By putting the focus back on artists through exclusively featuring solo projects, VOLTA NY promotes a deep exploration of the work of its selected projects, an opportunity for discoveries that move beyond those afforded by a traditional art fair.

A platform for challenging, often complimentary, sometimes competing ideas about contemporary art, the strictly solo format is what gives the fair its unique character. While visitors have positively compared VOLTA NY to doing a series of intense studio visits, nonetheless the dedication to a single artist, while surely the most striking of presentations in any economic landscape, has always be something of a risk. The dedication and confidence shown by the exhibiting galleries to continue to commit themselves to a risky and challenging format has therefore given rise to this year’s title: No Guts No Glory, a phrase that can be applied both to the work on show, its creators and its supporters/presenters.

Previews
Thursday, March 4th, 2010

Guest of Honor: 11 am - 12 pm (accessible by invitation from VOLTA or with The Armory Show VIP card)
VIP: 12 pm - 2 pm

Public Hours Daily

Thursday, March 4th, 2010
2 pm - 8 pm
Friday 5th - Sunday 7th, March, 2010
11am - 7 pm
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The 22nd Annual Art Show

During the first week of March 2010, the international art world will converge in New York City during the 22nd annual Art Show, organized by the Art Dealers Association of America (ADAA) to benefit Henry Street Settlement. The 2010 edition of The Art Show continues ADAA's tradition of bringing the highest quality artworks to one monumental art exhibition space at the Park Avenue Armory. The 70 selected exhibitions, presented by the nation's leading art galleries, will feature museum-quality works ranging from 19th and 20th century Old Master works to recently completed contemporary painting, drawing, sculpture, photography and multi-media. The Art Show and its Gala Preview, on March 2, 2010, will benefit Henry Street Settlement and continue an art world institution.

March 3–7, 2010
Park Avenue Armory
Park Avenue at 67th Street
New York City

Admission $20

Wednesday – Saturday: noon to 8 pm
Sunday: noon to 6 pm
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March 01, 2010

LATENT: an En Foco exhibition Curated by Terry Boddie at Umbrella Arts + Projects

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Photo: © Ricky Day, Kalup Linzy Contemplation, 2009. This is The Life series. Digital c-print, 16" x 20"

I'm in a new group photography show here in New York and you are cordially invited

LATENT: an En Foco exhibition Curated by Terry Boddie

Featuring:
Wilfredo Benitez
Shraddha Borawake
Ricky Day
Vanina Feldsztein
Terri Garland
Rizzhel Mae Javier
Margaret LeJeune
Jaime Permuth
Wendy Phillips
Magdalena Solé
Stacey Tyrell
Elizabeth Valentin

March 3-27, 2010

ARTIST RECEPTION: Friday, March 12 from 6:00 to 9:00pm

Umbrella Arts + Projects
317 East 9th Street (between 1st & 2nd Ave)
New York, NY 10003
212.505.7196 / www.umbrellaarts.com

The theme Latent, refers not only to the process of photography, but the positive potential of the exhibiting photographers.

To learn more about En Foco, Inc, please visit www.enfoco.org

For more info on me visit my official website
www.rickyday.net





Introducing Dorian Gray: This party will NEVER get old!

dorian gray final.jpg

I've joined forces with Derrick Adams and Miss Nico Wheadon to create and exciting new party on Friday nights. The party is called Dorian Gray. It's a party centered around the art world, but open to everyone. Artists, curators, gallery owners, models, fashion professionals, regular people with a creative spirit, black, white, latino, straight, gay, bi, everyone is welcome. This event is our contribution to a new world where people come together in the spirit of creativity, love and all things funky.

Derrick Adams, Nico Wheadon and Ricky Day present

DORIAN GRAY
"This party will never get old"

Every Friday starting this Friday March 5, 2010
at Le Royale
21 Seventh Avenue (at the corner of Leroy Street)
10pm until 4am (Free before Midnight and $10 after)
21 and over with i.d.
Attire: Chic, but casual, creative and sexy (don't be afraid to let your creativity reign)
VIP bottle service available upon request. (advance table reservation suggested)

Dance-pop, hip hop, freestyle and b-more beats by our deejays:
Derrick Adams and Designer Imposter

Featuring special performances by:
Lainie Dalby
Jacolby Satterwhite
Tiny Dinosaur

February 26, 2010

Dean Monogenis Above the Railing, Above the World 5 March - 18 April, 2010 at Collette Blanchard Gallery

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Dean Monogenis
Above the Railing, Above the World
5 March - 18 April, 2010

Opening Reception Friday, March 5, 6-9

Collette Blanchard Gallery is pleased to present its first gallery exhibition with Dean Monogenis entitled "Above the Railing, Above the World", on view from March 5th - April 18th.

Monogenis continues his presentation of inventive landscapes that explore the natural progressions of entropy. The subjects of his works depict architecture in different phases of construction including buildings, tents, antennas, electrical posts, windmills and scaffoldings. The focus however is not on the placement of each structure within the landscape but rather on the notion of each monument as a means to articulate transition and purpose. Monogenis re-positions real structures from his encounters in his ever-changing neighborhood in eastern Williamsburg to communities and places he visits around the world. The process of conceptually removing a building from its natural environment and rendering it in an imaginative space with lush landscape and dramatic skies challenges the visual, historical and resourceful components of traditional city planning.

Done in acrylic on wood panels with a high gloss finish, the paintings reveal a distinction between the bold flat areas used to create the architecture with the tightly rendered areas of rock formations and highly textured depictions of greenery. A building can serve two purposes--it can be built as a functioning space or it can be non-space simply existing as a structure with physical matter supporting its construction. Aside from his experience of living among the architecture that is represented in the work, Monogenis's interest in architectural forms is inherent from his many childhood experiences touring ancient ruins while visiting family in Greece. His works often includes depictions of older monuments shown in comparison with contemporary architecture.

Mr. Monogenis received a BFA from the School of the Art Institute of Chicago in 1996. Monogenis is included in the group exhibition Skeptical Landscape at the Herter Art Gallery, University of Massachusetts in Amherst. His work has been exhibited in group shows at Robert Miller Gallery, Annina Nosei Gallery and Priska C. Juschka Fine Art and iis currently on view at Walter maciel Gallery. He was recently featured in New American Paintings. A series of ten images was reproduced in the September 2009 edition of the Georgia Review. A 66 page catalogue with a an essay by curator Elizabeth Grady will accompany the exhibition.

For more information, please contact the gallery at 646.249.7720 or gallery@colletteblanchard.com.

colletteblanchard.com

February 25, 2010

The Whitney Biennial opens today in NYC

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It's that magical time again. Opening today is the 75th Whitney Biennial at the Whitney Museum of American Art in NYC.

This year marks the seventy-fifth edition of the Whitney’s signature exhibition. While Biennials are always affected by the cultural, political, and social moment, this exhibition “simply titled 2010” embodies a cross section of contemporary art production rather than a specific theme. To underscore the idea of time as an element of the Biennial and to demonstrate the influence of the past on 2010, familiar and less well-known artists from previous exhibitions are brought together in Collecting Biennials, an accompanying installation drawn from the Museum’s collection on view on the fifth floor. Balancing different media ranging from painting and sculpture to video, photography, performance, and installation, 2010 also serves as a two-way telescope through which the Whitney’s past and future can be observed.

Whitney Museum of American Art
945 Madison Avenue at 75th Street
New York, NY 10021
General Information: (212) 570-3600
info@whitney.org

How to get there:
Subway: 6 Train to 77th Street
Bus: M1, M2, M3, M4 to 74th Street
Car: Two parking garages offer
discounts with Whitney ticket
validation.

General admission: $18
Ages 19–25: $12
Ages 62 and over: $12
Full-time students: $12
Ages 18 and under: FREE
Members: FREE

Admission is pay-what-you-wish on Fridays, 6–9 pm

Tickets include admission to all current exhibitions.

Check out these videos from a couple of Biennial artists

JOSH AZZARELLA at DCKT Contemporary in NYC

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Untitled #86 (Lopez), 2009, Cibachrome, edition of 3 + 1 AP, 10 x 10" image

DCKT Contemporary is pleased to present new photographs by JOSH AZZARELLA. AZZARELLA manipulates images from cinema, journalism and amateur photography. His photographs muddy the waters between the artificial beauty of a cinematic set and the inherent beauty of the natural landscape. Absent their most significant events, AZZARELLA’s images raise questions about how our society constructs a narrative of our collective history.

The emptying of the photographs presents each scene in its formal beauty but leaves a ghost of its narrative past. The viewer is tempted to draw relational lines between individual photographs and to decipher patterns and groupings, taking cues from color and film grain. Movie stills, homemade images and documentary footage mix together, as in our collective memory. How individual and collective memories form, the possibilities of confusing memories with realities or creating memories where none previously existed are all key to his oeuvre.

In one photograph vines drape across branches, hearkening documentary photographs of the Vietnam War although its true source is the B movie classic Creature from the Black Lagoon. Emptied seascapes recall the stillness of Hiroshi Sugimoto photographs. The backs of two men on an Elvis Presley film set evoke 1960s family photographs, perhaps of a picnic.

AZZARELLA lives and works in New York City. Solo and group exhibitions include Mark Moore Gallery (Santa Monica, CA); Vancouver Art Gallery (British Columbia); Kavi Gupta Gallery (Chicago); Akademie der Künste (Berlin). He was the recipient of the 2006 Emerging Artist Award and a solo exhibition from The Aldrich Contemporary Art Museum (Ridgefield, CT). His work is included in the permanent collection of the San Francisco Museum of Modern Art. This is his third solo exhibition with DCKT Contemporary.

For more info on me visit my official website
www.rickyday.net





LeBasse Projects presents: 'Deva Loka: Los Angeles ' A Solo Exhibition by Yoshitaka Amano Los Angeles, CA

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LeBasse Projects presents:
'Deva Loka: Los Angeles '
A Solo Exhibition by Yoshitaka Amano

Los Angeles, CA - LeBasse Projects is excited to present, 'Deva Loka' an exhibition of work from influential Japanese artist Yoshitaka Amano.

Legendary artist Yoshitaka Amano will make a rare U.S. appearance with his newest exhibit, DEVA LOKA, created especially for a U.S exhibition and named for the ancient Indian land of God. As an ode to his childhood love for American comics, culture and automobiles, Amano's latest breathtaking and vibrant pieces are boldly coated with auto paint and metallic glitter.

Amano is widely acclaimed for his work in animation and video games. He is renowned for designing the characters for the hit video game, Final Fantasy, as well as for anime films including Vampire Hunter D, Guin Saga, Final Fantasy, and Front Mission.

"Between the late 60's and the 70's, and during my early years in the art world, I was greatly influenced by American comic books and pop culture. I'd like to show my gratitude for the inspiration America gave me with this exhibit. With the theme of DEVA LOKA, all of my concepts and influences are able to come together, centered in one place. I hope everyone enjoys my show."

Deva Loka will be Amano's first major exhibition in Los Angeles in nearly a decade.

February 20th through March 13th
Opening Reception: Saturday, February 20th, 7 to 10pm

For additional inquiries or preview please contact:
Beau Basse, Gallery Director
at beau@lebasseprojects.com or 310.558.0200

www.lebasseprojects.com

For more info on me visit my official website
www.rickyday.net





New work at Sloan Fine Art in NYC

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Sloan Fine Art is pleased to present Just Off, a group exhibition curated by Peter Drake and Alix Sloan in the front gallery and Always Moving, a solo exhibition by Ryan Scully in the project room.

The most profoundly uncanny moments in life aren’t recognizable as such. They are like a ringing in the ears or a frame permanently askew, the missing object on a mantelpiece that lets you know that the scene has been disturbed. For Just Off, curators Peter Drake and Alix Sloan have brought together eleven uncannily like-minded emerging artists. With disconnected gestures, anatomical drawings of non-existent creatures, detritus still lives that remind one of ceramic figurines and everyday environments disrupted by unsettling forces, their imagery is similarly, subtly, disquietingly unhinged. The collected works are at their core familiar and beautiful but together they are undeniably and intriguingly Just Off.

Peter Drake is an artist and curator living in New York City. Curated exhibitions include Normal at Linda Warren Gallery and The Burbs at DFN Gallery.

Ryan Scully grew up in the shadow of the DOE Hanford Nuclear Site in Richland, WA. The unique influence of dependence on a controversial industry, a striking desert landscape and the ominous importance of resources deeply impacted the young artist’s development. In Always Moving, his canvases are populated with rough landscapes and amorphous characters in a state of anxious flux. Rocky overhangs struggle to break free. Threatening clouds sweep in and out of frame. Multiple inhabitants scurry towards perceived safety or to join in a group offense. These elements share an unsettling yet cooperative relationship. They are in a state of push and pull, an ever twisting but also evolving relationship in which life and it’s environment struggle against each other yet ultimately become equal and find space to co-exist.

Ryan Scully earned his BFA from Central Washington University and his MFA from the New York Academy of Art. His work has been exhibited nationwide and will be included in “New American Paintings, No. 86” on newsstands Spring of 2010. He lives and works in Brooklyn.

Sloan Fine Art is located at 128 Rivington Street on the Lower East Side of New York City. Hours are Wednesday to Sunday, noon to 6, and by appointment

For more info on me visit my official website
www.rickyday.net





Sofi Zezmer: Remote Control February 27 - April 3, 2010 at Mike Weiss Gallery

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Brazil LS1 / 2010 / Plastic, metal / 63 x 49 1/4 x 35 3/8 inches (160 x 125 x 90 cm)

Sofi Zezmer: Remote Control
February 27 - April 3, 2010
Opening Saturday February 27, 6 - 8pm

Mike Weiss Gallery presents Remote Control, a multimedia installation including sculpture, photography and drawing by artist Sofi Zezmer. This is the artist’s third solo exhibition at Mike Weiss Gallery. Her use of the fragments of manmade, mostly synthetic materials shift the common definition of the objects we use to inform our everyday lives and confront the viewer with his or her own relationship to consumption, mass production and overflow.

With an engineer’s precision, Zezmer constructs her works by a gradual additive process dependent on intuitive responses to the materials and objects she uses forming color-saturated assemblages. Evolving out of a large selection of manmade curiosities, each piece takes on an identity and physical body of its own; some remain self-contained in their form while other spread out along the walls like micro organisms.

Among the abundant elements she incorporates are objects which in their original context were distinctly purposeful such as drinking straws, IV drip tubing, construction netting, film, foil, packing materials, bicycle helmets, cable ties and funnels. In fusing the elements and breaking them down, Zezmer disrupts the common meaning assigned to the items and calls into question our own familiarity with them. Zezmer’s sculptures suggest irrational Duchampian hybrids of mechanical and biological systems. They are embodiments of the complexity of life in the modern age, ruminations on the omnipresence of mass-production, space travel and biotechnology.

Sofi Zezmer structures some of her recent works as interactive sites, inviting simultaneously accessible multiple viewpoints, which provoke conflicting chains of associations. REM LS1, for instance, consists of a mobile, translucent panel attached to the wall with two hinges. The sculpture literally occurs on both sides of the panel as well as in between the two sides. Similarly, the large hanging work Brazil LS1 hovers at the viewer’s eye-level above ground and rotates slowly, disclosing simultaneously numerous vantage points.

Sofi Zezmer lives and works in Germany. Her work has been exhibited in numerous international galleries and museums. Most notable were her solo exhibition at Museum Wiesbaden, at the 21st Century Museum of Contemporary Art, Kanazawa, Japan and her forty two foot long hanging sculpture, Es Darf Kein Mangel Herrschen, commissioned by the NASPA Bank, Wiesbaden, Germany.


For more information please contact Helene Necroto, Director: 212.691.6899 or helene@mikeweissgallery.com

mike weiss gallery
520 west 24th street
new york, new york 10011
mikeweissgallery.com

For more info on me visit my official website
www.rickyday.net





February 22, 2010

Jason Horowitz's provocative large-scale and extreme close-up photographs of expressive drag queens conjure a multitude of reactions at the Curators Office in Washington D.C.

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Horowitz continues his ongoing interest in exploring the intersection of landscape and portraiture and how hyper-realism morphs into abstraction. Shot with the same "glamour" lighting set-up used for fashion images, these photographs subvert that process to look at what is real rather than ideal.

In the new body of work entitled DRAG, a new psychological element enters the artist's earlier explorations of faces and bodies. The theatrical artifice of the make-up, similar to a mask, is at once concealing and revealing. We find ourselves shocked, drawn in, immersed, fascinated, yet a bit squeamish. Horowitz masterfully plays with the tension between attraction and repulsion. The over-the-top vamping and exhibitionist joy of drag queens is tempered by a simultaneous sadness and introspection. By exploding scale, Horowitz reveals not only the fascinating visual terrain of the face but also challenges our own hidden biases about femininity and masculinity, beauty and ugliness, gay culture, race, sexuality, and aging.

Horowitz initiated this series by shooting Washington DC's acclaimed drag queen, Shi-Queeta Lee. Word spread quickly among her friends, so Horowitz was able to photograph many of the city's finest performers over the past two years.

Curators Office
1515 14th St NW
Suite 201
Washington, DC
20005

Wednesday - Saturday
12 - 6pm and by appointment

phone: 202-387-1008
fax: 202-387-1006

For more info on me visit my official website
www.rickyday.net






Elene Usdin Femmes d'Interieur Photographs and Illustrations at

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(Infante on sofa d'après Velasquez)

Elene Usdin
Femmes d'Interieur
Photographs and Illustrations
Opening Reception with the Artist, Thursday, February 18, 2010 (6-8PM)
Exhibition: February 18 - March 27, 2010

The exhibition will feature unique hand-painted selections from Usdin's newest series as well as digital based collage editions and un ensemble petite of original c-prints selected and editioned by the artist. The exhibition will be on view from February 18 - March 27, 2010. Elene Usdin will be at the opening reception.

For more information please visit www.farmanigallery.com or email us at info@farmanigallery.com. We can also be reached via phone at 718-578-4478.

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(Penelope d'après Ghirlandaio)

The Farmani Gallery is located at 111 Front St., Ste. 212, Brooklyn, NY in the DUMBO neighborhood between Washington and Adams St. By subway take A or C to High St., F to York St. or 2 and 3 to Clark St. Station. Gallery hours: Wed. – Sat.: 1 – 6PM. Information: www.farmanigallery.com or info@farmanigallery.com or ph# 718-578-4478.

For more info on me visit my official website
www.rickyday.net





'Deva Loka: Los Angeles ' A Solo Exhibition by Yoshitaka Amano at LeBasse Projects in Culver City, California

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'Deva Loka: Los Angeles '
A Solo Exhibition by Yoshitaka Amano

LeBasse Projects is excited to present, 'Deva Loka' an exhibition of work from influential Japanese artist Yoshitaka Amano.

Legendary artist Yoshitaka Amano will make a rare U.S. appearance with his newest exhibit, DEVA LOKA, created especially for a U.S exhibition and named for the ancient Indian land of God. As an ode to his childhood love for American comics, culture and automobiles, Amano¹s latest breathtaking and vibrant pieces are boldly coated with auto paint and metallic glitter.

Amano is widely acclaimed for his work in animation and video games. He is renowned for designing the characters for the hit video game, Final Fantasy, as well as for anime films including Vampire Hunter D, Guin Saga, Final Fantasy, and Front Mission.

"Between the late 60's and the 70's, and during my early years in the art world, I was greatly influenced by American comic books and pop culture. I'd like to show my gratitude for the inspiration America gave me with this exhibit. With the theme of DEVA LOKA, all of my concepts and influences are able to come together, centered in one place. I hope everyone enjoys my show."

Deva Loka will be Amano's first major exhibition in Los Angeles in nearly a decade.

February 20th through March 13th
Opening Reception: Saturday, Ferbuary 20th, 7 to 10pm

www.lebasseprojects.com

For more info on me visit my official website
www.rickyday.net





February 18, 2010

Paintings by Ted Milligan

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NATHAN SKILES: Black Forest / White Lightning & HEATHER SHERMAN: Feral at SLOAN FINE ART

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(Image left: Nathan Skiles, “The Vanitas of Vineta B," 2009, corrugated plastic & foam rubber, 36" x 32" x 10"
Image right: Heather Sherman, "Suck It, Suburbia," 2009, oil on paper, 38" x 50")

NATHAN SKILES: Black Forest / White Lightning

HEATHER SHERMAN: Feral

OPENING RECEPTION: Wednesday, January 27th, 2010 from 6 to 8 pm

EXHIBITION: January 27 through February 20, 2010

SLOAN FINE ART
128 Rivington Street
(corner of Norfolk)
New York, NY 10002
212.477.1140
sloanfineart.com

Sloan Fine Art, in conjunction with Greene Contemporary, is pleased to present Black Forest / White Lightning by Nathan Skiles in the front gallery and Feral by Heather Sherman in the project room.

In Black Forest / White Lightning, Nathan Skiles presents a collection of densely adorned cuckoo clocks, ranging from the intricately elegant to the over-the-top outrageous, as a means to invigorate his method of associative image making and feed his interest in the incongruous. While the clocks lend themselves easily to observations on the convenient clichés and “rules” of time and space, specific (and repeated) themes within the works expand beyond immediate associations and evolve into musings on the self-consciousness and limits popularly ascribed to these rules. Specifically, in “Two Headed Boy Part 1” and the pair “The Vanitas of Vineta (A & B),” Skiles uses iconography such as the ouroborus, a wishbone, the Cottingley Fairies, George Washington’s wooden teeth and the Inverted Jenny Stamp to investigate how time, space, legend and chance influence our perceptions of identity, continuity, value and truth. And with his innovative use of foam rubber as his primary material, Skiles tricks the eye and obliterates the baggage of immediate recognition, further challenging his audience to look beyond the immediate and investigate the core issues presented in his work.

Nathan Skiles earned his BFA from Ringling School of Design and his MFA from Montclair State University. This is his second solo exhibition in New York.
Three years ago, Heather Sherman purchased a mysterious bag of Kodak slides (meticulously organized and labeled “Puppies,” “Vacation,” “Christmas,” etc.) from a thrift store in Florida. While buzzing and clicking through them in her 70’s era slide projector, the artist found her voyeuristic exploration of these people’s lives exposed connections to, and elements of, her own past. In a photograph of lawn chairs, she saw the New Year’s Eve spent drunk and alone, watching neighbors cheerfully light fireworks while quietly hating them. In a slide of two German Shepherds eating from a woman’s hand, she remembered the day she witnessed her mother being attacked by the family dog. And in their fenced-off New Jersey backyard, she envisioned the golf course she grew up on, and regularly vandalized - a bored, rich, gay teenager acting out in the suburbs of Orlando, Florida. In Feral, Sherman projects her psychology onto these strangers and their memories, using them as a vehicle to confront her own personal history. Some of the stories are fictional, some autobiographical, but all reinforce the need for connectedness and feelings of alienation so rampant in, and integral to, suburbia.

Heather Sherman earned her BFA at Ringling School of Design in Florida before fleeing to New York where she will complete her MFA at NYU this year.
Through his gallery Greene Contemporary, and now as an independent curator and consultant, Jonathan Greene strives to discover, encourage and present emerging and mid-career artists with a commitment and dedication to creating innovative work in a wide range of mediums. Both Nathan Skiles and Heather Sherman exhibited previously at Greene Contemporary. This is the first collaboration between Greene Contemporary and Sloan Fine Art.

Sloan Fine Art is located at 128 Rivington Street on the Lower East Side of New York City. Hours are Wednesday to Sunday, noon to 6, and by appointment.

For more info on me visit my official website
www.rickyday.net





February 17, 2010

Titouan Lamazou Women February 20 - March 27, 2010

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Lola, Sydney, Australia, 2005 . Pigment print.

Titouan Lamazou
Women
February 20 - March 27, 2010

Opening Reception for the Artist:
Saturday, February 20th
6:30 - 8:30 pm
Adamson Gallery is pleased to present an exhibition of new photographs by Titouan Lamazou. Lamazou is an artist but also a documentarian, ethnographer, and it might be argued, an activist and humanitarian. For six years, Lamazou has traveled the world photographing 230 women and recording their biographies. The resulting images are beautiful and sometimes haunting. They reveal an artist that has a unique eye into the experiences of the peoples he encounters.

Titouan Lamazou has been voyaging around the globe nearly his entire life. Born in 1955 in Morocco, at age seventeen he decided to be a navigator and spent the next several years sailing on the seas of the world. In 1990, he won the Vendée Globe, a race around the world. Long accustomed to documenting the people and sites he encountered on his travels via photography, drawing, painting and even film, Lamazou decided to embark on his current project in 2001 and was named a United Nations Educational, Scientific & Cultural Organization "Artist for Peace," a title that reinforces the humanitarian aspect of his project. The result is a collection of photographs, sketches and video recordings, which have been exhibited worldwide and collected into several catalogues published by Gallimard, as well as shown on short segments on French television.

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Katrine and Noris, Cali, Columbia, 2005. Pigment print.

At Adamson Gallery, Lamazou will be exhibiting some of the photographs from the project, beautifully rendered as large-scale digital prints. Each shot has hyper resolution and perspective, which Lamazou achieves by shooting as many as 200 images for each scene, which are then constructed into a mimetic image. This gives the resulting large format print a viewpoint that cannot be approximated by any camera lens and more closely mimics how we view scenes. Although each photograph tells a compelling story, their presence alongside one another is a powerful commentary on the commonalities and differences of experience around the globe.

Lamazou has the gift of rendering images that are remarkably full of narrative. Each woman poses in her own environment, surrounded by items that hint at the circumstances surrounding her life. In the photograph, "Lola, Sydney Australia, 2005," both the subject and her domestic surroundings are clad in leopard print. Behind her hangs a large portrait of the musician Jimi Hendrix, and above her head, a chandelier draped in foliage. Her head is titled slightly towards a barely visible window. We do not know anything about Lola, but we are compelled by what has been revealed. "Daniela, Bulgaria, 2006" is photographed with several children, looking over her shoulder as she walks to a dilapidated shack hung with sheets for insulation. Her story is all too familiar, but personalized in a unique way in the context of the other photographs. Together, the images begin to tell the story of the experience of women throughout the world.

To view more images from the exhibition, please visit our website. For more information, please contact Laurie Adamson or Erin Boland at (202) 232-0707 or email gallery@adamsongallery.com.
ADAMSON GALLERY
1515 fourteenth street nw
washington dc 20005

tel: 202.232.0707
web:www.adamsongallery.com

hours of operation:
tuesday - saturday
10:30 am - 5:30 pm

For more info on me visit my official website
www.rickyday.net






THE TILLER EFFECT, February 11 – March 13, 2010 at NYSG

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Charlotte Becket, Inkblot V (detail), 2009, Insulation tape, plastic, motors, 16” x 36” x 19”

THE TILLER EFFECT

February 11 – March 13, 2010

Artists Reception: February 12, 2010 7-9pm

Charlotte Becket, Christian Maychack, Chad Mitchner, Kristine Moran, Benjamin Tiven
Curated by: Emmy Mikelson

NY Studio Gallery is pleased to present The Tiller Effect. The title derives from an expression describing certain steering mechanisms that entail turning in the opposite direction of where you want to go - turn left to go right, turn right to go left. It is a counterintuitive movement that involves a rhythmic balance of contradiction.

The artists in the show are equally engaged with movements or gestures that disrupt an intuitive sense of balance. Form, material, and intention are explored as unstable states and presented at the threshold of disequilibrium. Balance is antithetically conceived of as a dynamic and fluctuating state. The work within the show is perpetually disrupting a rational Euclidean plane and advocating for a space in which the subject is constantly negotiating her/his environment.

Charlotte Becket’s kinetic sculptures move slowly – sometimes imperceptibly – as their looping, rhythmic motion transforms these motorized machines into figural abstractions or landscapes. Her recent work includes wall mounted geometric forms with black-mirrored surfaces. As the forms slowly shift and redirect light they become hallucinogenic and unstable.

Christian Maychack’s newest sculpture consists of a towering architecture of sorts, constructed from marbleized Magic-Sculpt, and grafted onto a living houseplant. The construction simultaneously constrains and redirects the growth of the plant, while becoming a necessary support. Maychack will add to and adjust the piece in response to the plant’s growth over the duration of the exhibition.

In Chad Mitchner’s to-scale installations of interior rooms there is the constant tension between familiar fictions and uncanny spaces. The work is an attempt at reconstructing memories while occluding their existence in the present tense. The resultant spaces are filled with a nostalgic amnesia where even the artist himself becomes a fictitious figure.

Kristine Moran’s hallucinogenic territories are fractured and distorted, yet balanced by the richness in palette, gesture and reference. With witty shifts that collapse time, space and sound, Moran plays up the inherent drama of painting, as passages of excess are contradicted by denial and withholding.

The two-panel print by Benjamin Tiven selects a passage from Theodore Adorno’s Minima Moralia and pairs it with the translation by a German immigrant living in the U.S. since 1943, roughly when the Adorno text was written. Both texts are designed according to the aesthetic principles of the German book designer Jan Tschichold, who turned to a humanist classicism after rejecting his pre-war commitments to radical, Bauhaus-inflected modernism.

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MISC Video and Performance features a variety of emerging, mid-career and established artists working in diverse genres ranging from video, animation, live performance, audio or video installation. Video loops and installations will be acceessable during gallery hours, while performances are scheduled. click here for the application. ARTIST OPEN CALL DEADLINE: FEBRUARY 15

About NY Studio Gallery
NY Studio Gallery combines exhibition and workspace to create an atmosphere of interaction, collaboration and integration of media, styles and artistic genres for US and international artists.

NY Studio Gallery
154 Stanton Street @ Suffolk, New York, NY 10002
info@nystudiogallery.com l 212.627.3276l www.nystudiogallery.com
Thursday – Saturday 12 - 6pm or by appointment

For more info on me visit my official website
www.rickyday.net





February 16, 2010

ALPHA & January 10 - February 21, 2010 at On Stellar Rays in NYC

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Maria Petschnig
Born to Perform (performance still), 2009

ALPHA &
January 10 - February 21, 2010

Alpha & is an exploration of the body and the body in time. The exhibition proposes, or questions, transient acts and their permanence in the physical world.

In Alpha &, traces of the figure are evident in physical depictions of the human form (heads, hands, torsos), handcrafted efforts (stitching, burning, molding, welding, collage), and physically imposing sculptural works. Disembodiment and disintegration of the figure contradict a fixed physicality and singularity visible in each work. Here, the reimagination of the body, together with endlessly renewable narrative possibilities, signals a new means for permanence, survival, and perseverance.

With works by Ana Cardoso, Anya Gallaccio, Yasue Maetake, Maria Petschnig, Tia Pulitzer, Kirstine Roepstorff, Clare Stephenson and my play sister Stacy Lynn Waddell.

On Stellar Rays
133 Orchard Street
New York, NY 10002

For more info on me visit my official website
www.rickyday.net





February 10, 2010

The Lucie Foundation presents MONTH of PHOTOGRAPHY Los Angeles (MOPLA)

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The Lucie Foundation
presents
MONTH of PHOTOGRAPHY Los Angeles (MOPLA)
Opening Night Saturday, April 3, 2010, 7:00 p.m – 10:00 p.m.
Featuring Pro’jekt LA Part One. Official exhibitions presented by
Frank Pictures Gallery and Robert Berman Gallery.
Bergamot Station - 2525 Michigan Ave. Santa Monica, CA 90404

February 10, 2010 (Los Angeles, CA) - The Lucie Foundation will present the 2nd annual Month of Photography Los Angeles (MOPLA) with an opening reception Saturday, April 3, 2010 from 7pm-10pm. Last year’s well attended and highly acclaimed inaugural showcase was an immediate success, creating a following for the entire month. MOPLA promises to deliver the most comprehensive celebration of the Los Angeles Photography Community. The city of Los Angeles was incorporated 160 years on April 4th, 1850 and with the support of the Photography Community, MOPLA will showcase the work of 160 Photographers through Exhibitions, Projections and Discussions. MOPLA will also endorse a variety of photographic exhibitions and events that take place during the month of April. As an inclusive event, MOPLA aims to inspire and engage the professional, enthusiast, emerging artist and collector, both young and seasoned. This effort will organize and galvanize the already thriving photography and art community in LA.


Partial programming highlights include:

Pro’jekt LA - Outdoor Projections
A five-part series dedicated to projecting photographs onto the walls and spaces in Los Angeles. MOPLA’s opening night will feature the first installment of Pro'jekt LA, MEXLA: Our Neighbor Mexico- Through the Eyes of Jeff Antebi, Livia Corona and Marc Smith, hosted by Frank Pictures Gallery. Every Tuesday, starting April 6th through April 27th, Space15 Twenty located in Hollywood, California, will host weekly, curated projections as soon as the sun sets.
Cost: Free with RSVP to projections@luciefoundation.org

Fresh Fairs V.I.P. Opening Party (April 23, Pier 59 Studios, 2415 Michigan Ave., Santa Monica 7:00 p.m – 10:00 p.m.) - Fresh Fairs is the newest addition to the world of photography. In concert with Foundation’s other programs, Fresh Fairs is committed to the presentation, promotion, and nurturing of the medium of photography and its makers. Via innovative and dynamic programming Fresh Fairs brings you Fresh Look: A unique portfolio review and Fresh Dialogues: Insightful conversations from a variety of industry players. We begin the three-day long Photography Fair with the Fresh Fairs V.I.P. Opening Party featuring a sneak-peak at Fresh exhibitors, music and drinks. A benefit event for The Lucie Foundation.
Cost: $25.00

Fresh Take (April 23rd-25th 2010, during FRESH FAIRS, Pier 59 Studios, 2 415 Michigan Ave., Santa Monica)
Fresh Take showcases the personal and meaningful work of photographers, most of whom are without gallery representation or for whom representation is of a mostly commercial context. Fresh Take offers the general public, galleries and collectors an innovative and engaging format in which to access, purchase, and engage with the work alongside its creator. The exhibiting photographers are handpicked by a professional jury of influential members of the photographic arts community and run the gamut from the highly visionary and adept to the dedicated and undeniably talented novice. Exhibitor submissions accepted through March 19th at www.freshfairs.com

Fresh Look (April 23-24, 2010)
Fresh Look is the Lucie Foundation’s very own juried portfolio review that brings together photographic talent with influential industry-insiders. Through one-on-one reviews Fresh Look gives photographers an opportunity to gain invaluable insight about their work and those reviewing a new avenue for gaining access to passionate and dedicated photographers. Portfolio submissions accepted through March 19th at www. freshfairs.com.

Highlight Exhibitions and Events
The J. Paul Getty Center
Art exhibits exclusive to the world of photography displayed at the J. Paul Getty Museum. Urban Panoramas featuring Opie, Liao and Kim, highlighting images by contemporary photographers, including live demonstrations. Photographer Luther Gerlach demonstrates how to make platinum prints using authentic cameras, lenses, and procedures from the 19th century. Tasteful Pictures, a selection of more than 20 works of art enticed by the subject of food since the earliest years of the medium. A live demonstration by photographer Luther Gerlach on how to make platinum prints using authentic cameras, lenses, and procedures from the 19th century. For more info, www.getty.edu

SnapShop! – An all day workshop for LA High School students (April 17, 10am-4pm, Santa Monica City College)
SnapShop! aims to cultivate the photographic minds of the future and for youth to acquire skills that might not be available to them at their home, schools and communities. High School students are paired with established photographers who are able teach technical and aesthetic skills needed for them to successfully express themselves through the art of photography. Students will learn important tools such as the art of selecting a captivating caption in photojournalism, the process of working with toy cameras, the art of low-light photography, and how to connect your emotions to your images and bring your vision to the next level. Instructors include David Healey, Susan Burnstine, Tom Paiva, Frank Jackson, Meg Madison and Natalie Franco. Admission: Open to pre-registered high school students only, at no cost. For more info, contact rclark@luciefoundation.org
###
About the Month of Photography Los Angeles (MOPLA)
MOPLA's two-fold mission is to advance dynamic programming designed to engage and stimulate the photography community, as well as to present a comprehensive resource of exhibitions and events in April 2010. www.mopla.org

About the Lucie Foundation
The Lucie Foundation’s three-fold mission is to honor master photographers, discover and cultivate emerging talent and to celebrate the appreciation of photography worldwide. The photography communities from countries around the globe pay tribute to the year’s most outstanding photographic achievements at the annual Lucie Awards ceremony. The Lucies recognize men and women whose life’s work in photography merits the highest acclaim by their peers. The winners of IPA Photographer of the Year, the Discovery of the Year and Deeper Perspective Photographer of the Year are announced at the Lucies and are awarded cash prizes and statues. The Lucie Foundation is a 501(c)3 non-profit charitable foundation.

The Lucie Foundation | 550 N. Larchmont Boulevard Suite 100 | Los Angeles, CA 90004 | 310-659-0122
www.luciefoundation.org

For more info on me visit my official website
www.rickyday.net





Terri Thomas, Hedone and Melodie Provenzano, It's My Birthday! at Lyons Wier Gallery

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Terri Thomas, Hedone

* Terri Thomas, Hedone
* Artist's Reception Friday, Feb 12th, 2010 - 6-9PM
* Exhibition dates: Friday, February 12th - March 8th, 2010.
* Gallery hours: Monday - Saturday 11-7, Sun. 12-6.
* Gallery located on the NE corner of 20th and 7th Ave.
* Subway: C, E exit 23rd @ 8th Ave., 1,9 exit 23rd @ 7th Ave.

Lyons Wier Gallery is pleased to present Hedone an exhibition of recent work by Austin, Texas artist Terri Thomas. An investigation of the taboo, Thomas' manipulated self-portraits and Swarovski crystal encrusted object-trophies explore the motivations and contradictions of physical and material desire. Playful, precisely rendered, laden with sexual implications and symbolism, the work in Hedone combines frivolity, fantasy, escapism and pleasure with paradox, self-analysis, media-influence and artifice.

Thomas uses the theme of hedone, the Greek word for "pleasure" or "delight," to question how we might, as a media driven culture, individually pursue pleasure. Today, hedone, the root word of "hedonism", usually implies a short sightedness and disregard for future consequences. The Ancient Greeks' notion of pleasure was divided. Some believed the highest pleasure was tranquility and could be reached through an ascetic, intellectual philosophy. Others believed that bodily gratifications were the supreme good and they lauded immediate gratification without regard to long-term gain. Through the narrative of Hedone, Thomas explores the origins of our desires through wildness, freedom, beauty and power. Her work is crafted with a glaring precision that often illuminates the irony of these ideas as much as it supports them in their role as things to be desired.

"Thomas' paintings and sculptures are simultaneously appealing and appalling, and mesmerize viewers who feel a little embarrassed for looking so closely at images similar to those more conventionally viewed in private. But Thomas is not embarrassed and frankly reveals herself and in doing so, unveils things about the society in which we live and the secret life of the individual in the context of the cognitive dissonance produced by normative expectations." – Joseph Bravo, art critic, San Antonio, TX.

Terri Thomas received her BFA from the Corcoran College of Art & Design in Washington D.C. Her work is currently included in the exhibition Reflected Gaze at the Torrance Art Museum, L.A. Hedone is Terri Thomas' first solo exhibition in New York.

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Melodie Provenzano, It's My Birthday!

* Melodie Provenzano, It's My Birthday!
* Artist's Reception Friday, Feb 12th, 2010 - 6-9PM
* Exhibition dates: Friday, February 12th - March 8th, 2010.
* Gallery hours: Monday - Saturday 11-7, Sun. 12-6.
* Gallery located on the NE corner of 20th and 7th Ave.
* Subway: C, E exit 23rd @ 8th Ave., 1,9 exit 23rd @ 7th Ave.

Lyons Wier Gallery is pleased to present It's My Birthday! an exhibition of new work by New York based artist Melodie Provenzano.

Still-life drawings of toys and figurines are the subject matter included in Melodie Provenzano's artwork, but their arrangements and iconography are the crux of it. These meticulously rendered compositions allow a brief glimpse into the artist's personal world. They function as dreamscapes that offer many interpretations but are based upon root emotions like love, longing, and hope.

Set forth as mock dramas, the paintings tell a tale that oscillates between fantasy and reality, accomplishment and disappointment, understanding and bewilderment. They build narrative momentum as the audience begins to assign meaning to the objects, and unravel the specificity of the icons. Deciphering each painting and drawing, the viewer begins to see the ‘bigger picture' as they assess and assert how the set-ups that are drawn from life actually imitate it.

Melodie Provenzano graduated with a BFA from the Parsons School of Design in 1996. She was recently included in Playing Around at the Brattleboro Museum, Brattleboro, VT and Champagne & Baloney at Jeff Bailey Gallery, New York. This Melodie Provenzano's second solo exhibition at Lyons Wier Gallery.

***

Lyons Wier Gallery - 175 Seventh Ave @ 20th St., NYC 10011 - (212)242.6220

gallery@lyonswiergallery.com • Lyons Wier Gallery

For more info on me visit my official website
www.rickyday.net





February 08, 2010

Femmes D’Interieur Elene Usdin Photographs and Illustrations at Farmani Gallery in Brooklyn, NY

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Femmes D’Interieur
Elene Usdin
Photographs and Illustrations
February 18 – March 27, 2010
Opening Reception: Thursday, February 18, from 6-8PM

The Farmani Gallery presents the New York debut of Femmes D’Interieur, the latest series from Paris based artist Elene Usdin, with an opening reception on Thursday, February 18, 2010 from 6-8PM. In this series, Usdin combines both her talents of photography and illustration and creates stunning imagery that also provides social commentary regarding the place of women as the decorations within their own domesticated situations.

Usdin, a member of the creative collective Hartland Villa, which includes art directors Lionel Avignon and Stefan Vivies, was recently awarded with the London Photographic Associations Gold in Fashion for the “fair-etale” series. She has also been awarded the 2008 Px3 Prix De La Photographie Paris and the International Photography Awards honorable mention for her earlier series “Self Portrait with Mattress.” Her editorial and fashion work can also be seen in Eyemazing, Twill, and The World Magazine.

This latest series “Femmes D’Interieur,” which has already exhibited at the Gallery of Graphic Arts in Paris, Usdin reflects upon the representation of women as a decorative element, morphing objects like common household items, furniture, and even the countryside with that of women painted in the style of portraits from the Classical Era. This offbeat reinterpretation of “woman-as-object” is at one time unsettling and yet Usdin has the ability to convey this strong subject matter with wit and charm in her stunning artworks. It is has been said of Usdin’s work, “it is always about women – the women of fairytales, of mythology, and of fantasy,” and she provides that same ideology in this series.

Each artwork is a unique original, hand painted C-print mounted on aluminum. For the exhibition the gallery will show a mix of originals and reproductions available in two sizes. For more information please visit www.farmanigallery.com or email us at info@farmanigallery.com. We can also be reached via phone at 718-578-4478.

The Farmani Gallery is located at 111 Front St., Ste. 212, Brooklyn, NY in the DUMBO neighborhood between Washington and Adams St. By subway take A or C to High St., F to York St. or 2 and 3 to Clark St. Station. Gallery hours: Wed. – Sat.: 1 – 6PM. Information: www.farmanigallery.com or info@farmanigallery.com or ph# 718-578-4478.

For more info on me visit my official website
www.rickyday.net






February 03, 2010

Dinh Q. Lê Elegies at P•P•O•W Gallery in NYC February 4 – March 13, 2010

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Dinh Q. Lê
Elegies

February 4 – March 13, 2010
Opening Reception: Thursday, February 4, 6-8pm

P•P•O•W is pleased to present Elegies, our sixth solo exhibition with Dinh Q Lê. Elegies is an installation of two videos, From Father to Son: A Rite of Passage (2007) and South China Sea Pishkun (2009) and related large scale photographic works. This will be the first New York screening for both videos. The videos focus on the specters that embody the psychological and physical inheritance of the Vietnam War. They also act as endings, one as an ending of the journey of a father and a son, and the other as an ending of America's misadventures in Vietnam. South China Sea Pishkun has been shown in Hong Kong and at the recent Fukuoka Triennale.

Click here for full press release...

Elegies is connected to the upcoming solo exhibition Dinh Q Lê will be having at MoMA in June 2010 entitled The Farmers and The Helicopters.

For more info on me visit my official website
www.rickyday.net





A Queens Affair at The Farmani Gallery in Brooklyn, New York

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A Queens Affair
Photography by Kris Graves and Eric Hairabedian
Book pre-Launch and Exhibition
February 04-13, 2010
Opening Reception: Thursday, February 04, from 6-8PM

(January 15, 2010, Brooklyn, NY) The Farmani Gallery will host the book pre-launch for A Queens Affair, a collaborative photography endeavor by Kris Graves and Eric Hairabedian, due out summer of 2010. The opening reception will be held on Thursday, February 4, 2010 from 6-8PM at which time book pre-orders will be made available. A Queens Affair is priced at $40 and for the first 100 individuals to pre-order will receive one 8x10” signed archival pigment print from each photographer. These artists prints are exclusive to the book pre-order and will not be reprinted in this style once they are sold out. Both artists will attend the reception and the exclusive artists prints will be made available to take home with a pre-order during the reception.

A Queens Affair is a culmination of eight years of photographing the development, fixed characteristics and spirited nature of Queens, New York. Both Kris Graves and Eric Hairabedian were born and raised in and around Queens and through their photographic partnership share a visual history of their beloved borough.

A special selection of images from the book will be on exhibit and available for purchase for the duration of the show. After which these images will be available in small editions at the Farmani Gallery web site.

Kris Graves, photographer and creative force behind the +kris graves projects is a graduate of SUNY Purchase College and is currently exhibited in Versus, a group show at Haus Projects in New York. His Queens photography will have its debut with this exhibition at the Farmani Gallery.

Eric Hairabedian, photographer and graduate of both SUNY Purchase College with a B.F.A. and the School of Visual Arts with an M.F.A. has been exhibited in the group show, Ten Photographers, Ten Days and his solo show, Remembrance.

For more information please visit www.farmanigallery.com or email us at info@farmanigallery.com. We can also be reached via phone at 718-578-4478.

The Farmani Gallery is located at 111 Front St., Ste. 212, Brooklyn, NY in the DUMBO neighborhood between Washington and Adams St. By subway take A or C to High St., F to York St. or 2 and 3 to Clark St. Station. Gallery hours: Wed. – Sat.: 1 – 6PM.

Information: www.farmanigallery.com or info@farmanigallery.com or ph# 718-578-4478.

For more info on me visit my official website
www.rickyday.net






EL ANATSUI February 11 - March 13, 2010 at Jack Shainman Gallery NYC

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Photo by Jodi Bieber/INSTITUTE

EL ANATSUI / / OPENS WEDNESDAY, FEBRUARY 10TH, 2010

EL ANATSUI
February 11 March 13, 2010

Opening reception: Wednesday, February 10, 6 - 8 pm

Jack Shainman Gallery is pleased to present an exhibition of large-scale sculptures by internationally acclaimed artist El Anatsui. Several monumental wall sculptures made from thousands of discarded bottle tops, will be on view. Anatsui transforms simple materials into large shimmering forms by assembling elements into vibrant patterns with a unique visual impact. An astute observer, he composes his sculptures with meticulous orchestration, masterfully managing material and color. Here Anatsuis palette ranges from black and red to silver and gold.

Fluidity of form is a significant quality inherent to the sculptures. As Alexi Worth from the New York Times Magazine pointed out in a recent feature on Anatsui from Spring 2009, Their most peculiar feature is that they are physically unfixed: Anatsui insists that his hangings be draped rather than hung flat, but he doesnt insist on draping them himself, and in fact is perfectly happy to have galleries or museums do so. He has preferences horizontal ripples are better than vertical ones but he doesnt regard any particular arrangement as final. Naturally, professional curators are disconcerted by this freedom; Anatsui has little patience with their scruples. Museum people are trained not to be creative, Anatsui complains. I find that very frustrating. To Storr, the provisional, shifting shape of Anatsuis art is one of the keys to its originality. In the catalog to the coming Museum for African Art retrospective, Storr argues that Anatsuis work is f undamentally anti-monumental: it does not stand its ground. . . . Rather it takes the shape of circumstances and so epitomizes contingency. For Storr, that is no minor innovation: Anatsui opens a new chapter in the history of sculpture. Its possible that the appetite for contingency that Storr praises is particularly African. Lisa Binder, the curator in charge of the Anatsui exhibition, points out thattraditional African objects, unlike European paintings and sculpture, are often highly adaptable, designed to be reused. Anatsuis work brings this adaptable, unfixed quality into sculptural practice as jazz brought an African unfixedness into Western music.

El Anatsui was born in Anyako, Ghana in 1944, and holds degrees in sculpture and art education from the Kwame Nkrumah University of Science and Technology, Kumasi, Ghana. He is Professor of Sculpture at the University of Nigeria, Nsukka, where he has lectured since 1975. His work has been exhibited extensively in international solo and group exhibitions, including the 1990 and 2007 Venice Biennales, the 1995 Johannesburg Biennale, the 2004 Gwangju Biennale, Prospect.1 New Orleans in 2008, and the 2009 Sharjah Biennale. A solo show, Gawu, traveled throughout Europe, North America, and Asia. His work is in numerous public and private collections throughout the world including The British Museum, London; The Centre Pompidou, Paris; The Metropolitan Museum of Art, and The Museum of Modern Art, New York; Los Angeles County Museum of Art, and the Nelson-Atkins Museum, Kansas City. Most recently, Anatsui created an installation on-site at Rice Gallery at Rice University, Houston, TX, on view through March 14.

A major retrospective of Anatsuis work, When I Last Wrote to You About Africa, curated by Lisa Binder from the Museum for African Art, New York, begins a North American tour at the Royal Ontario Museum in Toronto, Canada, on October 2, 2010, followed by its presentation at the Museum for African Art, New York, as one of the inaugural exhibitions at the museums new building.

This is El Anatsuis second solo exhibition at Jack Shainman Gallery. A hardcover catalogue is available.

Upcoming exhibitions at the gallery include Ross Rudel and Todd Hebert opening March 18, on view through April 17, 2010, and Lynette Yiadom Boakye and Carrie Mae Weems opening April 22 on view through May 22, 2010.

Gallery hours are Tuesday through Saturday from 10 am to 6 pm. For additional information and photographic material please contact the gallery at info@jackshainman.com.

For more info on me visit my official website
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February 01, 2010

GRAMMY WINNERS

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2010 GRAMMY WINNERS

Song of the Year: "Single Ladies (Put A Ring On it)," Beyonce Knowles

New Artist: Zac Brown Band

Pop Vocal Album: "The E.N.D.", The Black Eyed Peas

Female Pop Vocal Performance: "Halo," Beyonce Knowles

Male Pop Vocal Performance: "Make It Mine," Jason Mraz

Rock Album: "21st Century Breakdown," Green Day

Rock Song: "Use Somebody," Kings of Leon

R&B Album: "BLACKsummers'night, "Maxwell

R&B Song: "Single Ladies (Put A Ring On It)," Beyonce Knowles

Rap Album: "Relapse," Eminem

Rap Song: "Run This Town," Jay-Z, Rihanna and Kanye West

Best Rap/Sung Collaboration: "Run This Town," Jay-Z, Rihanna and Kanye West

Country Album: "Fearless," Taylor Swift

Female Country Vocal Performance: "White Horse," Taylor Swift

Male Country Vocal Performance: "Sweet Thing," Keith Urban,

Latin Pop Album: "Sin Frenos," La Quinta Estacion

Contemporary Jazz Album: "75," Joe Zawinul & The Zawinul Syndicate

Classical Album: "Mahler: Symphony No. 8; Adagio from Symphony No. 10"

Traditional Gospel Album: "Oh Happy Day," various artists

Dance Recording: "Poker Face," Lady Gaga

Electronic Dance Album: "The Fame," Lady Gaga

Alternative Music Album: "Wolfgang Amadeus Phoenix," Phoenix

Best Rock Instrumental Performance: "A Day In The Life," Jeff Beck

Best Metal Performance: "Dissident Aggressor," Judas Priest

Best Engineered Album, Non-Classical: "Ellipse," Imogen Heap

Spoken Word Album: "Always Looking Up," Michael J. Fox

Comedy Album: "A Colbert Christmas: The Greatest Gift of All!" Stephen Colbert

Best Compilation Soundtrack Album For Motion Picture, Television Or Other Visual Media: "Slumdog Millionaire," Various Artists, A.R. Rahman, producer.

Traditional World Music Album: "Douga Mansa," Mamadou Diabate.

Contemporary World Music Album: "Throw Down Your Heart: Tales From The Acoustic Planet, Vol. 3 - Africa Sessions," Bela Fleck.

Reggae Album: "Mind Control - Acoustic," Stephen Marley.

Tropical Latin Album: "Ciclos," Luis Enrique.

Latin Pop Album: "Sin Frenos," La Quinta Estacion.

Latin Rock, Alternative Or Urban Album: "Los De Atras Vienen Conmigo," Calle 13.

Regional Mexican Album: "Necesito De Ti," Vicente Fernandez.

Tejano Album: "Borders Y Bailes," Los Texmaniacs.

Norteno Album: "Tu Noche Con...Los Tigres Del Norte," Los Tigres Del Norte.

Banda Album: "Tu Esclavo Y Amo," Lupillo Rivera.

For more info on me visit my official website
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Robert Zungu at Nicholas Robinson Gallery

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Nicholas Robinson Gallery is pleased to present the first solo exhibition of Robert Zungu. The exhibition, entitled Poor Theater, includes sculptures and photographs that examine environmental conservation and the formation of marginalized social communities.

The exhibition's title references Jerzy Grotowski's eponymous Polish theater company that rose to prominence during post-war Europe. In Grotowski's Poor Theater, the stage is reduced to its bare elements, props are made from impoverished materials and the actors rely on the rigorous physicality of their bodies.

Using Grotowski's theories as a point of departure, and through a collaboration with the US Holocaust Museum, Zungu creates a makeshift backdrop of the Podgorze Ghetto as the locus for his exhibition. The image of the gates explores how communities can be sequestered and endangered by social isolation.

The exhibition investigates the ethics of science in relation to cultural and medical advancement. The photograph Untitled (Five Gorillas) depicts five plaster death masks made from a family of Mountain Gorillas. These masks, made by Dr. Carl Ackley in the 1920s, and hunted under the auspices of science, became the foundation for the dioramas at the Museum of Natural History. In addition, Zungu's sculpture Untitled (Horseshoe Crabs: Dialytic Grouping) is composed of three horseshoe crabs cast in bronze, each with a white patina to appear as if they were bled dry. Horseshoe crab blood is essential to contemporary medical research and is widely harvested to test the purity of vaccines and intravenous medical equipment.
Each artwork in the exhibition incorporates natural materials; the sculpture Eridanus, for example, is composed of 30 white, North American tiger moths pinned to the gallery wall in the formation of The River constellation. Each moth, signifying the location of a corresponding star, composes an abstract wall drawing. Other works in the exhibition include materials such as cast paper, painted bags of flour, bronze, stalactites, plaster, ebonized wood, and rolled copper.

Poor Theater also addresses issues of environmental conservation. In the photograph Striped Land Snails (X), ten snails are documented on a vintage map of an elevator circuit board. The composition maintains a surreal tone by relating the circles and spirals found in nature with the hand drawn lines of an electrical blueprint. The photograph considers the formation of communities and the consequences of industrialization on the biological world; what was once a forest is now an urban grid.

Zungu (b. 1978) lives and works in New York.

For more info on me visit my official website
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January 26, 2010

Rush Arts: THE MOTHERSHIP HAS LANDED

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RUSHARTS.ORG

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Derrick Adams Welcome to Monument City 23 January - 28 February, 2010 at Collette Blanchard Gallery

Last Saturday was the opening reception for Derrick Adams solo debut at Collette Blanchard Gallery. Derrick is my artworld mentor and big bro (though I'm older..lol) and one of the coolest dudes you'll ever meet. Though it's difficult for me to be impartial the show is of course fantastic. You should def get down to Collette Blanchard Gallery and check out the show. Below is the official release with all the pertinent details about the show.

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The Root of it All, 2010 digital photograph 30 x 24 inches Edition of 3

Derrick Adams
Welcome to Monument City
23 January - 28 February, 2010

Derrick Adams' solo exhibition and debut at Collette Blanchard Gallery speaks of fallen empires, resilience and childhood impressions. It also speaks of shiny, glittery memories against muted realities, of broken landscapes and those who once resided within.

Welcome to Monument City draws inspiration from documentaries on ancient civilizations and of societies that end in destruction, left for historians to later cobble together provocative stories of money, power and respect from the scattered evidence that remains. The work is also a reflection on Adams personal witness to the transformation to ruin - architecturally and socially - of his hometown of Baltimore City (designated "Monument City" by President John Quincy Adams in 1827). The exhibition addresses the universal relationship between man and monument, both coexisting in the landscape as a fragmented and distorted representation of each other.

Muted faux-brick panels shelve pseudo-symbolic objects; digital images are combined with hand painted elements and glittered surfaces. His work fuses fairytale perceptions with a current need to search for meaning in fragments and artifacts.

Mr. Adams, who lives and works in New York, is a is graduate of Columbia University and a recent recipient of the 2009 Louis Comfort Tiffany Award. He participated in the inaugural PERFORMA 05; PS1/MoMA's 2005 Greater New York; Open House The Brooklyn Museum of Art; and the Studio Museum in Harlem. Past solo exhibitions include Jack Tilton Gallery (2003), Triple Candie (2004), Participant Inc (2005), and Momenta Arts (2006) The spring Mr. Adams will attend the Fountainhead Residency and will debut Go Stand Next To The Mountain at The Kitchen. His work has been reviewed in the New York Times, New York Magazine and Artforum.

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Collette Blanchard Gallery
26 Clinton Street
New York, New York 10002
+1 646 249 7720

www.colletteblanchard.com

Gallery Hours are Wed. - Sun. 12 -6 and by appointment.

For more information, please contact the gallery at 646.249.7720 or gallery@colletteblanchard.com.

For more info on me visit my official website
www.rickyday.net





LeBasse Projects presents: 'One Leads to Another' New work from Andrew Hem

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LeBasse Projects presents:
'One Leads to Another'
New work from Andrew Hem

January 16th through Febrary 13th

LeBasse Projects is excited to present, One Leads to Another, an exhibition of new works from Los Angeles based artist Andrew Hem. In this anticipated solo project, Hem confronts the viewer with themes of history and tragedy based on his native Cambodia.

Influenced by the idea of the 'Butterfly Effect,' where small differences in decisions or movements can produce large variations in the long-term outcome of events, Hem creates a series of 'what if' scenarios where one storyline diverges at the moment of a seemingly minor event resulting in two significantly different outcomes. In this case the artist imagines if the violent Khmer Rouge regime in Cambodia had never taken power and how the lives of the people would have been altered.

Hem's paintings return to acrylic after several shows of using oil in order to create a more fluid and layered effect. The detailed characters portrayed are layered over hauntingly sublime backgrounds of a past that has been re-imagined based on the 'Butterfly Effect' and leads to the title of the show: One Leads to Another.

January 16th through Febrary 13th
Artist reception: Saturday, January 16th, 7 to 10pm

For additional inquiries please contact the gallery:
contact@lebasseprojects.com or 310.558.0200

www.lebasseprojects.com

For more info on me visit my official website
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Mike Weiss Gallery presents Kopftheater by Berlin based artist Stefanie Gutheil

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Stefanie Gutheil / Kopftheater / 2009 / oil and mixed media on canvas / 102 x 158 inches

Mike Weiss Gallery presents Kopftheater, a new exhibition of paintings by Berlin based artist Stefanie Gutheil. This is the artist’s first exhibition in New York and at Mike Weiss Gallery. Stefanie’s bold, multi-dimensional paintings are tactile depictions of her own life. The patterns of unexpected fabrics and aluminum foil adhere to the oils, acrylics and spray paint applied to the surface and come together to form scenes from the artist’s excessive imagination, both playful and grotesque. Her paintings provide the cast and set for her own kopf theater, or theatre of the mind.

Born and raised in a small conservative town in southwest Germany, Stefanie moved to Berlin ten years ago and since that time has witnessed the growth of Berlin’s contemporary art scene; an international mish-mash of artists converging on the city after the fall of the Berlin Wall. Her monsters and creatures, both miniature and giant, are gross caricatures of the people in her daily life; artists, musicians, dancers, poets and revelers in the city of Berlin. Tucked into the center of the city’s nightlife pocket, the scene around the artist’s studio provides the visual fodder for what becomes her larger than life imagery.

Influences from the chaotic and cramped compositions of Bosch and Brueghel are evident. In Berg I and Berg II, a massive heap of excrement and bodies rises up from the marred landscape of skulls and stumps; pyramid shaped in subtle homage to Brueghel’s The Tower of Babel. Mostly dirt colored in appearance; the landscapes are punctuated by flecks of silvery aluminum foil and hints of glitter and cheeky floral fabrics. In Kopftheater, for which the exhibition is titled, a Boschian landscape of monsters and gnarled animals peek and crawl out of the angular cave-like structures, one losing its eye in a cinematic projectile thrust from its socket.

The applications of materials to the canvas denote object and action. Sticky, dripped acrylic froths from the mouths of radioactive dogs; globs of oil, shot like bullets at the canvas, spew vomit from the mouths of behemoth monsters; stark geometric, bright floral or swirling blue textiles glued flat and then painted on top of indicate plant life, sea and sky or rooted structure. The diverse stylistic processes used on each painting’s surface bond the chaos within the imagery. Through their variety, they are united, much like the characters in Stefanie’s own life that inspired these scenes.

Stefanie Gutheil lives and works in Berlin, Germany. The artist received her Masters of Art and Bachelors of Art at the Universität der Künste, Berlin. She has exhibited previously throughout Germany and Europe and this is her first exhibition in New York.

Mike Weiss Gallery
520 West 24th Street, New York, NY 10011
Between 10th and 11th Avenues
Nearest Subway: A/C/E 23rd Street & 8th Avenue
Tel. (212) 691-6899 / Fax (212) 691-6877
info@mikeweissgallery.com

Gallery Hours: Tuesday - Saturday, 10 a.m. to 6 p.m.

For more info on me visit my official website
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Charles Seliger (1926-2009): A Memorial Exhibition at Michael Rosenfeld Gallery

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Charles Seliger
Primal Markings III, 1943/oil on canvasboard
16 1/8" x 12 1/4" /signed and dated

Charles Seliger (1926-2009): A Memorial Exhibition
January 9-February 27, 2010

“My paintings always begin with free improvisation. Then I become fascinated with how I can explore my first creative impulse and develop imagery, through the paint itself, associating shapes and experiences to enrich my work. I am not able to sketch out a painting in advance or to determine where I am headed. . .I begin with an unself-conscious approach, a subconscious, non-rational approach to the painting. But later, I feel that I use all of my knowledge, instinct, and technique to make the painting work, delineating the latent forms and images that I both feel and see.”

— Charles Seliger

(New York City, December 19, 2009) —For its inaugural exhibition of 2010, Michael Rosenfeld Gallery is pleased to present a retrospective honoring the life and work of Charles Seliger. Scheduled to be on view from January 9 to February 27, Charles Seliger (1926- 2009): A Memorial Exhibition, A Retrospective of Paintings features approximately thirty-five paintings covering the full span of Seliger’s career.

For the first time since Michael Rosenfeld Gallery became Seliger’s exclusive representative in 1990, rarely seen works from the 1950s, 1960s, and 1970s will be on view alongside those from more recent decades. Presenting artworks from each decade of Seliger’s career, the retrospective offers a unique opportunity to trace his development as a painter. The exhibition’s focus on progression and change in Seliger’s oeuvre is a fitting tribute to an artist for whom process, transformation, and the notion of becoming were central to both his subject matter and his approach to creating art.

Seliger was equally celebrated for his meticulously detailed abstractions as well as for the techniques he invented and used to cover the surfaces of his Masonite panels—building up layers of acrylic paint, often sanding or scraping each layer to create texture, and then delineating the forms embedded in the layers of pigment with a fine brush or pen. This labor-intensive technique results in ethereal paintings that give expression to aspects of nature hidden from or invisible to the unaided eye. In his work, texture is as important as line; materials coagulate, freezing time and arresting the fleeting processes of nature long enough for us to apprehend their significance. Like the abstract expressionists with whom he was closely associated, Seliger valued the tangible properties of his materials as much as he did the overall composition; his paintings are about the processes of nature, and they are about the processes of art; the work’s meaning is in the symbiosis between the two.

Although he never completed high school or received formal art training, Seliger immersed himself in the history of art and experimented with different painting styles including pointillism, cubism, and surrealism. In 1943, he befriended Jimmy Ernst and was quickly drawn into the circle of avant-garde artists championed by Howard Putzel and Peggy Guggenheim. Two years later, at the age of nineteen, Seliger was included in Putzel’s groundbreaking exhibition A Problem for Critics at 67 Gallery, and he also had his first solo show at Guggenheim’s legendary gallery, Art of This Century. In 1949, the De Young in San Francisco gave Seliger his first solo exhibition at a major museum.

By the mid-1940s, Seliger had become the youngest artist exhibiting with the abstract expressionists, although his place in the movement is sometimes overlooked in part because of the scale of his work. However, as the current exhibition reveals, he also worked on canvases and Masonite boards in larger dimensions. More importantly, though, this memorial exhibition demonstrates that although Seliger’s paintings lacked the physical enormity typically associated with abstract expressionism, they remain vast in their endless exploration of dynamic inner worlds. Seliger’s work resonates with the vibrant contradictions of an intimate monumentality.

Seliger passionately pursued this inner world of organic abstraction, celebrating the structural complexities of natural forms. Influenced by surrealist automatism (like many artists of his generation), he cultivated an eloquent style of abstraction that explored the dynamics of order and chaos animating the celestial, geographical, and biological realms. Attracted to the internal structures of natural objects and inspired by a range of literature in natural history, biology, and physics, Seliger paid homage to nature’s infinite variety in his abstractions. His paintings have been described as “microscopic views of the natural world,” and although the characterization is appropriate, his abstractions do not directly imitate nature so much as suggest its intrinsic structures. As he once explained: “I attempt through my imagination, to make visible the structure of matter…. I do not observe parts of nature under the microscope; I am not dissecting or analyzing. I have an emotional and intuitive awareness of nature.”

During his lifetime, Seliger exhibited in over forty-five solo shows at prominent galleries in New York and abroad. In 1986, he was given his first retrospective, at the Solomon R. Guggenheim Museum, which now holds the largest collection of his work. His work is represented in numerous other museum collections, including the Metropolitan Museum of Art, the Museum of Modern Art, and the Whitney Museum of American Art in New York; the Wadsworth Atheneum in Hartford, Connecticut; and the British Museum in London. In 2003, at age seventy-seven, Seliger received the Pollock-Krasner Foundation’s Lee Krasner Award in recognition of his long and illustrious career in the arts. In 2005, the Morgan Library and Museum acquired his journals—148 hand-written volumes produced between 1952 and the present—making his introspective writing, which covers a vast range of topics across the span of six decades, accessible to art historians and scholars. He died of a stroke in October of 2009, and together with his singularly insightful artwork, his gentle manner, generous nature and keen intellect remain an important part of his legacy.

The fully illustrated exhibition catalogue features an essay titled “The Forms of Nature’s Fractions: Charles Seliger (1926-2009) and His Natural World,” by renowned independent art historian and critic, Francis V. O’Connor, who has written extensively on abstract expressionism and on the New Deal art projects of the 1930s. Among his many publications is his 2003 volume on the art of Charles Seliger published by Hudson Hills Press, Charles Seliger: Redefining Abstract Expressionism.

Michael Rosenfeld Gallery is located at 24 West 57th Street, 7th Floor, New York, NY. Gallery hours are Tuesday–Saturday, 10AM-6PM.

michaelrosenfeldart.com

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Collective Memory

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Image: ©Doug Keyes, The Holy Bible (1950), 1999
Dye-Coupler Print mounted to acrylic in frame, 15.5" x 22.5", Edition of 5

DOUG KEYES: featuring work from Collective Memory and Becoming Language

KLOMPCHING GALLERY cordially invites you to the solo exhibition of artworks by the US photographer, Doug Keyes—showcasing photographs from his Collective Memory and Becoming Language series.

Collective Memory is a provocative series of photographs, in which Keyes condenses the content of an entire book into one photograph, through the multiple exposure of the book’s pages onto a single sheet of film. The resulting layered image, re-presented at the same size as the original book, provides a wonderful symphony of color and texture, of opaque pages rendered transparent and which conceal as much as they reveal.

The Becoming Language series, too, elicit photography’s relationship with time, memory and knowledge. In this series, multiple exposures of ubiquitous urban landscapes incorporate subliminal markers of public information. Keyes calls into question the building blocks of our knowledge of these spaces—whether it is developed through direct experience or whether it is a phenomena resulting from experience altered by the unconscious data collected from elsewhere.

Doug Keyes lives and works in Seattle. Over the course of 20 years, his photographs have been exhibited at numerous venues across Northern America. Keyes is the recipient of a number of awards including the Ned Behnke Artist Fellowship, Behnke Foundation (1999), Review Americas (Photolucida) Photographer of the Year, Photo Americas (2001) and Juror’s Choice Award, Project Competition, CENTER (2007). His photographs can be found in several notable collections including the Akron Art Museum, Berkeley Art Museum, Los Angeles County Museum of Art, Minneapolis Institute of Arts, Museum of Fine Arts in Houston and the Samuel Dorsky Museum of Art amongst others.

KLOMPCHING GALLERY

www.klompching.com | info@klompching.com | +1 212 796 2070
111 Front Street, Suite 206 | Brooklyn NY 11201

Gallery Hours: Wed-Sat, 11am-6pm and by appointment.
Extended Hours: 1st Thursdays DUMBO Gallery Walk, 11am—8:30pm

For more info on me visit my official website
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January 15, 2010

Eddie Martinez at ZieherSmith in NYC

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Eddie Martinez
January 14 – February 13, 2010

In his recent paintings, Martinez expands an ever-widening visual vocabulary. Thoughts this cacophonous and grandiloquent do not translate to mere language, they are the stuff of dreams. Here, exclamations of color are object enough. Still lifes explode with vibrant flora; a tugboat is distilled to its most elemental, abstract parts; imperious tabletop constructions serve as psychologically charged landscapes or transform into a thought bubble’s torrential rant; and, finally, where the figure emerges, ducks and skulls shed a knowing tear, while bright eyed, helmeted child warriors stand guard. All boldly conceived in thick, juicy clots of pigment— these hieroglyphs and barely delineated figuration teeter on the edge of decipherability.

One of three six by nine foot canvases features four figures holding court at a glimmering green table strewn with shapes and colors, makeshift fragments created with Martinez’s signature urgency. An empty chair to the left of the scene invites the viewer to join in and let the gamesmanship begin. In direct challenge to the bright detritus of the aforementioned works are two sets featuring new modes of working: all white tableaux whose gestures come straight from the tube and black canvases incised to reveal previous layers of subtle coloration, reductive scratchiti of primal immediacy.

Accompanying the suite of paintings are works on paper, small pieces that are crucial to Martinez’s practice, and a suite of hand-colored etchings produced in a collaboration with Forth Estate. Martinez’s work was recently seen in “New York Minute” at MACRO, the Museum of Contemporary Art, Rome and has been included in shows at Blum & Poe, Deitch Projects, Peres Projects, Alexander & Bonin, and the Deste Foundation, among many others. He was named one of 2009’s top fifteen young artists by Interview Magazine. This is his third solo exhibition at ZieherSmith.

ZieherSmith / 516 West 20th Street / New York, NY 10011 / 212-229-1088 / info@ziehersmith.com / www.ziehersmith.com

Eddie Martinez at ZieherSmith in NYC

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Eddie Martinez
January 14 – February 13, 2010

In his recent paintings, Martinez expands an ever-widening visual vocabulary. Thoughts this cacophonous and grandiloquent do not translate to mere language, they are the stuff of dreams. Here, exclamations of color are object enough. Still lifes explode with vibrant flora; a tugboat is distilled to its most elemental, abstract parts; imperious tabletop constructions serve as psychologically charged landscapes or transform into a thought bubble’s torrential rant; and, finally, where the figure emerges, ducks and skulls shed a knowing tear, while bright eyed, helmeted child warriors stand guard. All boldly conceived in thick, juicy clots of pigment— these hieroglyphs and barely delineated figuration teeter on the edge of decipherability.

One of three six by nine foot canvases features four figures holding court at a glimmering green table strewn with shapes and colors, makeshift fragments created with Martinez’s signature urgency. An empty chair to the left of the scene invites the viewer to join in and let the gamesmanship begin. In direct challenge to the bright detritus of the aforementioned works are two sets featuring new modes of working: all white tableaux whose gestures come straight from the tube and black canvases incised to reveal previous layers of subtle coloration, reductive scratchiti of primal immediacy.

Accompanying the suite of paintings are works on paper, small pieces that are crucial to Martinez’s practice, and a suite of hand-colored etchings produced in a collaboration with Forth Estate. Martinez’s work was recently seen in “New York Minute” at MACRO, the Museum of Contemporary Art, Rome and has been included in shows at Blum & Poe, Deitch Projects, Peres Projects, Alexander & Bonin, and the Deste Foundation, among many others. He was named one of 2009’s top fifteen young artists by Interview Magazine. This is his third solo exhibition at ZieherSmith.

ZieherSmith / 516 West 20th Street / New York, NY 10011 / 212-229-1088 / info@ziehersmith.com / www.ziehersmith.com

Rick Leong and David Armstrong Six at Parisian Laundry

Parisian Laundry opens its winter 2010 program with the highly anticipated solos of Canadian painter Rick Leong and sculptor David Armstrong Six, two artists interested in the monumental be it man made or natural. This same evening, the gallery plays host to the launch of Issue 5 of Hunter & Cook, a contemporary art magazine out of Toronto.


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RICK LEONG
I AM NATURE

For his second solo at Parisian Laundry, Leong continues to observe and explore the unknown in nature. After a fall research sojourn in Banff, Alberta, Leong’s newest landscape paintings are dense with the fieldwork intensity of a botanist or naturalist. Often biomorphic or transformative, Leong’s amplified imagery includes trees, fungi, mosses and rocks that sometimes become skeletons of animals or graffiti like script. On view will be 10 new paintings in which the artist locates phenomena in the everyday sensorial experience of being in nature; entering woods, stumbling along a river’s edge, observing and magnifying the extraordinary worlds of lichen on the forest floor or the moon at night. Leong’s paintings depict a meeting place of micro worlds translated into macro-majestic pictorial fields.
Rick Leong is a Montreal based artist; he obtained his MFA from Concordia University. His work is found in the collections of The Montreal Museum of Fine Arts, The Canada Council Art Bank, Senvest, ALDO Group, as well as privately.

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BUNKER
DAVID ARMSTRONG SIX
THE DRY SALVAGES

For his first solo presentation at Parisian Laundry, Armstrong Six pays homage to the modernist monument. Working in situ and using the gallery as a process based laboratory, Armstrong Six has thoughtfully built a mapped man-made constructed space that houses a massive sculpture and has been slowly contaminating it with everyday objects such as vases, plexi-glass, mattress foam and paint. This anti-decorating accentuates the problematic of these iconic structures in public space such as, vandalism, time and weather while illuminating a personal narrative of the artist at work. Accompanying this major sculpture will be a selection of new spray-paint drawings as well as 2 smaller sculptures.
David Armstrong Six has exhibited widely, most recently at the musée d’art contemporain de Montréal as part of the inaugural Québec triennial "Nothing is Lost, Nothing is Created, Everything is Transformed", 2008.

PARISIAN LAUNDRY

3550 St-Antoine Ouest Montréal QC H4C 1A9
t +1 514.989.1056 | f +1 514.989.7550
info@parisianlaundry.com
www.parisianlaundry.com

Jered Sprecher - Monumental Dust at Kinkead Contemporary in Culver City, CA.

Jered Sprecher - Monumental Dust / January 9 - February 13, 2010

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Jered Sprecher, Dry Leaves, 2009. Oil on canvas, 20" X 16".

Jered Sprecher's (b. 1976) paintings explore the "handwriting" of humankind. Taking cues and samples from our visually cluttered landscape, Sprecher incorporates and imports them into his abstract painting and drawings.

In 2009, he received a John Simon Guggenheim Memorial Foundation Fellowship. Most recently, Sprecher's paintings were exhibited at Jeff Bailey Gallery (New York), Steven Zevitas Gallery (Boston), ADA Gallery (Richmond, Virginia), Cheekwood Museum of Art (Tennessee), and Calvin College (Michigan). In previous years Sprecher's paintings were included in group shows at The Drawing Center (New York), Mark Moore Gallery (Santa Monica, CA), Wendy Cooper Gallery (Chicago), and solo exhibitions at the Irish Museum of Modern Art (Dublin), The Flourescent Gallery (Knoxville) and Arthouse (Austin, TX) among others. Sprecher received his M.A. and M.F.A. from the University of Iowa and is currently an Assistant Professor at The University of Tennessee in Knoxville, Tennessee.

Kinkead Contemporary | 6029 Washington Blvd. Culver City, CA 90232 T 310.838.7400 F 310.838.7474

January 05, 2010

Gabriel Orozco at MOMA (NYC) December 13, 2009–March 1, 2010

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Gabriel Orozco
December 13, 2009–March 1, 2010
The International Council of The Museum of Modern Art Exhibition Gallery, sixth floor

In conjunction with the exhibition Gabriel Orozco: Samurai Tree Invariants

With a body of work that is unique in its formal power and intellectual rigor, Gabriel Orozco (Mexican, b. 1962) emerged at the beginning of the 1990s as one of the most intriguing and original artists of his generation—and one of the last to come of age in the twentieth century. Orozco resists confinement to a single medium, roaming freely and fluently among drawing, photography, sculpture, installation, and painting. From one project to the next, he deliberately blurs the boundaries between the art object and the everyday environment, instead situating his contributions in a place that merges "art" and "reality," whether in exquisite drawings made on airplane boarding passes or in sculptures made from recovered trash.

Many of Orozco's works—which are often created specifically for the occasion of an exhibition—have become indisputable classics of 1990s art, such as the Citroën automobile surgically reduced to two-thirds its normal width (La DS, 1993) and a human skull covered with a graphite grid (Black Kites, 1997). This exhibition presents many of these works for the first time in New York, alongside rich selections of work from Orozco's vast body of smaller objects, paintings, and works on paper.

The exhibition in New York will be followed by presentations at Kunstmuseum Basel, April 18–August 10, 2010; Musée national d'art moderne, Centre Georges Pompidou, Paris, September 15, 2010–January 3, 2011; and Tate Modern, London, January 19–April 25, 2011.

For more info on me visit my official website
www.rickyday.net





New Show at Lyons Wier Gallery in NYC

Leonardo Nierman, Paintings & Sculpture
Mike Lash, Stuff


* Artists' Reception Friday, January 8th, 2010 - 6-8PM
* Exhibition dates: Friday, January 8th to February 5th, 2010.
* Gallery hours: Monday - Saturday 11-7, Sun. 12-6.
* Gallery located on the NE corner of 20th and 7th Ave.
* Nearest Subway: C, E exit 23rd @ 8th Ave., 1,9 exit 23rd @ 7th Ave.
* Contact: Michael Lyons Wier, gallery@LyonsWierGallery.com

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Lyons Wier Gallery is pleased to announce Paintings & Sculpture by Leonardo Nierman.

At 78 years old, Mexican artist Leonardo Nierman is still in his studio every day, painting and synthesizing five decades of personal investigations into physics, mathematics, color theory and music.

The Abstract Expressionist's work has played a leading role in the extraordinary drama that is modern Mexican art. Nierman started to exhibit at a time when art in Mexico was undergoing a period of drastic change--the influence of the long-established Muralists was being challenged by the ideas of a new generation open to modernist internationalism.

In this newest body of work, Nierman hearkens back to his Mexican predecessors, as well as to the modern lessons of cubism and abstraction, combining Western artistic revolutions. His hyper-real paintings of crumbled paper employ many old tropes yet read surprising fresh as the mind wanders from the sheer technical deftness of hand to the conceptual recognition of subliminal images or words, real or imagined, within these densely rendered compositions.

Nierman's "flame sculptures" echo the elements of infinity, straight and curved lines, and reflected light that rise toward the sky. "A candle is constantly creating sculptures," says Nierman. "The form of the flame is always perfect, [it] represents hope, light out of darkness, a form of happiness". His sculptures combine the forces of nature and intellect, referencing contrasting aspects of the physical world released as turbulent energy and then frozen into intricate structures whose forms are a visible expression of physicality.

Leonardo Nierman's work is featured in major collections around the world including the Vatican Museum of Contemporary Art & Vatican Gardens, Rome, Italy, the Museums of Modern Art, Haifa and Tel Aviv, Israel, the Museum of Modern Art, Mexico City, Mexico, the Spanish Museum of Contemporary Art, Madrid, Spain, the Museum of Fine Arts, Boston, MA, Harvard University Art Museum, Cambridge, MA, the Detroit Institute of Fine Arts, Ml, the Albert Einstein Institute of New York, the Massachusetts Institute of Technology (MIT), the Kennedy Center in Washington D.C., and the Art Institute of Chicago. He lives in Mexico.

________________________________

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Lyons Wier Gallery is pleased to announce Stuff by Mike Lash.

Mike Lash's new work is a marked departure from his well-known figurative work. While he maintains his wry sense of humor without losing the base banality he has become known for, Lash's new work is less focused on image and concentrates on ideas or "stuff".

Whilst his works still may have renderings of things one may recognize, Lash moves towards a more abstract, if not conceptual, picture plane. Many of the pieces are in fact simply text-based works.

The artist pushes the viewer to expect the unexpected, taking the viewer between the boundaries of hard science and the inner angst of the individual. His paintings maintain a ready-made feel as well as the immediate gesture of his rendering style.

Lash flatly proposes in his artist statement: "I make stuff, mostly paintings and drawings. The stuff I make kind of documents things I'm personally interested in and think about. Sometimes people like them. I hope you like them."

Mike Lash was included in "To Have it About You: The Dorothy and Herbert Vogel Collection," Frederick R. Weisman Art Museum University of Minnesota and "Lies for Leo, A Book Signing and Exhibition" at Agnes b. Tokyo, Japan, & Agnes b. Madison Ave, New York. He is the author of "Lies for Leo", "Pervert" and "Draw Your Own Conclusions." Lash received a Master of Arts from Northern Illinois University, DeKalb in 1985. He currently resides in New York.

***

Lyons Wier Gallery - 175 Seventh Ave @ 20th St., NYC 10011 - (212)242.6220

gallery@lyonswiergallery.com • Lyons Wier Gallery

lyonswiergallery.com

For more info on me visit my official website
www.rickyday.net





December 16, 2009

LA County Museum of Art presents Heroes and Villains: The Battle for Good in India's Comics

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Heroes and Villains: The Battle for Good in India's Comics

October 17, 2009–February 7, 2010

This exhibition examines the legacy of India’s divine heroes and heroines in contemporary South Asian culture through the comic book genre. Indian superheroes and their archenemies are visualized from ancient archetypes that have long been depicted in traditional painting and sculpture, and are deeply ingrained in India’s historical imagination. In the twenty-first century new incarnations of ancient Indian gods and goddesses are made manifest as modern superheroes brought to Earth to vanquish the evil forces. Demons take the form of modern villains, and raise havoc in today’s troubled times. Today comic book production takes place in a global cultural context and within a multimedia framework that combines traditional hand-drawn illustrations with computer design and animation technology. These issues are explored through a selection of vintage Indian and American comics, and contemporary pencil-and-ink-drawn character explorations by Indian artists from the Liquid Comics series Ramayan and Devi. To illustrate the continuity of the heroic narrative tradition in Indian art, a selection from LACMA’s historical collection of Indian paintings will also be on view. These include folios from Mughal illustrated manuscripts, paintings and drawings from the northern Indian princely states, and story-telling paintings from central India. Curators: Julie Romain, Tushara Bindu Gude.

Los Angeles County Museum of Art
5905 Wilshire Boulevard
Los Angeles, CA. 90036
http://www.lacma.org

For more info on me visit my official website
www.rickyday.net





December 13, 2009

Scott Belcastro at LeBasse Projects in Los Angeles

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LeBasse Projects is proud to present the first US solo exhibition from Scott Belcastro as he returns to Los Angeles with his largest body of work to date. Belcastro's paintings are a collection of thoughts on existentialism, meditation, religion, prayer, isolation, sin and forgiveness. Subtle washes of color and finely detailed elements create environments designed for the viewer to get lost in. Taking on new form and structure the work is not about the artists view of the world - but more about what can manifest through patience and self awareness.

'Chasing the Last Glimpse of Light'
Scott Belcastro
Saturday, December 12th, 7-10pm

For more info or preview, please contact the gallery at:
contact@lebasseprojects.com or 310.558.0200

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The gallery will complement Belcastro's show with the debut solo exhibition of Linda Kim, a recent graduate of Pasadena's Art Center College of Design.

Linda Kim was also a participant in "The Kids are Alright," a group show series curated by LeBasse Projects. Now Kim will be presenting a new body of paintings and sculptures for her first solo project. Her work features a whimsical style that engages the viewer with scenes of interaction between nature and man.

'A Light Within' by Linda Kim
Project Room:
Saturday, December 12th, 7-10pm

For more info or preview, please contact the gallery at:
contact@lebasseprojects.com or 310.558.0200

LeBASSE Projects
6023 Washington Blvd
Culver City, CA 90232
310.558.0200
www.lebasseprojects.com

For more info on me visit my official website
www.rickyday.net






December 11, 2009

Whitney Biennial 2010

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The list of artists for 2010, the Whitney Biennial, which will take over the Museum from February 25 through May 30, 2010 have been announced. The fifty-five artists participating were selected by curator Francesco Bonami and associate curator Gary Carrion-Murayari. The Biennial includes established and emerging artists from all over the country. Visit whitney.org to see a video of the curators reading the list of names.

For more info on me visit my official website
www.rickyday.net





December 08, 2009

Martin Wong: Everything Must Go at P•P•O•W in New York City

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Martin Wong
Everything Must Go

Curated by Adam Putnam

December 10, 2009– January 30, 2010
Opening Reception: Thursday, December 10, 6-8pm


P•P•O•W is pleased to announce an exhibition of work by Martin Wong, curated by Adam Putnam. Martin Wong, who died in 1999 due to an AIDS related illness, was born in 1946 in Portland, Oregon and moved to New York City in 1978. He received a degree in ceramics, but decided to become a painter when he was thirty years old. He first started exhibiting at the Semaphore Gallery in New York. Martin Wong's last exhibition at P•P•O•W was in 2000.

For most of his time in NYC, Martin Wong stayed nestled in the Lower East Side, enmeshed in the fabric of his neighborhood and the people around him. His work has traditionally been described as a document of that time in the 1980's and 1990's, capturing a moment in the history of the city marked by vacant lots, graffiti and a burgeoning club culture.

This exhibition presents an intuitive ramble through the estate left by this unique and visionary artist. It offers a glimpse into a private world populated by crumbling tenements, vacant lots, prisoners (with those burning eyes), closed gates (and open legs), downtown poets, hustlers, and if we are lucky, perhaps an off-duty Fireman.

Martin Wong wanders through an urban landscape and refashions it into something new. His paintings take us inward, through a hidden, alternative landscape of longing and deeply felt subjectivity. Following this logic of desire, a crumbled brick tenement can become laced with the erotic or a painting of a single cactus can carry all the restrained passion of an unmet gaze from a sexy stranger.

Also on view are several rarely seen photo collages on loan from The Fales Library archives as well as drawings and sketches. These photos are remarkable for the fact that they not only exist as source material for some of the larger paintings but also as a rare document of the long walks the artist would take in and around the Lower East Side.

The vacant lots have long since been filled in, but don't let the glass facades fool you. There is always the torn seam or frayed edge... you just need to know where to look.

The exhibition is accompanied by a full color illustrated catalog with an essay by Carlo McCormick.

On January 26th there will be a panel discussion tentatively based upon the themes of secret languages in the work of Martin Wong. The event will be hosted by the NYU Steinhardt School of Art and Arts Professions.

Adam Putnam is an artist living and working in NYC. His work has been exhibited at P.S.1, Art Statements Basel, the 2008 Whitney Biennial and most recently, at Taxter and Spengemann Gallery. In 2006 Adam Putnam, with artist Shannon Ebner, curated the show Blow Both of Us at Participant Inc.

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For more info on me visit my official website
www.rickyday.net





Douglas Broom and Liliana Porter at Carrie Secrist Gallery in Chicago

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Carrie Secrist Gallery
835 W Washington Blvd
Chicago IL 60607
312.491.0917 T
312.491.1145 F

For more info on me visit my official website
www.rickyday.net





November 24, 2009

1,3,8 Characters: Works by Eunjung Hwang at NY Studio Gallery

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1,3,8 Characters

works by Eunjung Hwang

November 12 – December 12, 2009

NY Studio Gallery is pleased to present 1,3,8 Charaters: animation, sculpture and drawings by Eunjung Hwang. These works are inspired by the concept of animism, where all objects even those regarded by science as 'inanimate' possess a soul and unique personal character.

Hwang's characters represent unique combinations of digital and physical form. Her projects start by creating a variety of characters derived from personal dreams and subconscious imagery. Fantasy narratives unfold as the characters act out their roles within a structure interwoven by dream logic. This method attempts to formalize a larger and more intangible narrative. The works are meant to be enjoyed like rhythmic structure of music rather than as a readable story.

Recipient of the Reality Gallery American Slide-All 2009: Solo Exhibition at NY Studio Gallery

About Eunjung Hwang

Born in Seoul, Korea and currently working and living in New York, Eunjung Hwang received her MFA in Computer Arts from the School of Visual Arts, New York. Selected solo and two person exhibitions include: “Eunjung Hwang” LA Center for Digital Arts (2008) and “Creature Feature” Sungkok Art Museum, Seoul, Korea (2007). "The Third Part of Ghosts", Allgirls International Berlin, Germany (2009) "Siebren Versteeg and Eunjung Hwang", Sheppard Fine Arts Gallery, Reno (2008). Grants and Residencies include Lower Manhattan Cultural Council, New York (2004) Moving Image Division Artist Residency, EYEBEAM, New York (2003), Soelyst Artist Center, Denmark (2009) New York State Council on Arts Grant, New York (2006) Akademie Schloss Solitude Fellowship, Stuttgart, Germany (2008-09)

About NY Studio Gallery

NY Studio Gallery combines exhibition and workspace to create an atmosphere of interaction, collaboration and integration of media, styles and artistic genres for US and international artists.

NY Studio Gallery

154 Stanton Street @ Suffolk, New York, NY 10002

info@nystudiogallery.com l 212.627.3276l www.nystudiogallery.com

Thursday - Saturday 12 - 6pm or by appointment

For more info on me visit my official website
www.rickyday.net





Tracey Snelling’s installation Woman on the Run at Smack Mellon in Brooklyn

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Smack Mellon is pleased to present Tracey Snelling’s installation Woman on the Run and Michael Paul Britto’s new video works in Society’s Children. The two artists incorporate elements of pop culture, cinema, and reality to very different ends. Snelling uses architectural elements and multimedia effects to create fictional character and scenarios full of intrigue, while Britto uses personal observation and surveillance footage to emphasize the injustices of actual occurrences. In the tradition of a film noir femme fatale, Snelling constructs a three-dimensional narrative around an ambiguous female persona wanted for questioning in relation to a crime. The visitor becomes a player in the story, searching for the enigmatic woman. Boundaries blur between victim and violator, fact and fiction, feminism and outdated views. Britto’s harsh characters are more straightforward and urgent in both presentation and purpose, exposing pressing concerns in contemporary urban African-American culture. His video Verbal Assault shows the same actor portraying a father and son in a heated argument marked by mutual disrespect, while his video Daughters shows footage of a police officer brutally restraining a girl whose only crime is staying out past curfew.

Tracey Snelling, Woman on the Run

“Woman on The Run is an installation that intricately mixes architecture, scale modeling, video, photography and 3-D story telling with a heady dose of Hollywood glamour and Hitchcock-like built-in suspense. A multimedia project, Woman on the Run explores a fragmented narrative about a fated woman. The main character, a combination of heroines and femme fatales from 1950’s and 1960’s film noir is trying to escape her fate. A crime has taken place, and she is wanted for questioning. Throughout the installation, different clues are given about what might have happened and who the woman is. Is she the victim, or the perpetrator? A study in feminism or an example of outdated ideas?

An alternate world of shrunken buildings, neon signs, and a life size motel offer a selection of clues that conspire to initially draw the viewer to the action and then help them thread together the disconnected story that just happened. The viewer quickly becomes a witness and to some extent an actor within the story, often assuming the role of a detective. Video plays in windows and conversations can be overheard. Reality becomes based more in perception than in absolutes. The blacks and whites of life shift to grey, and the truth becomes shrouded in mystery.

I have been interested in the idea of reality being something that continually changes, due to perception and according to an individual’s ideals and own subjectivity. I explore this viewpoint through shifting scale and presenting a particular subject in a myriad of ways. A large building can inspire a small sculpture of that building, which in turns becomes a photograph and eventually gets incorporated into another piece of art. Video is often placed in the sculptures – usually of people, sometimes doing mundane activities, repeated continually. Other times the characters might remain the same but the actions that are repeated change slightly and contradict each other. Influences in my work are heavily anchored in Americana and fed by post-war US popular culture from literature to cinema, while my work consistently and simultaneously celebrates, demystifies and re-interprets those cultural clichés with the view to making them both timeless and fresh.”

Tracey Snelling is an internationally exhibiting artist living and working in Oakland, California. She graduated with a BFA in Art Studio from The University of New Mexico in 1996. She explores reality and scale through sculpture, photography, and video. Her works are featured in numerous collections, including the Baltimore Museum, the Museum of Fine Arts, Houston, de Saisset Museum, and The West Collection, Pennsylvania. Her work has been exhibited internationally, including Gemeentemuseum Helmond in the Netherlands, Selfridges in London, solo exhibitions in Brussels, Amsterdam, London, and Miami, and at Art Basel. She recently returned from a 4 month art residency and solo exhibition in Beijing.

Smack Mellon
92 Plymouth Street @ Washington
Brooklyn, NY 11201

Gallery hours are Wednesday-Sunday, 12-6pm

Smack Mellon is easily accessible by either the F or the A/C subways.

F Train to York. Exit to the right and walk downhill on Jay Street, towards the water.
Make a left at the next block, Front Street. Make a right on Washington Street.
92 Plymouth is 2 blocks down, on the corner.

AC Train to High Street. Use Fulton Street Exit.
Cross the street (Cadman Plaza West), enter park and follow curved pathway to
Washington Street. Make a slight left to exit park and walk down Washington towards river, 3 blocks to Plymouth Street.

B61 Bus to York and Gold Streets.
Walk down York. Take right on Washington Street and walk to end at park to
Plymouth. 92 Plymouth is at the corner.


On Foot: Enjoy the beautiful walk across the Brooklyn Bridge. The first set of stairs you reach in Brooklyn will drop you off on Washington Street. Take a left out of the stairwell and walk down the hill for three blocks. 92 Plymouth Street is the last building on the right side of the street, right before the park.


By Car:
via Brooklyn Bridge: Take the Brooklyn Bridge across the East River and get off at the first exit on the right, Cadman Plaza. The exit will drop you off on Cadman Plaza - follow this street through the first two lights toward the East River. Take a right on Front Street (just after the off-ramp from the BQE), a left on Main Street, drive two blocks and take a right on Plymouth Street. 92 Plymouth is one block, at the corner of Washington.

via BQE: If heading South on the BQE, exit at the Cadman Plaza exit. At the stoplight, make a hard right on Front Street, almost making a u-turn. Take a left on Main Street. Drive two blocks and take a right on Plymouth Street. 92 Plymouth is one block, at the corner of Washington.

via Manhattan Bridge: Take the Manhattan Bridge to Brooklyn and make a right on Tillary Street. Follow Tillary through three lights (you will pass the entrance to the Brooklyn Bridge) and take a right on Cadman Plaza East. A park will be on the left. Follow this street underneath the BQE and through the first light. Take a left on York Street at the stop sign. This street will curve to the right and eventually deadend. Take a right on Front Street and then an immediate left on Main Street, drive two blocks and take a right on Plymouth Street. 92 Plymouth is one block, at the corner of Washington
For more info on me visit my official website
www.rickyday.net





November 23, 2009

SunTek Chung: Kingdom Come 18 November - 10 January, 20, 2010 at Collette Blanchard Gallery

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Last week I attended the opening of SunTek Chung's new solo show at Collette Blanchard. The work is thought provoking and beautiful and the event was a blast as usual. Below I have posted a few photos from the event as well as the official press blurb on the show. Check out the images and exhibit release and then make some time to get down and check out the show for yourself. Collette operates a wonderful space and one of the few African-American owned contemporary art galleries in the country and it's first class!

SunTek Chung
Kingdom Come
18 November - 10 January, 20, 2010


Collette Blanchard Gallery is pleased to present its first gallery exhibition with SunTek Chung, entitled "Kindom Come," on view from November 18, through January 20, 2010.

Neon light sculpture and staged photographs appear with bronze sculptures, all of which, in the specificity of their presentation, are informed and re-contextualized by circumstances dictated by the artist. Leveraging verbal language and mixed mediums, Chung presents narrative works that linger between exhaustive detail and minimalist form. At any juncture within this spectrum, his work presents alternatives to preconceived notions that are never completely lucid, thus requiring incessant interrogation. Adept in his use of color, neon-light and form, Chung seduces the viewer into the essence of his work at once with a combination of references to current happenings and in response, conceptualized fictions. The work of SunTek Chung requires the viewer to abandon the pedantic discourse of cultural affinity and identity in its reconsideration of the misconstrued.

Mr. Chung graduated with an MFA from Yale University in 2002 and participated in Skowhegan School of Painting and Drawing. He has exhibited in numerous solo and group exhibitions in locations such as New York, Los Angeles, Canada, Berlin, and Tokyo. Chung's work has been reviewed in ArtForum, the New York Times, Beautiful Decay (cover) and many other prominent publications.

For more information,

Collette Blanchard Gallery
26 Clinton Street
New York, New York 10002
917.639.3912

www.colletteblanchard.com
Gallery Hours are Wed. - Sun. 12 -6 and by appointment.

Michael Paul Britto: Society's Children at Smack Mellon in Brooklyn

Michael Paul Britto, Society's Children

Smack Mellon is pleased to present Tracey Snelling’s installation Woman on the Run and Michael Paul Britto’s new video works in Society’s Children. The two artists incorporate elements of pop culture, cinema, and reality to very different ends. Snelling uses architectural elements and multimedia effects to create fictional character and scenarios full of intrigue, while Britto uses personal observation and surveillance footage to emphasize the injustices of actual occurrences. In the tradition of a film noir femme fatale, Snelling constructs a three-dimensional narrative around an ambiguous female persona wanted for questioning in relation to a crime. The visitor becomes a player in the story, searching for the enigmatic woman. Boundaries blur between victim and violator, fact and fiction, feminism and outdated views. Britto’s harsh characters are more straightforward and urgent in both presentation and purpose, exposing pressing concerns in contemporary urban African-American culture. His video Verbal Assault shows the same actor portraying a father and son in a heated argument marked by mutual disrespect, while his video Daughters shows footage of a police officer brutally restraining a girl whose only crime is staying out past curfew.

Exhibition dates: November 21, 2009 - January 3, 2010

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Michael Paul Britto, Society's Children

“Much of my work is about being a person of color in America and the misconceptions and assumptions that go along with that. My art allows me to use the customary as metaphor to raise political and cultural awareness. By manipulating images taken from popular culture I aim to illicit feelings of rage, happiness, sadness and empathy to make viewers rethink mass medias’ depictions of people of color, and what is deemed as acceptable behavior by society.”

Verbal aggression has been determined to be more damaging than physical aggression. There are many sources to blame for verbal aggression including human nature, ethics, victimization, abnormal psychology, and the mass media. In the video Verbal Assault, the role of father and son are juxtaposed to show the son’s aggression as a mirror image of his father’s. While the father cares for his son, his abusive approach contradicts his intention to help his son. Frustration is sensed from both characters as the overlapping dialogue focuses on their fears and mutual desires for acceptance and achievement.

In the video Daughters, a dashboard video-camera recording of a white police officer’s assault on a 15 year old African-American girl, is paired with John Mayer’s song “Daughters” giving a timely and important alternative meaning to the lyrics of this pop song, posing the question “will this girl love like she’s been loved?”

Born and raised in Brooklyn, NY, Michael Paul Britto received his BA from the City College of New York. His work ranges from video to digital photography, sculpture, and performance. Britto has had residencies at the New Museum, Smack Mellon and The Marie Walsh Sharpe Foundation (NYC). His work has been featured in shows at El Museo del Barrio, The Studio Museum of Harlem, The Zacheta National Gallery in Warsaw and the Victoria and Albert Museum in England. Britto has been written about in The New York Times, Art In America and the Brooklyn Rail.

Smack Mellon
92 Plymouth Street @ Washington
Brooklyn, NY 11201

Gallery hours are Wednesday-Sunday, 12-6pm

Smack Mellon is easily accessible by either the F or the A/C subways.

F Train to York. Exit to the right and walk downhill on Jay Street, towards the water.
Make a left at the next block, Front Street. Make a right on Washington Street.
92 Plymouth is 2 blocks down, on the corner.

AC Train to High Street. Use Fulton Street Exit.
Cross the street (Cadman Plaza West), enter park and follow curved pathway to
Washington Street. Make a slight left to exit park and walk down Washington towards river, 3 blocks to Plymouth Street.

B61 Bus to York and Gold Streets.
Walk down York. Take right on Washington Street and walk to end at park to
Plymouth. 92 Plymouth is at the corner.


On Foot: Enjoy the beautiful walk across the Brooklyn Bridge. The first set of stairs you reach in Brooklyn will drop you off on Washington Street. Take a left out of the stairwell and walk down the hill for three blocks. 92 Plymouth Street is the last building on the right side of the street, right before the park.


By Car:
via Brooklyn Bridge: Take the Brooklyn Bridge across the East River and get off at the first exit on the right, Cadman Plaza. The exit will drop you off on Cadman Plaza - follow this street through the first two lights toward the East River. Take a right on Front Street (just after the off-ramp from the BQE), a left on Main Street, drive two blocks and take a right on Plymouth Street. 92 Plymouth is one block, at the corner of Washington.

via BQE: If heading South on the BQE, exit at the Cadman Plaza exit. At the stoplight, make a hard right on Front Street, almost making a u-turn. Take a left on Main Street. Drive two blocks and take a right on Plymouth Street. 92 Plymouth is one block, at the corner of Washington.

via Manhattan Bridge: Take the Manhattan Bridge to Brooklyn and make a right on Tillary Street. Follow Tillary through three lights (you will pass the entrance to the Brooklyn Bridge) and take a right on Cadman Plaza East. A park will be on the left. Follow this street underneath the BQE and through the first light. Take a left on York Street at the stop sign. This street will curve to the right and eventually deadend. Take a right on Front Street and then an immediate left on Main Street, drive two blocks and take a right on Plymouth Street. 92 Plymouth is one block, at the corner of Washington

For more info on me visit my official website
www.rickyday.net





Joseph Santore: Recent Work at Lohin Geduld Gallery NYC

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Joseph Santore
Recent Work
November 18 - December 24, 2009

Lohin Geduld Gallery, 531 West 25th Street, New York, NY, is proud to present our first exhibition of paintings and drawings by Joseph Santore.

Time is a critical element in the art of Joseph Santore. He studies his subjects for months, searching collections of objects, figures, and interiors for intriguing relationships. The longer he looks the more that is revealed. This unmasking of reality unfolds slowly over the course of many painting sessions. As time passes and his experience grows, Santore plumbs the depths of what it means to see without preconception.

Santore believes the mechanics of perception and understanding go hand in hand. Reality is not a fixed viewpoint, but a series of shifting focal points that capture spatial relationships, light, and color. The meaning of Santore’s work is not derived solely from his selection of subject matter, but also from the accumulative experience of “looking” over an extended period of time. The nature of Santore’s vision is the real subject, and through the intensity of his gaze we partake of a world that normally hides in plain sight.

For all of his attention to detail, Santore composes like an abstractionist, packing his paintings with information. Pushing, pulling, and squeezing shapes together, forming associations of gesture, edge, weight, and counterpoint. Combined with a masterful technique capable of conjuring up the palpable sensations of flesh, flowers, metal, or cloth, Santore’s paintings present us with actual experience. They hum in their devotion to the real, and make us want to look at everything anew.

Joseph Santore received an MFA from Yale University and a BFA from the Philadelphia College of Art. He has had solo exhibitions at Edward Thorp Gallery, NY; Phoenix Art Museum, AZ; The Philadelphia Art Alliance, PA; The New York Studio School, NY; and Yale University. His work has been appeared in numerous group exhibitions including the Whitney Biennial, The Whitney Museum of American Art, NY; The Tucson Museum of Art, AZ; The American Academy & Institute of Arts & Letters, NY; The National Academy of Design, NY; The Butler Institute of American Art, OH; The Aspen Art Museum, CO; and The Pennsylvania Academy of the Fine Arts, PA.

Santore’s work has been reviewed in Art in America, ArtForum, The New York Times, ArtNews, and Art & Antiques. His work is in the public collections of The Metropolitan Museum of Art, NY; The Denver Art Museum, CO; The Cincinnati Museum of Art, OH; Phoenix Art Museum, AZ; The National Academy of Design, NY; Yale University, CT; among others.

Joseph Santore lives and works in New York City.

For more info on me visit my official website
www.rickyday.net





November 20, 2009

Chitra Ganesh's The Silhouette Returns at P.S.1

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Recently, MoMA affiliated P.S.1 in Long Island City opened their fall exhibitions which include Chitra Ganesh's large-scale wall drawing The Silhouette Returns (2009), commissioned by Klaus Biesenbach as part of the On-Site program. It will be on display through April 5, 2010. For more information please view P.S.1's website.

The November issue of Art in America addresses in its cover feature the recent flurry of exhibitions on contemporary Iranian art, including Looped and Layered, held at this gallery from May 14 through July 10. In the Heat of the Moment was written by New York Times' Benjamin Genocchio.
Thomas Erben Gallery

526 West 26th Street, floor 4
New York, NY 10001
212.645-8701
www.thomaserben.com
info@thomaserben.com

For more info on me visit my official website
www.rickyday.net





November 16, 2009

SIGHTscene at Spoonbread Atelier

Gallerists Tonya Jordan and Jarvis DuBois opened their new show group show SIGHTscene at Spoonbread Atelier this past Saturday, I'm one of the participating artists in the show. Check out these shots from the opening reception.

The show is on display through the new year. Gallery hours are Fridays 2-5pm and Saturdays 1pm-6pm and by appointment.

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For more info on me visit my official website
www.rickyday.net





smART Gallery Hop Party and Art tour in Brooklyn

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smART Gallery Hop Party
Saturday, November 21st
1pm - 6pm

You want to see some great art? Of course you do! That's why you should head over to Williamsburg on November 21st and jump on the art bus! smART is a chance to enjoy a tour of all the Williamsburg galleries without walking, thanks to the free shuttles that will be prowling the area. Visit the smART website for more details!

Of course, we want you to see it all. From 1-6, Like the Spice Gallery will be featuring wine, cheese, loads of fun, and artists Jenny Morgan and David Mramor in person! It's a great chance for you to talk to them about their current show, Civil Union. Read about the opening here and then get ready to party, party, party, all Saturday long!

http://www.visitbrooklyn.org/pdf/smART.pdf

Jenny Morgan and David Mramor: Civil Union at Like the Spice in Brooklyn

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Like the Spice is pleased to present Civil Union, featuring the individual and collaborative works by Jenny Morgan and David Mramor. To someone encountering their individual works, Morgan's meticulously psychological portraits and Mramor's intuition driven photo/paintings would not appear so perfectly complimentary. And yet, once combined, they fit so precisely, each artist making the other stronger.

Morgan's portraits are tightly controlled photorealistic renderings of people known very well to the artist. She often scrapes away areas of the figures, revealing both the layers of technique and the metaphorical flesh of her subjects. Morgan's works are at the very pinnacle of planning, discipline, and control in the service of emotional clarity, tied quite specifically to the individuals she depicts.

Mramor's hybrid paintings are alchemical combinations of photography and painting. Reacting to digitally manipulated imagery printed onto canvas, Mramor "corrects" the images by adding layers of intuitive marks in many media, recently even including collage. The marks have a wild quality, seeming almost random at first encounter, but there is a deep formal intelligence and perverse beauty to Mramor's works; they are absolutely fearless.

Worked by each artist in several turns, the collaborative works are built in layers of intervention and invention. The Apollonian Morgan and Dionysian Mramor inform each other's input while respectfully resisting each other's positions. The artists talk of these collaborations as an exercise in trust, giving up personal ego and control, as well as a way to use each other as a tool, performing a partially-outsourced creative act.

Jenny and David met in graduate school at the School of Visual Arts in New York during the fall of 2006. Having studios next to each other, they found comfort in each other's artistic process, Morgan in the looseness of Mramors innate strokes and line, and David in Jenny's flat symbolic masterful portraits. After grad school they merged studios and while both working on their own paintings sporadically produced multiple collaborative works. "Both of our work has totally transformed as a result of that first collaborative piece we did, and continue to change with each piece we make together".

Jenny Morgan was born in Salt Lake City, Utah in 1982. She had her first solo show in New York at Like the Spice Gallery in January of 2009, and has exhibited nationwide in solo shows at the Plus Gallery and the Pirate Gallery in Denver, Colorado. Ms. Morgan has participated in group shows at Columbia University, The LeRoy Neiman Gallery, Smithsonian Institute's National Portrait Gallery, and multiple galleries in Colorado, Florida and New York City.

David Mramor was born and raised in Cleveland Ohio in 1984. Mramor has exhibited nation wide in group and solo exhibitions in such galleries as Massimo Audiello in New York City, Plus Gallery in Colorodo, and Texas Fire House in Queens NY. Both Jenny Morgan and David Mramor work at Marilyn Minter Studio and currently live and work in Brooklyn, NY.


{224 Roebling Street. Brooklyn, NY 11211} {718-388-5388} {info@likethespice.com} {Wed - Sun 12-7, Mon by appt. only}

November 11, 2009

I'm exhibiting in Washington D.C this weekend

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This weekend I am exhibiting photography for the first time in Washington D.C.

Gallerists Tonya Jordan and Jarvis DuBois present SIGHTscene at Spoonbread Atelier this Saturday, November 14, 4-7p. The gallery is at 4303 Rhode Island Avenue, Brentwood, MD 20722. This event is part of Fotoweek DC. I will be showing abstract and streetscape works from my Beautiful Decay series.

Hope all my D.C. friends and collectors stop by Spoonbread Atelier this Saturday to check out the work and have a great time.

November 04, 2009

FOREIGN BODY — ANTONY CROSSFIELD at KLOMPCHING GALLERY in NYC

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(Image: ©Antony Crossfield, Screen (2009) Lambda Print
52.63” x 47.9”, Edition of 3
26.378" x 29.013", Edition of 7)

FOREIGN BODY — ANTONY CROSSFIELD

OPENING RECEPTION
Thursday, November 5th, 6pm-8pm

KLOMPCHING GALLERY cordially invites you to the opening reception of Foreign Body, the first solo exhibition in the United States of Antony Crossfield.

The artist describes his work as closely related to the manual labor of painting. His artworks comprise of several points of view, of multiple images that are compressed into a single frame of meticulous construction. The illusion of wholeness masks an uncertain and fractured reality, that defies the Cartesian idea of a stable viewpoint. The resulting photographs of the male form are at once unsettling, yet weirdly beautiful. They elicit an intellectual response, but also one that is visceral and even physical.

Antony Crossfield has previously exhibited at the National Portrait Gallery (London), Institute of Contemporary Art (London) and Fulham Palace (London). In 2008, he was the winner of The Independent Photographer's Terry O'Neill Award. He has been published in Eyemazing and Creative Review, amongst others, with an upcoming feature in Hotshoe.


EXHIBITION CONTINUES THROUGH DECEMBER 19, 2009

KLOMPCHING GALLERY

www.klompching.com | info@klompching.com | +1 212 796 2070
111 Front Street, Suite 206 | Brooklyn NY 11201

Gallery Hours: Wed-Sat, 11am-6pm and by appointment.
Extended Hours: 1st Thursdays DUMBO Gallery Walk, 11am—8:30pm

For more info on me visit my official website
www.rickyday.net





November 03, 2009

LUKE SMALLEY: Sunday Drive and JILL GREENBERG: New Bears at Clamp Art in Chelsea NYC

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LUKE SMALLEY: Sunday Drive
JILL GREENBERG: New Bears

November 5 - December 19, 2009
__________________________

Opening reception:
Thursday, November 5, 2009
6.00 - 8.00 p.m.
__________________________

For more information contact:

ClampArt
www.clampart.com

521-531 West 25th Street
Ground Floor
New York City 10001
646.230.0020 T
646.230.8008 F
Gallery hours:
Tuesday - Saturday,
11:00 a.m. - 6:00 p.m.

For more info on me visit my official website
www.rickyday.net





Robert Bergman at Yossi Milo in NYC

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From November 5, 2009 - January 9, 2010, the gallery will present an exhibition of photographs by Robert Bergman. The exhibition coincides with the artist's debut solo exhibitions at The National Gallery of Art, Washington, D.C. http://www.nga.gov/press/exh/3106/index.shtm October 11, 2009 - January 10, 2010 ) and at P.S.1 Contemporary Art Center, New York http://ps1.org/exhibitions/view/301 October 25, 2009 - January 4, 2010).

Mr. Bergman's book, A Kind of Rapture, was published in 1998 by Pantheon and contains essays by Nobel Prize and Pulitzer Prize recipient Toni Morrison and renowned art historian Meyer Schapiro.
For more information, please visit the gallery's website: http://www.yossimilo.com/exhibitions/2009_11-robe_berg/

For more info on me visit my official website
www.rickyday.net





October 27, 2009

Florian Süssmayr at Nicholas Robinson Gallery

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Nicholas Robinson Gallery is pleased to present its second solo exhibition of new paintings by Florian Süssmayr

The current exhibition, entitled Interieurs, focuses both the artist's and viewers' attention on various iterations of interior spaces, one of the traditional genres of art history. Frequently de-populated and executed with the artist's characteristic somber palette of monochromatic dark browns, Süssmayr's interiors create an evocative atmosphere that is simultaneously disquieting, banal, and even, on occasions, gloomy or sinister. His fleeting glimpses of these spaces are often ambiguous - both artist and viewer participate in the viewing of the scene and yet are somehow also clearly excluded from belonging in them.

A number of the paintings tackle another traditional genre - that of the self-portrait. The artist is depicted either as a reflection in a surface in which he is photographing himself, or as part of a pin-board collage containing an image of himself and other biographically relevant images or references. The depiction of self is thus never direct, and continues the theme of detached observation and exclusion.

Florian Süssmayr has his roots in the social and political subculture pervasive in Germany in the 1980s. Originally a musician in the leftist post-punk scene, he has also been a film cameraman, and began painting in the late 1990s.

Süssmayr has had a solo exhibition at the Haus der Kunst in Munich, and has participated in numerous other important gallery and museum exhibition in the last five years.

Florian Süssmayr was born in 1963 in Munich, Germany, and lives and works in Munich.

For more info on me visit my official website
www.rickyday.net





October 26, 2009

Maya Gold: Wake October 29, 2009 - January 9, 2010 at Mike Weiss Gallery in NYC

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Maya Gold / Untitled (detail), 2009 / Oil on canvas / 55 x 94 inches / MG-020

Maya Gold: Wake
October 29, 2009 - January 9, 2010
Opening Thursday October 29, 6-8pm

Mike Weiss Gallery is excited to present Wake, an exhibition of new oil paintings on canvas by Israeli artist Maya Gold. This is the artist’s first solo exhibition in New York and at Mike Weiss Gallery. Her use of a combination of soft, nearly see-through backgrounds and precisely executed subjects in the foreground blend the genres of abstraction and figuration and challenge the viewer to make that distinction.

This series of paintings is greatly influenced by the artist’s time spent living in Israel and her proximity to the sea and urban landscape. In some works, a female figure dressed in a bikini the colors of the Israeli flag stands alone in a vast empty field of muted gray or blue. She is throwing a life preserver out into the empty space or crouching on the shore arranging the seashells on the sand in futile exercises to call for help. In one work the same figure holds a large beach umbrella, attempting to pierce the ground with its tip seemingly unaware that she is standing on a brick walkway. In some works the figure is unrepresented and its presence, either male or female, is completely obstructed by open umbrellas that play across the surface of the canvas like a bag of scattered marbles. The artist composes the works so that they are a visual trick to behold, undefined, offering a several meanings at once.

The title of the exhibition, Wake, is meant to conjure the same curiosity as to which particular meaning it denotes. All at once, Wake is a reference to the shape of water when it parts behind a boat after it passes, the time after dreaming when we slip into present consciousness, and the services that are attended by friends and family after the passing of loved one. The viewer, hovering, peering down ghostlike above the world below is left to guess from where they are supposed to be viewing this world. It is the ambiguity of the moment, the uncertainty of the time that the artist captures on the canvas.

The surfaces of the canvas, although rich with detail are surprisingly flat. The artist begins by laying in a translucent wash of color over the white canvas to indicate the sky, water or brick. Each element, the background shadow or figure, is painted from start to finish in one sitting to keep the texture of the paint and the canvas even and flat. The figures or subjects are painted in last with delicate and almost photographic realism. The artist does not however take her subjects directly from photographs and instead works from various imagery and is most reliant on her own memory. In the end, what we are given is a composition that is contrastingly different in its appearance and meaning, at once minimal in its imagery but also riddled with the clues to a deeper story and symbolism.

aya Gold lives and works in Tel Aviv, Israel. The artist received her Bachelors of Art at the Bezalel Academy of Art & Design in Tel Aviv and continued with post graduate studies at the Slade School of Fine Art, University College of London and the Bezalel Academy. The artist was the youngest recipient of the Gottesdiener Award, which resulted in a solo exhibition of her work at the Tel Aviv Museum of Art. The artist has exhibited previously in Tel Aviv, Israel and this is her first exhibition in New York.

For more information about the upcoming Maya Gold exhibition or prices please contact
Helene Necroto, Director.

For more info on me visit my official website
www.rickyday.net





October 23, 2009

Pop Life: Art in a Material World at Tate Modern Level 4 West Thursday 1 October 2009 – Sunday 17 January 2010

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Pop Life: Art in a Material World

Tate Modern Level 4 West
Thursday 1 October 2009 – Sunday 17 January 2010
Admission £12.50 ( concessions)
Opening hours: Sunday to Thursday, 10.00–18.00. Friday and Saturday, 10.00–22.00. Last admission into exhibitions 17.15 (Friday and Saturday 21.15).
Public information number: 020 7887 8888.
Public information URL: http://www.tate.org.uk/modern/exhibitions/poplife/default.shtm

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Pop Life: Art in a Material Worldproposes a re-reading of one of the major legacies of Pop Art. The exhibition takes Andy Warhol’s notorious provocation that ‘good business is the best art’ as a starting point in reconsidering the legacy of Pop Art and the influence of the movement’s chief protagonist. Pop Life: Art in a Material World looks ahead to the various ways that artists since the 1980s have engaged with mass media and cultivated artistic personas creating their own signature 'brands'. Among the artists represented are Tracey Emin, Keith Haring, Damien Hirst, Martin Kippenberger, Jeff Koons, Takashi Murakami and Richard Prince.

Pop Life: Art in a Material World argues that Warhol’s most radical lesson is reflected in the work of artists of subsequent generations who, rather than simply representing or commenting upon our mass media culture, have infiltrated the publicity machine and the marketplace as a deliberate strategy. Harnessing the power of the celebrity system and expanding their reach beyond the art world and into the wider world of commerce, these artists exploit channels that engage audiences both inside and outside the gallery. The conflation of culture and commerce is typically seen as a betrayal of the values associated with modern art; this exhibition contends that, for many artists working after Warhol, to cross this line is to engage with modern life on its own terms.

The show begins with a focused look at Warhol’s late work, examining his related initiatives as a television personality, paparazzo, and publishing impresario. Highlights include a number of works from his initially controversial series known as the Retrospectives or Reversals. Reprising his celebrated Pop icons from the 1960s, in a manner initially deemed cynical, the Retrospectives look ahead to installations by a number of artists including Martin Kippenberger and Tracey Emin, who overtly engage the self-mythologizing impulse manipulating their personas as a medium, like silkscreen or paint.

Pop Life: Art in a Material World includes reconstructions of both Keith Haring’s Pop Shop and Jeff Koons's seldom reunited Made in Heaven. Haring opened the Pop Shop in 1986 on New York's Lafayette St. to merchandise his branded artistic signature as editioned objects such as t-shirts, toys and magnets aimed at as wide an audience as possible. Jeff Koons’s Made in Heaven, which debuted at the Venice Bienniale in 1990, immortalized his marital union with the Italian porn star and politician known as La Cicciolina. A specially-commissioned new installation by the celebrated Japanese artist Takashi Murakami debuts in the exhibition's final gallery.

A gallery dedicated to the so-called ‘Young British Artists’ focuses on their early performative exploits including ephemera from Tracey Emin and Sarah Lucas’s shop in Bethnal Green where they created and sold their work. Renowned pieces such as Gavin Turk’s Pop 1993 also feature, as does selected works representing Damien Hirst’s recent Sotheby’s auction, Beautiful Inside My Head Forever. Tate Modern will also restage Hirst’s performance originally shown at Cologne’s ‘Unfair’ art fair in 1992. Identical twins will sit beneath two identical spot paintings for the duration of Pop Life: Art in a Material World. Tate Modern is appealing for identical twins to take part in this performance.

The exhibition is organized by Tate Modern and is co-curated by Jack Bankowsky, Artforum’s Editor at Large, Alison M. Gingeras, Chief Curator of the François Pinault Collection and Catherine Wood, Tate Modern Curator of Contemporary Art and Performance, assisted by Nicholas Cullinan, Curator, International Modern Art, Tate Modern. Pop Life: Art in a Material World will travel to the Hamburger Kunsthalle from 6 February – 9 May 2010 and then to the National Gallery of Canada, Ottawa from 11 June – 19 September 2010. The exhibition is accompanied by a fully illustrated catalogue.

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For more info on me visit my official website
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October 22, 2009

THE EXPERIENCE OF GREEN at D.U.M.B.O. Arts Center (DAC)

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THE EXPERIENCE OF GREEN
Wade Kavanaugh and Stephen B. Nguyen
Opening Reception: Friday, September 25, 6 - 9 PM

Exhibition Dates: September 25 - November 29, 2009
Artists' Talk: Thursday, November 5, 7 PM
Gallery Hours: Wednesday - Sunday, 12 - 6 PM

Wade Kavanaugh and Stephen B. Nguyen have filled the Dumbo Arts Center with their enormous site-specific installation The Experience of Green. Opening September 25, 2009, the exhibition emphasizes the contrast between the organic and the built environment. Viewers step out of Dumbo’s stark brick-and-glass commercial district into a fantastical forest; a walk-through labyrinth of old growth trees made entirely from red kraft paper. The spectacular network of gnarled tree trunks and twisted roots extends over every inch of the gallery, suspending the boundaries of space and time while fully immersing the viewer.

The Experience of Green is Kavanaugh and Nguyen's most ambitious work to date as well as the artists' first major debut in NYC of their ongoing collaborative series of visually phenomenal, meticulously crafted paper installations. Here, the staggering volume of paper that the artists stack, splice, layer and coil is in a brilliant crimson, burning an impression in the viewers’ mind. The Experience of Green may come most clearly into focus only after viewers exit the gallery, the color persisting as an optical after-image, accentuating the relationship between experience and memory, landscape and longing, nature and the sublime.

The Experience of Green, a full-color catalog with accompanying essay by Jen Schwarting, will be published by DAC in December, 2009.

DAC will be open until 8:30PM October 1 and November 5. We are a proud participant in the Dumbo First Thursday gallery walk series.

D.U.M.B.O. Arts Center (DAC)
30 Washington Street
Brooklyn, NY 11201

Hours: Wednesday - Sunday 12 - 6pm
Admission: $2 Suggested Donation
Gallery Telephone: 718-694-0831
General Email: gallery@dumboartscenter.org
Fax: 718-694-0867

October 20, 2009

Robert Bergman: Selected Portraits at PS1 in NYC

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Robert Bergman: Selected Portraits
On view October 15, 2009 - January 4, 2010

Robert Bergman
Untitled
2009
C-print
37" x 25"
Courtesy the artist
P.S.1 Contemporary Art Center is pleased to announce Robert Bergman: Selected Portraits, an exhibition of twenty-four large-scale color portraits of everyday people the artist photographed on the streets of various American cities from 1985 to 1997. The exhibition will be on view in the first floor Drawing and Painting Galleries.

Using a handheld 35mm camera and precisely integrated natural lighting, Bergman explores both the poignant expressions of each individual and the formal structures of their surroundings. As art historian Meyer Schapiro wrote, "Certain photographers-Robert Frank, as well as Robert Bergman, come to mind-discover, like the poets, otherwise ignored qualities of the person and environment, hidden moments of feeling, and present them to our entranced scrutiny-for our meditation."

Bergman's epic series of portraits documents the physical and spiritual manifestation of Americans at the approach of the millennium. Of this series Toni Morrison has written, "Occasionally there arises an event or a moment that one knows immediately will forever mark a place in the history of artistic endeavor. Robert Bergman's portraits represent such a moment, such an event. In all its burnished majesty his gallery refuses us unearned solace and one by one by one each photograph unveils us, asserting a beauty, a kind of rapture, that is as close as can be to a master template of the singularity, the community, the unextinguishable sacredness of the human race."

Robert Bergman (b. 1944, New Orleans) now divides his time between Minnesota and New York City. The exhibition is accompanied by a catalogue featuring an essay by David Levi Strauss.

Organized by Phong Bui, P.S.1 Curatorial Advisor.

The exhibition is made possible by Alfred and Ingrid Lenz Harrison. The accompanying publication is made possible by Agnes Gund.

http://ps1.org/

For more info on me visit my official website
www.rickyday.net





October 19, 2009

Justine Cooper: Living in Sim at DANEYAL MAHMOOD GALLERY

Justine Cooper

October 22nd - December 31st, 2009
Opening Reception: Thursday October 22nd, 6-8pm

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Royal Familiy, C Print 2009

Justine Cooper’s timely new project Living in Sim is a mixed reality artwork that includes a website, online social media, photography, video and installation to explore the complexities present in the current health care environment and online social media. On the Living in Sim website she deploys medical mannequins typically used as patient simulators to train medical staff as surrogates to present intricate relationships between our sense of identity, culture and health care in a technologically advanced society. She draws a playful and interesting parallel between our culture's obsession with self-documentation and our presentation of individual identity through online media, with her fictional documentation of the mannequins' identity and world.

At LivingInSim.com, Cooper introduces a social community of characters, played only by mannequins, who blog and debate health care issues and medical incidents from both a pop culture and ethical standpoint. It invites public participation and dialogue. Set in a fictional Midwestern clinic the mannequins play the patients, as well as the entire staff including doctors, nurses, hospital administrators, insurance agents and visiting drug reps. They inhabit a fiction that we as potential patients and online users fully recognize. In videos, photography, and storytelling Living in Sim mirrors the role-play utilized in medical simulation scenarios but in an experimental and often tongue-in-cheek manner. Cooper states “The mannequins operate in a dysfunctional health care system, not much more far-fetched than our actual one, but at least theirs can offer us some form of actual pain relief, without a co-pay.”

Both the Living in Sim website and exhibition include two videos. The first, If It Weren't For You, is in the form of a music video where an unseen clinician serenades the mannequins with a brilliantly catchy pop ballad. Emoting on the depth of their relationship, she apologizes to the mannequins for what they go through in the name of patient safety and the improvement of her clinical skills, crooning the chorus “If it weren’t for you, I’d be sued.” The second video, Indemnity General, is a 4 part satirical mini-soap opera depicting the woes at the axis of an absurdist medical industrial complex.

The gallery exhibition features imagery from the actual world of medical simulation and its population of mannequins and clinical devices, at once both familiar and foreign. A grouping of large photographs show images inflected with classical references. A formal family portrait of mannequins, bathed in ethereal light; a disconnected mannequin head lays like a modern day John the Baptist upon a stainless surgical tray; an anatomical still life resembles a botanical drawing. A chiaroscuro-like tableau appears to be unfolding with an MRI machine and limbs. Along another wall, a series of rhythmic small prints on canvas depicting the characters from the blog come to life in snippets of seemingly narrative moments.

Lastly, an installation with an actual medical mannequin occupies the gallery space. Intoning that while medical simulation may be an educational fiction, and online identities and communities may be virtual, we also inhabit a place where health care and medicine revolve around a failing physical body.

Accompanying the exhibition a compact education program of lively discussions staged around Cooper's multi-faceted practice including an exclusive meet the artist session will take place in the gallery and is guest curated by Sara Raza, a former curator of public program at Tate Modern and current independent curator and co-editor of ArtAsiaPacific magazine.

Daneyal mahmood
info@daneyalmahmood.com
DANEYAL MAHMOOD GALLERY

511 WEST 25 ST, 3FL
NEW YORK CITY 10001
phone: 212 675 2966

Tues.-Sat. 11am to 6pm
(between 10th and 11th aves.)

For more info on me visit my official website
www.rickyday.net





October 08, 2009

Edward Burtynsky "Oil" at Adamson Gallery in D.C.

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Shipyard #5, Qili Port, Zhejiang Province, China, 2005

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Highway #2, Los Angeles, California, USA, 2003

October 13 - November 21, 2009

Opening Reception for the Artist:
Tuesday, October 13th
6 - 8 pm

Adamson Gallery is pleased to present an exhibition of photographs by Edward Burtynsky. "Oil" examines the resource from all sides, depicting the mechanics of its extraction and refinement, the details of its consumption and the effects; physical, political, and economic, of its influence. The large-scale photographs are reminiscent of the tradition of landscape painting, yet the landscapes they depict force the viewer to rethink the connection between nature and industry.

Burtynsky has traveled the world to document the influence of oil, taking photographs of oil fields in Azerbaijan, Canada, California, highways in Texas, and industrial parks in Shanghai, among other places. Like the landscape painter before him, the artist shoots from a distance, letting the scale and sprawl of his subjects overwhelm the piece and its viewer. Like paintings in the sublime tradition, Burtynsky's photographs inspire awe as well as apprehension-the images are very beautiful, but they document a frightening reality.

Highway #2 is an aerial shot of a highway loop in Los Angeles - the road twists and turns, making complicated, abstracted swirls. The patterns are mesmerizing to the eye and remind the viewer of the power of technological and industrial innovation. However, in the context of this series, and when placed alongside Burtynsky's other photographs, this piece acts as a powerful reminder of the continuum of production. These dual messages are a potent commentary on contemporary life.

The artist writes, "These images are meant as metaphors to the dilemma of our modern existence; they search for a dialogue between attraction and repulsion, seduction and fear. We are drawn by desire - a chance at good living, yet we are consciously or unconsciously aware that the world is suffering for our success. Our dependence on nature to provide the materials for our consumption and our concern for the health of our planet sets us into an uneasy contradiction. For me, these images function as reflecting pools of our times."

This project is part of a larger inquiry into the interactions between nature and industry. Burtynsky has also completed series of photographs of shipyards, quarries, and urban mines which have been exhibited internationally. Images from the series are also on display at the Corcoran Gallery of Art and have been collected in a new artist book from Steidl. Edward Burtynsky's work has been collected by the National Gallery of Art, the Brooklyn Museum of Art and the Solomon R. Guggenheim Museum, among many other institutional and corporate collectors. He lives and works in Toronto, Canada.

For questions or more information please contact Laurie Adamson or Erin Boland at (202) 232-0707.

ADAMSON GALLERY

1515 fourteenth street nw
washington dc 20005
www.adamsongallery.com
p: 202.232.0707
email: gallery@adamsongallery.com

October 05, 2009

Stéphane Calais: Flowers for America

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Stéphane Calais: Flowers for America
October 8 – November 7, 2009
Reception for the Artist: Thursday, October 8th, 6-8 pm

Composites both practical and conceptual are at the center of the Stéphane Calais’s process in his second exhibition with ZieherSmith Flowers for America. The installation features paintings and sculpture as well as the artist’s own multifaceted approach to drawing.

In Pleiades, Calais morphs by superimposition eight watercolor drawings of “famous” men from three centuries into a sequence of sixteen pulsing, frenetic silkscreen portraits. Hanging in a formidable grid, their antique stateliness is, in fact, a mockery of identity and power, each sitter’s visage illegible; crumpled into seven others like last week’s news. These apparitions also question traditions in portraiture drawn by hand, considered by some today as almost quaint. The individual value of each precedent artist’s work and the sitter themselves are equally dismissed and enhanced, each silkscreen acting as a reverse palimpsest. This process could be seen as a critique or demystification, an understanding of tradition as cumulative, or as sheer delight in the capabilities of having everything at once.

In a series of sculptures Calais calls Ornaments, crimes and delights, macramé plant hangers filled with basketballs, feathers and plastic leaves hang from the ceiling like storks delivering Calais’s creative spawn. These collages of found and repurposed materials embrace lowly, crafty supplies and employ a symbolic, embroidered veil for the toy at the center of a multi-billion dollar industry. Undaunted by the decorative, Calais also approaches the ornamental with exuberant floral still lifes executed in tondi form and collectively titled Flowers for America. Not your typical flora, these abeyant blooms appear to smoke cigarettes, implode and spontaneously combust at once. They float on backdrops of dueling color amalgamations, blurred as though seen through a prism, laid over with vectors of saturated color.

Calais turns away from handy categorizations, urging “It’s better to be incomprehensible,” embracing aspects of a playful, absurdist tradition. Here he translates into French e.e. cummings’s lines “since the thing perhaps is/to eat flowers and not to be afraid.” The text piece acts as an anchor to the installation, as the wall drawing continues in a splatter of black paint on a length of white carpeting that buckles and heaves along the floor, extending the long poem of his perpetual creative evolution. Recognition tends to drift from painting to painting, sculpture to sculpture. Soon plants become portraits, ready-mades turn organic, and the printed page becomes a graffito wall in which poem begets drawing that morphs into the sculpture of the very ground beneath us.

Stéphane Calais was a finalist for the 2008 Marcel Duchamp prize and has exhibited widely at an international list of galleries and museums. In 2009, he has also had solo exhibitions at the Ashdod Art Museum, Israel and, in Paris, at Galerie des Multiples and at Espace Claude Berri.

The gallery’s forthcoming schedule will include exhibitions by renowned French artist Stéphane Calais; the New York debut of British artist Matt Stokes’s these are the days, a video installation co-produced by ZieherSmith and Arthouse, Austin; and book launches for the Stokes catalogue as well as Wes Lang’s The Paradise Club and Scott Zieher’s IMPATIENCE.

ZieherSmith’s new address is 516 West 20th Street, New York, NY 10011. The phone number and email remain 212-229-1088 and info@ziehersmith.com. Gallery hours are Tuesday – Saturday, 10 am – 6 pm and by appointment. www.ziehersmith.com


ZieherSmith
516 West 20th Street
New York NY 10011
212-229-1088
917-837-7201

For more info on me visit my official website
www.rickyday.net





October 03, 2009

Humprey Cobb: Portraits on Red

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My good friend and fellow artist Humphrey Cobb is holding a special one night only showing of his first new work in years called Portraits on Red. These incredible hand rendered drawings are incredibly detailed and passionate works.

All are welcomed to stop by on October 29 and enjoy the works for yourself.

Humphrey Cobb: Portraits on Red
October 29, 2009 7PM
137 Duane Street 3A
New York, New York

For more info on me visit my official website
www.rickyday.net





September 29, 2009

George Boorujy at P·P·O·W Gallery

Migratory Drift
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September 17 – October 5, 2009
Opening Reception: Thursday, September 17, 6-8pm

P·P·O·W Gallery is pleased to announce Migratory Drift, our first solo exhibition with George Boorujy. In his expansive and finely observed drawings, Boorujy uses a naturalist's eye to depict iconic North American animals and landscapes, presenting a vision of life on the continent that is at once foreign and familiar.

Within vast landscapes, plausible yet imagined human structures exist in environments that exhibit evidence of change. Not only has the climate and ecology shifted in these places, so has the interaction and behavior of their inhabitants both human and animal. Something big has happened, what is not clear is whether these are scenes of collapse – or renewal.

Through these images, Boorujy explores ideas of community; of the relationship between the built and the natural; and the cycles of predation and interdependence which postindustrial cultures hold at a distance. The connection of these concepts creates a vision that may be a glimpse into the not so distant future, an allegory for our own times, or the revelation of an alternate history.

George Boorujy was born and raised in New Jersey and now lives and works on the far Western tip of Long Island.

September 25, 2009

Ryan McGinley at Alison Jacques Gallery in London

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Alison Jacques Gallery announces the first UK solo show of acclaimed American artist Ryan McGinley with an exhibition of 24 new colour photographs shot in caves across North America. Over the last year, McGinley and his crew explored huge caves underground, venturing into unknown territory, seeking out spectacular natural spaces, some previously undocumented. The title of the show “Moonmilk” alludes to the crystalline deposits found on the walls of many caves; it was once believed that this substance was formed by light from celestial bodies passing through rock into darkened worlds below. A book of McGinley’s new photographs will be published by Morel books to coincide with the opening of the London show on September 10.

GALLERY

16-18 Berners Street London W1T 3LN
Telephone +44 (0) 20 7631 4720
Fax +44 (0) 20 7631 4750
OPENING HOURS

10-6pm Tuesday - Saturday, or by appointment.
The gallery is closed on Mondays
TRANSPORT

Nearest London Underground Stations
Oxford Circus Station and Tottenham Court Road Station

http://www.alisonjacquesgallery.com

For more info on me visit my official website
www.rickyday.net





September 24, 2009

Derrick Adams + Collette Blanchard Gallery and MOMA = Magic

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Check out my boy Derricks Adams participation in two very exciting events this coming weekend.

MoMA MIXX
The Museum of Modern Art
Saturday, September 26, 2009, 8:00 p.m. -12:00 a.m.

Featuring Derrick Adams and Mickalene Thomas AKA DJ Professor of Music and Dean of Admissions, Hercules and Love Affair, and Justin Carter and Eamon Harkin. MoMA MiXX pairs major artists with world-class musicians or DJs. At each dance party, both the DJ and the artist will spin a set of music that has been influential in their lives and work.

A benefit dance party hosted by The Junior Associates of The Museum of Modern Art . Tickets for cocktails and dancing start at $75. http://www.moma.org/visit/calendar/events/7277.
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The Kitchen Block Party: A Neighborhood Street Fair

The Kitchen

Saturday, September 26, 12-5pm

Featuring a project by Derrick Adams + Arvay Adams What's A Wiz? Second Life; Silkscreen T-shirt project in collaboration with Housing Works

Kick off the fall season with a free, family-friendly street festival featuring an afternoon of live performances alongside dozens of artist-led activities and crafts, including face-painting, puppet and mask-making, temporary tattoos, cookie decorating, collaborative sculpture projects, unusual photo booths, hula-hoop and drumming workshops, and many, many more! http://www.thekitchen.org/

For those of you who won't be able to come down this weekend, please be sure to look for Collette Blanchard Gallery at the NADA Art Fair this December, where Mr. Adams will have solo booth and perform Bizarro Wiz. http://www.newartdealers.org/miami/2009/

December 3-6, 2009, 2009
The Deauville Beach Resort
6701 Collins Avenue
Miami Beach, FL 33141

For more info on me visit my official website
www.rickyday.net





September 21, 2009

Stephen j Shanabrook's at DANEYAL MAHMOOD GALLERY

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STEPHEN J. SHANABROOK

Liquid LUSHES and Late Night House of PILLS

September 17 - October 17, 2009

DANEYAL MAHMOOD GALLERY
511 West 25 St. 3FL, New York, NY 10001

Looking at Stephen j Shanabrook's work is like watching the horse jumping over an obstacle and instead of landing on the other side it starts to float and you are lost. Like a man on a wire, Shanabrook restlessly walks the disturbing line between heaviness and zero gravity, between painful and sweet, death and beauty; melting them together - metaphorically and literally - into one frozen state, one fossil. In 'Hopping Hills, the Pharmaceutical Landscape', the artist melts plastic prescription pill bottles and presses them into the form of Easter bunnies. An installation of running and hopping rabbits made out of hundreds of empty pill vessels suggests that prescription drugs have become the new religion, with addiction to drugs the new American side effect - the result of lost hopes and multiplying disconnections between people and reality.

In Shanabrook's sculpture 'Island of the Lotus-Eaters' the viewer is seduced by the beauty of a huge flower, which upon closer examination becomes again, just a pile of melted drug bottles. On his long journey back home Odysseus visited the lethargic island of Lotus-Eaters. The lotus fruits and flowers, which were narcotic and addictive, were the primary food of the islanders. The Lotus-Eaters entertained Odysseus' men to the drug causing them to forget about their strong desire to go home, now they only wished to stay and eat more lotuses. The labyrinthine journey back home is the methaphor of our lives. While drug induced illusions have the tendency to bring us 'home', most of the time it's a wrong turn on a slippery road - and often a fatal one.

Shanabrook isn't a stranger to addiction, he went to hell and back on his own. Whith a mix of materials in non-stop experimental process, which for the addictive personality is never enough, in combination with themes of longing for home - strongly reminds us of another mover - Martin Kippenberger. With similar types of gestures, such as one where Kippenberger painted his Ford Capri in brown paint imbued with oatmeal, Shanabrook covers common plastic soldiers in delicious dark chocolate in his new installation 'Battle of Losers and Lovers'. The sweet, desirable chocolate dripping on the white surface of stacked office tables (an allegory of the everyday working process) becomes messy bloody evidence of fear and dissatisfaction with one's self.

In his rather horrifying statement 'The Chocolate Soldier or Heroism - The Lost Chord of Christianity' C.T. Studd (1860-1931) said "a soldier without heroism is a chocolate soldier! ...dissolving in water and melting at the smell of fire. Sweeties they are! Bonbons, lollipops! Living their lives in a glass dish or in a cardboard box, each clad in his soft clothing, a little frilled white paper to preserve his dear little delicate constitution." More than a hundred years later we understand that there should be place for all - chocolate soldiers, losers and lovers. While, and especially because, society puts so much pressure on people's lives, that every day feels like a battlefield. And in the end of the day we want a prize, we want chocolate, we want home. Shanabrook remembers reading an account of a field medic from the Vietnam War. "He was explaining what he carried with him in his medic satchel, these bare necessities as he called them included: gauze, morphine, tape, comic books and M&Ms. The candies were for the mortally wounded soldiers, the ones that would never make it to the field hospitals. For these soldiers the candy was a way to satisfy a simple desire to feel closer to home, before they slipped away into that unknown jungle." (Veronika Georgieva, 2009)


Daneyal mahmood
info@daneyalmahmood.com
DANEYAL MAHMOOD GALLERY

511 WEST 25 ST, 3FL
NEW YORK CITY 10001
phone: 212 675 2966

Tues.-Sat. 11am to 6pm
(between 10th and 11th aves.)

September 16, 2009

Kinsey/DesForges presents: Angelika J. Trojnarski After The Gold Rush

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Kinsey/DesForges presents:

Angelika J. Trojnarski After The Gold Rush

OPENING RECEPTION: Saturday, September 12, 6-9pm

Kinsey/DesForges is delighted to welcome Düsseldorf-based artist Angelika J. Trojnarski to Los Angeles for her second solo exhibition with the gallery. The show will open on September 12th with an artist’s reception from 6-9pm, and will continue through October 10th.

Variegated decay and abandonment are the protagonists of Trojnarski’s work—dissolving dwellings and orphaned amusement parks, rusted ship hulls and the rickety edifices of a civilization desperately denying its own condition and fate. Focusing on the architectural remains and industrial excess of an economic fall-out, Trojnarski examines how humanity’s true strengths can be dwarfed by the greed and myopia of a dominant few, leaving those affected clinging to their residual past and wondering what went wrong.

In this investigation, Trojnarski creates a certain Baudelairean beauty; fractured planes propel outward, sustained by unfaltering scaffolds and solid foundations, all brilliantly illuminated under a wash of radiant light. A heroic optimism motivates the apparent wreckage, demonstrating the vast potentiality for change and regrowth. She explains, “This exhibition is a dichotomy of attraction and rejection, temptation and redemption.“ These “seductive still lifes of destruction,“ caught in arrested motion like a neglected construction site, hauntingly bear witness to the traumas within our collective memory. Like skeletons of their former selves, the images seem to lament an irrevocable loss while implicitly calling for an effort to move forward and rebuild the twisted spine of social conscience.

Born in Poland in 1979, Trojnarski lives and works in Düsseldorf, currently studying at the Academy of Fine Arts in Düsseldorf (Düsseldorf Kunstakademie). Her works have been shown in Germany and the U.S. as well as in London and Basel, Switzerland.

Kinsey/Deforges
6069 Washington Boulevard, Culver City, California
www.kinseydesforges.com

September 15, 2009

Wadsworth Jarrell at International Visions The Gallery in Washington D.C.

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Wadsworth Jarrell emerged on the Chicago Art Scene just as the Civil Rights Movement was rapidly escalating. As an African American artist, he felt compelled to produce relevant work that would not only echo the liberation movement, but influence the visual identity of black culture. His visual language would pull from traditional African art forms, luminous colors, rhythmic patterns, and black subject matter to envoke pride, power, and self-awareness.

Jarrell's work became distiguished for its vibrant character, as well as for the artist's loyalty to African symbolism and geometric pattern. Even as Jarrell has added three-dimensional works to his repertoire, he remains dedicated to the aesthtic. As Dr. Robert Douglas wrote in the book Wadsworth Jarrell: The Artist as Revolutionary, "Because his life has been a continued thrust for independence and free expression, because his art has remained truthful to African people's struggles, Wadworth Jarrell, the artist as revolutionary, is a beacon of possibilty for others."

Jarrell's iconic work has been featured in close to 200 exhibitions, including 28 solo shows. Major instutions like the Philadelphia Museum of Art, the Contemporary Museum of Art in Chicago, and the Smithsonian International Gallery have exhibited his work. Collectors include the Shomburg Center, the High Museum of Art, the Coca-Cola Corporation, Atlanta Life Insurance Company, and the Montreux Office of Tourism (Switzerland). He completed his undergraduate studies at the Art Institute of Chicago, and received his Masters of Fine Arts at Howard University.

International Visions The Gallery | 2629 Connecticut Ave NW Washington, DC 20008

gallery hours. wed-sat, 11am-6pm or by appointment | t. 202 234 5112
www.inter-visions.com

September 08, 2009

"No Show" At Nicholas Robinson Gallery in New York

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Nicholas Robinson Gallery is pleased to present a group exhibition exploring the employment of trompe l'oeil devices in contemporary art, and in particular how this technique/premise is more readily embraced by sculptural work than painting, the traditional antecedent.

The exhibition focuses on a few artists who are among the most interesting practitioners of these ideas, including Susan Collis, Jud Nelson and Gavin Turk. The intention is for the show to appear very casual in its manner of installation, reinforcing the fact that much of this work meticulously replicates detritus or humble household items, subverting not only the materiality of sculpture, but also the kind of things that are traditionally considered 'worthy' of being represented in sculptural form.

Also relevant to the show is a consideration of the Duchampian readymade, and how many of the included works turn this key concept of modernism on its head. Fastidious and obsessive lengths are gone to in order to convince the viewer that they are viewing actual rather than facsimile items.

The exhibition will include works executed in virtually every possible media, including carved and painted wood, painted bronze, paper, carved marble, glazed ceramic, wood veneers and semi-precious stones.

For more information, please contact the gallery at 212.560.9075 or www.nrgallery.com

For more info on me visit my official website
www.rickyday.net





Tim Bavington: Up in Suze's Room at Jack Shainman Gallery in NYC

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TIM BAVINGTON

Up in Suze's Room

September 11 - October 10, 2009
Opening Reception:Thursday, September 10, 6 - 8 pm

Jack Shainman Gallery is pleased to present Up in Suze's Room, an exhibition of new paintings by British-born, Las Vegas-based artist Tim Bavington.

Taking music as a starting point, Bavington translates chords, notes, guitar necks and solos into visual systems by approximating their equivalents in color and then spraying them with synthetic polymer onto canvas. Here Bavington presents a number of large-scale paintings in vibrant hues of red, fuchsia, orange, green, electric and pale blue, which pulsate like sound on the surface of the canvas. While the exhibition includes vertically striped paintings that are typical to Bavington's oeuvre, it also features a new style of work such as All I Want to Do Is Rock (Fretboard) that displays a grid of larger bands of color. It also includes Cold Fire and Up in Suze's Room, which both exhibit an uninhibited looseness where colors bleed into one another or fade in and out creating open spaces of white light within the composition. Vertical lines stand alone or mix with diagonals or horizontal bands. In some instances hazy, Rothko-like compositions inspired by album covers replace lines altogether. The album covers serve only as initial inspiration for these works that take on a life of their own. In doing this, Bavington unleashes colors intuitively to create paintings that offer harmonious visual impressions rather than simple representations of his source material.

Along with references to popular music such as jazz, Paul Weller, David Bowie, REM and Oasis, Bavington's influences include the desert landscape of the West, neon signage, and color field and optical paintings from the 1960s and 70s. Further, on a more conceptual level, Bavington's works refer to Newton and Goethe's studies of the relationship between sound and color, which continued through the paintings of Kandinsky and the composers of early 20th century Russia. He also deals with contemporary neurological studies of synesthesia--the concept of joined perception or the fusing of separate senses.

Bavington balances a systematic approach with intuitive paint handling, resulting in canvases that dazzle the eye while bridging the gap between the dueling concepts of real vs. synthetic, digital vs. analog and straight symbol vs. coded metaphor.

Tim Bavington earned his BFA at the Art Center in Pasadena, CA and his MFA at the University of Nevada, NV. He has participated in numerous group shows, including Seeing Songs, Museum of Fine Arts Boston, MA (Current); Diaspora at the Las Vegas Art Museum, Las Vegas, NV curated by Dave Hickey (2007); Extreme Abstraction, Albright-Knox Art Gallery, Buffalo, NY (2005); Specific Objects: The Minimalist Influence, Museum of Contemporary Art San Diego, CA (2004); New in Town, Portland Museum of Art, Portland, OR (2002); Neo Painting, Young Eun Museum of Contemporary Art, Kwangu-City, Korea (2002); The Magic Hour: Dir Konvergenz von Kunst Und Las Vegas; and Ultralounge, University of South Florida Art Museum of Contemporary Art, Tampa, FL (2000); and DiverseWorks Artspace, Houston TX (1998). His work is included in numerous public collections including MOMA New York, NY and the Museum of Contemporary Art, San Diego, CA. This will be Bavington's third solo exhibition at Jack Shainman Gallery.

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For more info on me visit my official website
www.rickyday.net





DUMBO ARTS CENTER in Brooklyn: THE EXPERIENCE OF GREEN by Wade Kavanaugh and Stephen B. Nguyen

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DUMBO ARTS CENTER WILL PROUDLY INAUGURATE THE FALL SEASON WITH:

THE EXPERIENCE OF GREEN
by Wade Kavanaugh and Stephen B. Nguyen

Opening Reception: Friday, September 25, 6 - 9 PM

Exhibition Dates: September 25 - November 29, 2009
Artists' Talk: Thursday, November 5, 7 PM
Gallery Hours: Wednesday - Sunday, 12 - 6 PM

Dumbo Arts Center (DAC) 30 Washington Street Brooklyn, NY 11222
www.dumboartscenter.org
Directions: F train to York Street A/C train to High Street B61 to York and Gold Streets.

Wade Kavanaugh and Stephen B. Nguyen will fill the Dumbo Arts Center with their enormous site-specific installation The Experience of Green. Opening September 25, 2009, the exhibition will emphasize the contrast between the organic and the built environment. Viewers will step out of Dumbo’s stark brick-and-glass commercial district into a fantastical forest; a walk-through labyrinth of old growth trees made entirely from red kraft paper. The spectacular network of gnarled tree trunks and twisted roots will extend over every inch of the gallery, suspending the boundaries of space and time while fully immersing the viewer.

The Experience of Green is Kavanaugh and Nguyen's most ambitious work to date as well as the artists' first major debut in NYC of their ongoing collaborative series of visually phenomenal, meticulously crafted paper installations. Here, the staggering volume of paper that the artists stack, splice, layer and coil will be in a brilliant crimson, burning an impression in the viewers’ mind. The Experience of Green may come most clearly into focus only after viewers exit the gallery, the color persisting as an optical after-image, accentuating the relationship between experience and memory, landscape and longing, nature and the sublime.

DAC and the artists acknowledge the following for making The Experience of Green possible:
The Walentas Family and Two Trees Management Co. LLC, who generously donated a studio space for six months to the artists; DAC Board Members, Michael Murray, CEO surroundart, and Jake Salik, CEO, Talas, whose efforts substantially cut production costs, and Anna Kraske, Attorney, for legal counsel.

The Experience of Green, a full-color catalog with essay by Jen Schwarting will be published by DAC in December, 2009.

DAC will be open until 8:30PM October 1 and November 5, 2009. We are a proud participant in the Dumbo First Thursday gallery walk series.


Dumbo Arts Center (DAC) is a 501 (c) (3) non-profit public registered charity. DAC is supported in part, by public funds from the New York City Department of Cultural Affairs, the New York State Council on the Arts and the National Endowment for the Arts. This organization also receives additional funding from The Robert Lehman Foundation, The Andy Warhol Foundation for the Visual Arts, The Joan Mitchell Foundation, The Lily Auchincloss Foundation, The Dedalus Foundation, The Milton and Sally Avery Arts Foundation, The Greenwich Collection Ltd., and The Cowles Charitable Trust. DAC's gallery and office space is generously donated by the Walentas Family and Two Trees Management Co. LLC.

Helen Mayer Harrison and Newton Harrison: The Force Majeure at Cardwell Jimmerson in Culver City, CA

Helen Mayer Harrison and Newton Harrison:

The Force Majeure

September 12- October 31, 2009
Artist Reception: September 12, 2009 6-8 p.m.

There is a gentle beauty in their work, and much charisma in the otherworldly maps and text panels
that are poetic and personal rather than dryly official. The exhibition is, of course, a call to action,
but is foremost a lyrical meditation on what ecological disaster and collective recovery might one day look like.
Elizabeth Mahoney, The Guardian, 2008


Helen Mayer and Newton Harrison will be exhibiting a new multimedia installation
titled The Force Majeure at Cardwell Jimmerson Contemporary Art. The Force
Majeure takes form as a body of photos, text, drawings, large-scale mappings,
ecologically based proposals and global warming narratives. Indeed, the crisis of
global warming is not a recent concern for these artists, but one they have
addressed throughout an exhibition career going back to 1970. (The 1970-71
period, for example witnessed the Harrisons’ Ecosystem of the Western Salt Works at
LACMA’s famous – or notorious – Art and Technology exhibition, their controversial
Portable Fish Farm project at London’s Hayward Gallery and as well, a spirited debate
with artist Robert Smithson on the paradoxes of art and ecology). The Harrisons, whose
proposals have influenced long-term public policy planning, are internationally recognized
for their visionary artworks grounded in the natural sciences.

8568 Washington Blvd.
Culver City, CA 90232
www.cardwelljimmerson.com
310-815-1100
Tuesday-Sunday
11AM until 6PM

NICOLAS RUEL 8 secondes at Galerie Orange in Canada

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NICOLAS RUEL
8 secondes

From September 16 to October 4 2009

Opening : Wednesday September 16, from 6 – 9 pm

: : :

In connection with Mois de la Photo (Montréal), Galerie Orange is pleased to present 8 secondes, a solo exhibition of photographs by Nicolas Ruel. 8 secondes depicts urban civilization captured by the photographer in sustained interval of eight seconds. He explored evocative cities, in daytime and nighttime settings, such as Paris, Tokyo, New York and Sydney. This series, exclusively printed on stainless steel, benefits from the intrinsic and intense luminosity of its support material. Focusing on the concept of the Monumental, this interconnected approach creates parallels between urbanism, architecture and the citizen, entities that become indivisible within a few tumultuous seconds.

¬ Nicolas Ruel was born in Montreal, Québec in 1973. Recent solo exhibitions include Galerie Seine 51, Paris (2009) and Thompson Landry Gallery, Toronto (2009). His works can be found in art collections such as Colart, Loto-Québec, TD Bank, MGM Grand, Microsoft, Power Corporation, Rothschild Investment Banking, Warner Brothers, and various private collections in North America and Europe. He lives and works in Montreal.

: : :

An exhibition catalogue will be available.


For further inquiries please contact the gallery.
info@galerieorange.com / 514.396.6670

Kevin H. Adams at Gallery Plan B in Washington DC

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For more info on me visit my official website
www.rickyday.net





NY Studio Gallery: Disjointed Terrains

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Joseph Smolinski, Sycamore, 2008 ink, watercolor, graphite on paper, 26” x 40” courtesy of the artist & Mixed Greens, NY

Disjointed Terrains

September 3 – October 3, 2009

Curated by: Zeina Assaf

Works by: Stanislav Ginzburg, Kim Holleman,
Lisa Lebofsky, Asya Reznikov, Joseph Smolinski

Artists Reception: Wednesday September 9, 7-9pm

NY Studio Gallery is pleased to present Disjointed Terrains. This group exhibition brings together works depicting un-sublime frontiers from modern day realities of interventions with nature to imaginary dystopic landscapes.

Stanislav Ginzburg's photographs and video reflect a state of mind or unreal scenes where daydreams, memories, and flashbacks replace the real-time environmental encounters.

In blending art, science, technology, and architecture Kim Holleman addresses concepts of utopia, utilitarianism and environmentalism. She examines our relationship to conceptual and physical space by co-opting found physical forms and changing them physically with new matter, created and found.

While using aluminum as her canvas, Lisa Lebosky paints landscapes strewn with devastation fluctuating from a portrayal of tragedy to a realm of disassociation and contemplation.

Asya Reznikov layers culturally specific imagery, situations, and artifacts into unexpected combinations aiming to diminish the gap between different cultural realities. In her work she creates places that are a fusion of elements from actual locations, built models and imaginary structures.

The subjects in Joseph Smolinski’s drawings include parasitic cell tower trees that populate the landscape and spinning tree turbines that question the notion of control of the environment and envision an optimistic and apocalyptic view of the future.

About NY Studio Gallery
NY Studio Gallery combines exhibition and workspace to create an atmosphere of interaction, collaboration and integration of media, styles and artistic genres for US and international artists.

NY Studio Gallery
154 Stanton Street @ Suffolk, New York, NY 10002
info@nystudiogallery.com l 212.627.3276l www.nystudiogallery.com
Thursday - Saturday 12 - 6pm or by appointment

For more info on me visit my official website
www.rickyday.net





September 04, 2009

Tauba Auerbach HERE AND NOW/AND NOWHERE at Deitch Projects SoHo

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HERE AND NOW/AND NOWHERE

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September 03, 2009 — October 17, 2009
18 Wooster Street, New York

The collapsing of two conflicting states is the central theme of HERE AND NOW/AND NOWHERE, Tauba Auerbach’s new exhibition at Deitch Projects. The artist deliberately composed the title as an anagram. The paintings, photographic works, sculpture and the musical instrument that comprise the show are all structured around the threshold between order and randomness. The philosophical conflicts explored in the work include:

The liminality, or intermediate state between two dimensionality and three dimensionality.

The past and the present.

A combination of the two: a past three-dimensional state and a present two-dimensional state.

Being HERE vs. Being THERE, and being both HERE and THERE at once.

Randomness vs. Determinism and the unpredictable order of chaos.

In the marrying of two conflicting states, the work is also about the number 2, a concept that is inherent in the remote interdependence central to the sculptural works in the exhibition.

There are five bodies of work represented in the exhibition:

Crumple Paintings

The next generation of the Crumple paintings previously shown in Deitch Projects’ Constraction exhibition last summer and in the New Museum’s Younger Than Jesus. These new works have been created for the large space of Deitch’s 18 Wooster Street gallery and require that the viewer stand far back from the work to perceive the illusion of a crumpled surface constructed from large Ben Day dots.

Static Photographs

A new series of more representational, but still undecipherable Static photographs. They focus less on the emergence of pattern as in the previous series, also shown in Younger Than Jesus, and more on the emergence of form. They address the question of what makes something “something.”

Fold Paintings

A series of incrementally sized fold paintings, painted on raw canvas with an industrial paint sprayer. They explore the merging of a past three-dimensional state with a present two-dimensional state.

A sculpture that is half inside the gallery and half outside of it.

There will be a form resembling a black orb hanging from the gallery façade. It will blow in the breeze. Inside the gallery, there will be a light source dangling from a thin rod, moving around exactly the same way as the form outside. The sculpture is based on the phenomenon of entangled particles, two particles that, when separated from one another, continue to behave identically, even at a great distance. If you stimulate one, the other reacts too. It is as though they are supernaturally connected.

The Auerglass

The Auerglass, which is the central work in the show, is a two-person wooden pump organ designed by the artist with her friend Cameron Mesirow of the band Glasser. The instrument cannot be played alone. It requires two people to play. One player has to pump in order for the other to play and vice versa. There is a four-octave scale that is divided so that each of the two players plays every other note. Auerbach and Mesirow will play a composition written specifically for the instrument. It combines music that Auerbach wrote as a child, songs from Glasser and new material. The Auerglass will be played at the opening on September 3rd, as a prelude to a Glasser performance at 8pm on September 11th, and daily at 5pm from Tuesday through Saturday during the exhibition. Ida Falck Øien, who creates the costumes for Glasser, has created special costumes with shifting states for the Auerglass players to wear.

Deitch Projects has locations on 76 Grand Street and 18 Wooster in SoHo. These spaces are open to the public Tuesday through Saturday from 12pm to 6pm. We are easily accessible by subway via 1-9 train, the A, C, E train, the N, R, W train and the 4, 5, 6 train at the Canal St. stop.

Deitch Studios, located at 4-40 44th Drive in Long Island City, is currently open for special events. Deitch Studios can be reached by taking either the E or V Train to the 23rd Street/Ely, the G train to LIC/Court Square or the 7 train to 45 Road/Court House Square. Walk down 44th drive to the water's edge. Deitch Studios is located on the left hand side.

SoHo Locations:

76 Grand Street
Open to the public Tuesday through Saturday from 12PM to 6PM

18 Wooster Street
Open to the public Tuesday through Saturday from 12PM to 6PM

SoHo Locations:

Deitch Studios
4-40 44th Drive
Open to the public Thursday through Sunday from 2PM to 8PM

Black Light: An exhibition of photographs by Kehinde Wiley

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(Kehinde Wiley and Ricky Day)

Last night I attended the opening of the new Kehinde Wiley show called Black Light at Deitch Projects in SoHo. If you're already a Kehinde fan this show will be a treat for you because it provides a glimpse into the process behind his paintings which have always been photo based works. Check out the summary of the show from the Deitch Projects website.The show is accompanied by, Black Light, a full-color book published by Powerhouse and which is also available at Deitch Projects.

September 03, 2009 — September 26, 2009
76 Grand Street, New York

Deitch Projects is pleased to present Black Light, an exhibition of photographs by Kehinde Wiley that thrusts the black male image, captured by means of light manipulation and digital technology, into focus. This shuffle of Wiley’s artistic process reveals an integral component of his studio practice rarely seen while remaining, uniquely, Kehinde Wiley portraiture.

Enlisting the technical tenor of Hype Williams’ hip-hop videos from the 90’s, Wiley saturates his consummately styled subjects of Fulton Street Mall pedigree— caps flipped backward, wearing gear of New York legend— in “super rapturous light”. To transcendental and beatific effect, such illumination proffers a new measure of Wiley’s technical abilities, so that the medium of photography propels each figure to the point before paint consumes canvas— the moment when flesh, at its three dimensional, truth-telling, reveals scars long ago enacted. Browned fingernails, questioning red-glazed eyes and voluptuously glossed, cigarette-charred lips heighten what, for some, is no longer visible: a vulnerable microcosm of our metropolis— a black light. Through the 17 photographs on display, Wiley produces an intimate study of embattled psychologies whose adherents are at once flawed and majestic, canonized and misunderstood.

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The exhibition Black Light will be accompanied by, Black Light, a full-color book published by Powerhouse and will be available at Deitch Projects.

Deitch Projects has locations on 76 Grand Street and 18 Wooster in SoHo. These spaces are open to the public Tuesday through Saturday from 12pm to 6pm. We are easily accessible by subway via 1-9 train, the A, C, E train, the N, R, W train and the 4, 5, 6 train at the Canal St. stop.

Deitch Studios, located at 4-40 44th Drive in Long Island City, is currently open for special events. Deitch Studios can be reached by taking either the E or V Train to the 23rd Street/Ely, the G train to LIC/Court Square or the 7 train to 45 Road/Court House Square. Walk down 44th drive to the water's edge. Deitch Studios is located on the left hand side.

SoHo Locations:

76 Grand Street
Open to the public Tuesday through Saturday from 12PM to 6PM

18 Wooster Street
Open to the public Tuesday through Saturday from 12PM to 6PM

SoHo Locations:

Deitch Studios
4-40 44th Drive
Open to the public Thursday through Sunday from 2PM to 8PM

September 03, 2009

MOCA in LA

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FROM THE PERMANENT COLLECTION: ROBERT FRANK’S “THE AMERICANS”
06.14.09 - 10.19.09
In 1955, the Swiss-born photographer Robert Frank won a John Simon Guggenheim Memorial Foundation grant to photograph American people and places. For two years, Frank traveled by car throughout the United States, amassing over 20,000 negatives. The edited portfolio of 83 photographs was published in book form as Les Américains by Robert Delpire in France in 1958, and as The Americans in 1959 by Grove Press in New York. The American edition included an introduction by Jack Kerouac, the Beat writer most famous for his novel On the Road. Describing the emotional scope of Frank’s portfolio, Kerouac wrote: “After seeing these pictures you end up finally not knowing whether a jukebox is sadder than a coffin.” Frank’s photographs, which have become landmarks in the history of photography, were created with a hand-held Leica camera, often with a wide-angle lens, resulting in compositions that appear unplanned, spontaneous, and are ultimately revealing. In this 50th anniversary year of its publication, MOCA presents a rare showing of the complete set of photographs comprising The Americans, in the order carefully devised by Frank for the book. MOCA’s portfolio, which is the only complete set on the West coast, was purchased in 1995 with funds provided by Ralph M. Parsons Foundation. From the Permanent Collection: Robert Frank’s “The Americans” was initiated by Rebecca Morse and Corrina Peipon.

August 31, 2009

Jefferson Pinder and José Ruiz at (G Fine Art) El Museo del Ghetto

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Jefferson Pinder, José Ruiz, Roulette, video, 2009

EL MUSEO DEL GHETTO

Is pleased to present

Jefferson Pinder and José Ruiz

At G Fine Art, Washington DC

September 26 – October 24 20009

Opening reception September 26, 2009, from 6:30 to 8:30 pm

Curated by Christopher K. Ho

At 625-27 E Street NW Washington DC 20004

___________________________________________


(G Fine Art) El Museo del Ghetto is pleased to present new, major collaborative and individual works by Jefferson Pinder and Jose Ruiz at its temporary location on 625-27 E Street, NW, Washington, DC. El Museo del Ghetto at once deepens and exceeds the constellation of issues—about history, narrative, and identity—explored with various intensity in Pinder’s 2006 solo show at G Fine Art, and subjects them to the sly, deadpan humor evident in Ruiz’s own previous solo shows, in 2005 and 2007.

Perhaps the signal piece is Roulette, a collaborative video projected in the main space, Pinder puts a gun to his head and pulls the trigger. Ruiz responds by taking a different kind of shot—of tequila. The initial set up—a simple alternation, registered by the camera’s back and forth movement—engenders radically divergent, even contradictory, narrative structures. The anxious anticipation of watching Pinder’s game of Russian roulette eventually softens into staccato rhythm, while Ruiz becomes increasingly incapacitated by alcohol. That Pinder is African American and Ruiz is Latin American adds yet another layer.

Other works evidence Roulette’s deceptive simplicity (one might even say formalism). Ruiz’s Picasso Wore Mascara remakes Picasso’s Desmoiselles d’Avignon with Mexican wrestling masks in place of African ones. Pinder’s Mercury Capsule is a version of the 1959-61 eponymous NASA spacecraft made with wood from President Obama’s inauguration platform. And in the spirit of cultural communion, Pinder’s Missionary Project explores the Mexican underground commuter scene by delving into music. Using Afro-American sounds as a representation of self; the multi-channeled video performance brings the viewer into these precious exchanges in the underbelly of Mexico City. Rhythms harmonize (and clash) as the artist hawks his culture for ten pesos on crowded trains.

In Ruiz’s One Liners, two vinyl sentences, from respective positive reviews of Pinder and Ruiz’s previous solo exhibitions at the gallery, grace the walls, testing their accuracy and longevity in this new context, as well as underscoring the irony of a critically supported gallery now looking for a new home. Such irony might be the gist of Pinder’s video Lazarus, in which volunteers help the artist push a stalled car, only to (metaphorically) circle back to the same place. But then again, it is perhaps the enthusiastic involvement of so many between the start and the finish, regardless of the distance traveled (or not), which is the central point.

Jefferson Pinder’s work has been in numerous group shows at venues including The Studio Museum in Harlem, the Wadsworth Athenaeum Museum of Art in Hartford, Connecticut, the Zacheta National Gallery in Warsaw, Poland, and the Smithsonian’s National Portrait Gallery (RECOGNIZE! Hip Hop and Contemporary Portraiture). Currently, he is showing new work in After 1968, a traveling exhibition that originated at the High Museum in Atlanta. Pinder received his B.A. in theatre from the University of Maryland, and studied at the Asolo Theatre Conservatory in Sarasota, Florida before returning to received is MFA in mixed media (2003). Based in Washington, D.C., Pinder is now an assistant professor at the University of Maryland, where he teaches art theory and foundations.

José Ruiz is a New York City-based artist and curator, by way of Lima, Brasilia, Washington D.C., and San Francisco, who has shown his concept-based installations, videos, images, and objects nationally and internationally. His socio-political interests mirror his exhibition history through a preference in working with non-profit and alternative spaces. He is a member of several interdisciplinary collectives, such as Band Wagon (New York, NY), The Global Collective (UK, France, Netherlands, USA), and was a founding member of Decatur Blue, a D.C. art collective currently on sabbatical. He has served as a professor at Sarah Lawrence College, a guest speaker at the Rhode Island School of Design, The College of New Jersey, and the Transart Institute, and as an Alumni Representative for the San Francisco Art Institute. He has recently exhibited at the Incheon Biennial in Korea, Context Gallery in Ireland, Vox Populi in Philadelphia, and Moti Hasson Gallery, Cuchifritos, Longwood Arts Project, El Museo del Barrio, and the Queens Museum of Art, all in New York. Ruiz has recently participated in the Cisneros Fontanals Art Foundation’s Grants & Commissions Program, Emerge10 Artist Fellowship at Aljira, a Center for Contemporary Art, and the Jamaica Center for Arts & Learning’s Workspace Residency Program. Currently, he is working on projects for El Museo del Barrio (NY), Van Abbemuseum (Netherlands), and Momenta Art (NY).

Open Tuesday – Saturday 11am – 6pm

G FINE ART
Tel: 202 462 1601
www.gfineartdc.com
info@gfineart.com

For more info on me visit my official website
www.rickyday.net





August 27, 2009

I'm in an art show this weekend: Gone Too Soon

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The day Michael Jackson died hundreds of people descended on the Apollo Theater to share our love of Michael and his music. I of course brought my Nikon with me. I was one of God knows how many photographers on the scene documenting the experience. Angel L. Brown has curated a show of photography from that day at the Apollo called Gone Too Soon.

I have two pieces of work in the show and both are for sale. The show is at Billie's Black in Harlem and opens on Sunday August 30, 2009 the day after what would have been Michael's 51st birthday. There is an opening reception from 4pm until 8pm which will include live performances and a chance to meet and greet the artists. I will make an appearance at the event along with my fellow artists.

More info about the show can be found at http://gonetoosoonmjphotoexhibit.com

Hope to see you all there.

Common aint so common after all

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(a miserably hot me on the Diesel carpet)

Last night I was invited by my good friend and business associate Lee Soulja to check out the fragrance launch party for the new Diesel scent "Only The Brave" ( I dunno bout that name...hmmm). The spokesperson for the campaign is rapper Common. I've def liked a few of his songs, but could never call myself a fan. Hip Hop in general has kinda bored me for the last few years and backpackers while meaning well and being VERY talented and among the most "pure" of hip hop artists kind of have that weird holier than thou vibe that doesn't sit well with me. So for all these reasons and more I could never call myself a fan of Common though I have always respected him.

After watching him rrrrrrrrip his set last night I have the following statement to make: "Common...brotha...I AM SORRY AND I PUBLICLY APOLOGIZE! You are the shit LIVE! A dynamic performer who is clearly passionate about his art form and the people who support it" You have to love and respect a guy who is that passionate about something he loves!

He killed the set! Common commanded the stage with the energy of a 22 year old and the swagger of a gangsta rapper all with the maturity of an artist who's been in the game for years and has the class to be engaging without uttering a single curse word. Kudos, love and respect. Now I hope I get to shoot images of the brotha someday.

Peep this video from the show.

Untitled from Ricky Day on Vimeo.


By the way, I hear the fragrance smells pretty good. I can't be sure because there was none in the room.

...and I'm out.

Oops one last thing..here's a few pics from the event. There were lots of sexy ladies and handsome gents. Spotted in the room were Memsor Karamake of Vibe, DJ Baker, Artist Baron, Jessie O, Lee Soulja, and Puff of Notorious.

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For more info on me visit my official website
www.rickyday.net





August 19, 2009

Young Curators II at P.P.O.W.

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Nico Wheadon is a bright up and coming curator. She is assistant curator at Rush Arts in Chelsea and also doing lots of independent curating on her own. I recently attended Young Curators, New Ideas II at P.P.O.W. Gallery in Chelsea.

Below is a description of the show which I liked a lot. I attended opening night which was a major scene. The gallery was packed with art lovers, young artists and collectors. Check out the show before it closes and keep an eye open for Nico in particular. She is a talent to watch and I personally expect great things from her in the future. And I'm not just saying this because she's beautiful (but her beauty sure doesn't hurt...lol).

Amani olu projects, in conjunction with P.P.O.W Gallery is pleased to present Young Curators, New Ideas II, a curator focused exhibition that examines new voices in contemporary art through the perspective of seven New York based curators. These varied micro-exhibitions experiment with curatorial practice and an exploration of ideas as physical form.

Curators: Karen Archey // Cecilia Jurado // Megha Ralapati // Jose Ruiz // Nico Wheadon // Cleopatra’s (Bridget Donahue, Bridget Finn, Kate McNamara & Erin Somerville) // Women in Photography (Amy Elkins & Cara Phillips)

Thursday, August 6, 2009 at 6:00pm - Friday, August 28, 2009 at 5:00pm

P.P.O.W Gallery
511 W. 25th Street, ste. 301
New York, NY

http://www.ppowgallery.com/exhibition.php?id=35

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August 13, 2009

The Sweeney years at The Guggenheim Museum in New York

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When the Guggenheim Museum first opened its doors in October 1959, the Frank Lloyd Wright rotunda was filled with a selection of more than 120 works from the permanent collection. While the exhibition represented, to a limited extent, the Guggenheim’s history as the former Museum of Non-Objective Painting with works by Vasily Kandinsky and other modernists, the inaugural presentation also included 40 works dating from the 1950s. Drawn from the contemporary paintings and sculpture acquired by director James Johnson Sweeney during his tenure from 1952 to 1960, The Sweeney Decade: Acquisitions at the 1959 Inaugural features examples of international postwar trends in abstraction including Abstract Expressionism, CoBrA, Tachisme, and Art Informel, by artists Karel Appel, Alberto Burri, Eduardo Chillida, Willem de Kooning, Jimmy Ernst, Hans Hartung, Jackson Pollock, Pierre Soulages, Antoni
Tapies, and others.

Sweeney was known to be critical of Wright’s building design as well as the efforts of the museum’s first director, Hilla Rebay. He had the interior walls painted white (in opposition to Rebay’s preference that they be fabric covered), removed canvases from their oversized frames, and added sculpture— including a group of important pieces by Constantin Brancusi—to the collection that at that time was focused on paintings. Sweeney acquired works by vanguard painters working in New York—Abstract Expressionists such as William Baziotes, James Brooks, Ernst, de Kooning, and Pollock—whose work emphasized the emotional aspect of abstraction. He also looked to Europe to find artists who were breaking with traditional composition through gestural and spontaneous means, acquiring examples of the diverse trends of Art Informel (from the French informe, meaning unformed or formless) that proliferated in the 1950s. To this already international mix of abstraction, Sweeney added to the collection, for the first time, works by Asian artists.

The vision that Sweeney presented in the 1959 inaugural exhibition demonstrated the museum’s ability to embrace art that was new and challenging. By including a robust selection of works from the 1950s, made after Solomon R. Guggenheim’s death in 1949, Sweeney in fact remained faithful to the museum’s commitment to innovation championed by its founders. In March 1960, months before he resigned from the Guggenheim, Sweeney published an article titled “New Directions in Painting” in the Journal of Aesthetics and Art Criticism. There he made the case that in contemporary art, constant change should be seen as an assurance of integrity rather than a sign of fickleness, and that it is the “artist’s business” to be original: “Actually, this so-called ‘instability’ in the art of our period is its health. It is the sign of life in it, a sign of that constant urge to refreshment which, only, will keep the language of art alive.”

August 03, 2009

Your Bright Future: 12 Contemporary Artists from Korea at LACMA in Los Angeles

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Your Bright Future: 12 Contemporary Artists from Korea

June 28th - September 20th

This exhibition presents the work of twelve artists from South Korea who were born between 1957 and 1972. Coming of age amid political turmoil and increased freedom, they are keenly aware of their position as citizens of an increasingly prosperous but divided country in a rapidly globalizing cultural and economic environment. By focusing, often humorously, on the ephemerality of life and identity as well as the limitations of communication across languages, cultures, and generations they make presence, absence, and change the center of their work.

Note: In conjunction with Your Bright Future, LACMA commissioned YOUNG-HAE CHANG HEAVY INDUSTRIES to create a series of artworks to serve as introductions to this web feature; play them randomly by clicking the panel at left. Two more commissioned works by YHCHI are in the exhibition.
In East Asia, family names are written first, followed by the given name. Sometimes names are written as two separate words; other times they run together. Some of the artists in Your Bright Future follow East Asian conventions. Two also run their last and first names together. Others adopt Western conventions when they show their work in the West. We have capitalized the family name of each artist at the beginning of the section about his or her work.


This exhibition was organized by the Los Angeles County Museum of Art and Museum of Fine Arts, Houston, in association with SAMUSO: Space for Contemporary Art, Seoul.
It is made possible by grants from The Korea Foundation, the Andy Warhol Foundation for the Visual Arts, Inc., and the National Endowment for the Arts. The Los Angeles presentation of Your Bright Future: 12 Contemporary Artists from Korea is made possible by Hanjin Shipping Co., Ltd. Additional support was provided by LACMA's Wallis Annenberg Director's Endowment Fund.
In-kind media support provided by The Korea Times-Hankook Ilbo.

LACMA online

General Admission
A general admission ticket is a one-day pass to LACMA’s permanent galleries and non-ticketed exhibitions. To purchase general admission tickets, click here.

Adults: $12
Seniors (62+ with ID): $8
Students (18+ with school ID): $8
Children (17 and under): Free
Free Admission with Membership
Members receive unlimited FREE general admission to the permanent galleries and non-ticketed exhibitions for two adults and for their children under 18. (Individual members may bring one adult guest FREE). For more information, go here.

NexGen members also receive unlimited FREE general admission to the permanent galleries and non-ticketed exhibitions. One adult guest is also admitted FREE. For more information, go here.

Free Admission for All at Selected Times
On the second Tuesday of each month, general admission to the permanent galleries and non-ticketed exhibitions is free to all.

After 5 pm, you may pay what you wish.

For more information about becoming a LACMA member, click Membership or call 323 857-6151.

Hours

LACMA is open every day except Wednesdays, Thanksgiving, and Christmas.

Monday 12 noon–8 pm
Tuesday 12 noon–8 pm
Wednesday CLOSED
Thursday 12 noon–8 pm
Friday 12 noon–9 pm
Saturday 11 am–8 pm
Sunday 11 am–8 pm

Directions and Public Transportation

LACMA is located on Wilshire Boulevard between Fairfax and Curson avenues—midway between Downtown Los Angeles and Santa Monica.

From the Santa Monica Freeway (10), take Fairfax Avenue north 2 miles to Wilshire Boulevard. LACMA is on Wilshire between Fairfax and Curson Avenue.
From the southbound Hollywood Freeway, take Highland Avenue 3.5 miles south to Wilshire Boulevard; take a right on Wilshire and proceed 1 mile west to LACMA.
For additional maps and driving instructions, see Mapquest.
For public transportation information, call 1.800.COMMUTE or use the Trip Planner at www.metro.net to find the route that's best for you. Enter 5905 Wilshire Blvd., Los Angeles 90036 as your destination.
Parking

Parking is now available in the new 6th Street parking garage, located just east of Fairfax Avenue. The charge is $7 and may be prepaid at all Welcome Centers, with credit cards now accepted.

Other parking options:

Petersen Automotive Museum parking lot (Fairfax south of Wilshire) | $2 per half hour, $12 daily maximum
Page Museum of La Brea Discoveries lot (Curson north of 6th) | $8
Metered city parking is also available along 6th Street. But please read signs carefully; vehicles in violation will be towed.
Evening special: Vehicles entering the 6th Street parking garage after 7 pm park for free.

We encourage visitors to carpool or use public transportation.

For more info on me visit my official website
www.rickyday.net






Ron Arad at MOMA in New York

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Among the most influential designers of our time, Ron Arad (Israeli, b. 1951) stands out for his daredevil curiosity about technology and materials and for the versatile nature of his work. Trained at the Jerusalem Academy of Art and at London's Architectural Association, Arad has produced an outstanding array of innovative objects over the past twenty-five years, from almost unlimited series of objects to carbon fiber armchairs and polyurethane bottle racks. He has also designed memorable spaces, some plastic and tactile, others ethereal and digital. This exhibition will be the first major retrospective of Arad's design work in the United States.

Arad relies on the computer and its rapid manufacturing capabilities as much as he relies on the soldering apparatus in his metal workshop. His beautiful furniture can even receive and display SMS and Bluetooth messages from mobile phones and Palm Pilots. Idiosyncratic and surprising, and also very beautiful, Arad's designs communicate the joy of invention, pleasure and humor, and pride in the display of their technical and constructive skills. The exhibition will open in Paris in the fall of 2009.
The exhibition is organized by The Museum of Modern Art, New York, in collaboration with the Centre Pompidou, Paris, Musée national d'art moderne/Centre de création industrielle, and the Stedelijk Museum, Amsterdam.

The exhibition is supported by Notify.

Additional funding is provided by The Contemporary Arts Council of The Museum of Modern Art.

The accompanying publication is made possible by The International Council of The Museum of Modern Art

MOMA

July 31, 2009

Moment as Monument at Thomas Erben Gallery NYC

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Moment as Monument

Hemali Bhuta - Ajit Chauhan - Siamak Filizadeh - Chitra Ganesh - Barbad Golshiri
Matthias Müller - Yamini Nayar - Vijai Patchineelam - Srestha Rit Premnath
Mahbub Shah - Kiran Subbaiah - Jaret Vadera - Haeri Yoo

August 18-25, 2009
Opening Reception: August 17, 6-9 pm

Travancore Palace - New Delhi
Kasturba Gandhi Marg, Connaught Place, near Bharti Vidya School

Thomas Erben Gallery and Aparajita Jain of Seven Art are excited to present Moment as Monument, a curated exhibition of work in a variety of media by thirteen artists from Brazil, Canada, Germany, India, Iran, Pakistan and the United States, many of whom are part of the South Asian diasporas.

Moment as Monument explores the dynamic relationships between the temporal and the authoritative, in the overlap where politics, social systems and cognitive structures intersect. Through varied strategies, processes and materials, the artists in the exhibition all seek to question, challenge, expose or destabilize the often unacknowledged ideological, social, psychological, aesthetic and philosophical constructs that surround us daily.

The concept of "moment" implies sequentiality, a before and after. The criterion of isolating one moment from another is marked by intensity - of a political nature, for example, in Rit Premnath's (b. 1979, Bangalore) Surrender, a photograph of Somali pirates buzzed by a U.S. Navy helicopter. Cropped and reframed as a triptych, the singularity of the scene assumes the quality of a cinematic event. In his interactive video-installation, Kiran Subbaiah (b. 1971, Sidapur, India) heightens our awareness of the moment by duplication and temporal displacement whereas Barbad Golshiri's (b. 1982, Tehran) Jxalq [(d_ælgh) v.t. & i. act of creating a masturpiece], in part, is a meditation on the mutability inherent in the cyclical, or "looped" in video parlance.

Mahbub Shah's (b. 1978, Sindh, Pakistan) seemingly unorganized arrangements of dots cropped from colorful magazine ads solidify a scintillating universe in which shifting patterns and structures emerge. Similarly visually fragmented, Haeri Yoo ((b. 1970, Korea) systematically suspends in her paintings stories of disrupted feminist and cultural narratives. This new body of work evidences her shift towards the dissolution of a linear narrative, testing the inherent possibilities in the foundational language of painting itself.

By its function, the monument solidifies the moment and, through amplification, projects itself as an overriding principle pushing other moments into oblivion. Interested in the detritus of buried narratives, marginal figures and parallel histories, Chitra Ganesh (b. 1977, Brooklyn) ink-jets, in a new body of work, disparate visual materials and languages onto unstretched canvas which she further elaborates upon with paint additions and collaged elements.

Siamak Filizadeh (b. 1970, Tehran) uses the visual language of advertising with its authorial intentions, not only as a tool to mock Iranian's high end consumerist aspirations but also ironically points to the impossibility of the production of these products in contemporary Iran.

Yamini Nayar's (b. 1975, Rochester, NY) photographs of meticulously constructed and intervened, small-scale architectonic works situate themselves at a very specific place of time defined by an intersection of personal, historical and psychological story lines that converge for an instance and diverge again. Keeping the images in flux, her formal skills transform the transient and ephemeral into iconic images. Similarly, the paintings and photographs of Vijai Patchineelam (b. 1983, Rio de Janeiro) are trapped in a perpetual state of transit. Idea and result are conflated into a present continuous, which is both the impetus behind and the product of the work.

Jaret Vadera (b. 1976, Toronto) is exhibiting work from the Here be Dragons series where he layers photographic prints - taken from experimental paintings - and re-presents them on light boxes. The resulting, back-lit images float back and forth between something abstract and decipherable, clinically cold and subtly seductive, digitally high-tech and biomorphic.

Vacancy, a collaged travelogue by Matthias Müller (b. 1961. Bielefeld, Germany) explores the city Brasilia, "the ultimate utopia of the 20th century" (Umberto Eco), abandoned by its inhabitants - kept alive today only by its staff. The film exudes a strangely obsessive feeling of time and space, documenting this vast and failed modernist utopian monument.

In her installation, Hemali Bhuta (b. 1978, Mumbai) uses cacti as her primary, unwieldy and literally prickly material to create a visceral experience for the viewer that elicits synesthetic associations. She processes her materials formally and uses accumulation to create large-scale environments.

All of these works finally demonstrate that such categories as moment and monument are inextricably linked, constantly shifting and forever being reconfigured. Their malleability is finally determined through each artists strategies and processes, and, ultimately within the viewer.

Thomas Erben, Curator

Thomas Erben Gallery

526 West 26th Street, floor 4
New York, NY 10001
212.645-8701
www.thomaserben.com
info@thomaserben.com

July 30, 2009

Remains of the Day curated by Vadis Turner at Lyons Wier Gallery in NYC

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Remains of the Day
curated by Vadis Turner

Opening Reception for Remains of the Day is Monday, August 3rd, 6 - 9PM

- Exhibition Dates: FIVE DAYS ONLY August 3rd to August 7
- Opening Reception: Monday, August 3rd from 6-9 pm
- Closing Date: Friday, August 7, 2009
- Gallery Hours: Monday - Saturday 11-8, Sunday 12-8 pm
- Gallery Address: 175 Seventh Ave @ 20th St.
- Nearest Subway: C, E to 23rd St., or 1, 9 to 23rd St.

"Remains of the Day", curated by Vadis Turner, is a five-day exhibition featuring artwork by Ivin Ballen, Carlton DeWoody, Graham Gillmore, David Goodman, Midori Harima, Cassandra C. Jones, Mike Quinn, Leslie Roberts & Saya Woolfalk whose work serves as evidence of circumstances from the past. The work visualizes the documentation of time or a construction born from a deconstructive process.

Harlem Arts Roundup

Reel Sisters at Imagenation Film Festival

Marcus Garvey Park
DATE: August 10, 2009 · 7 pm

African Voices and Imagenation Film Festival present
an evening of music, poetry and film

Harlem jazz sensation Bill Saxton and poet Autumn Ashante will perform before the screenings!

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Now through Monday, August 31, 2009

New York International Latino Film Festival 'I am Happy' ('Eu Sou Feliz') Premier

This week the City is hosting the New York International Latino Film Festival. Soraya Umewaka is a documentary filmmaker from Tokyo. Upon winning Princeton's Labouisse Fellowship in 2006 she went to Rio de Janeiro, Brazil to make a documentary entitled 'I am Happy' on the creative culture that resides in the slums of Rio. Her prior documentary 'Street Witness' debuted at the Miami Film Festival with critical acclaim.

Clearview Cinemas (260 West 23rd Street between 7th and 8th Avenues)

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RUINED
EIGHTH AND FINAL EXTENSION!
Must Close September 6, 2009
From Lynn Nottage, the Obie Award-winning author of such plays as Fabulation and Intimate Apparel comes this extremely topical and highly acclaimed new work. A co-production with the Goodman Theatre, where it debuted to a shower of rave reviews, RUINED is a haunting, probing play about the resilience of the human spirit during times of war.

See RUINED now through September 6 for just
$49.50 (Reg. $75)

Tickets:
ONLINE: CLICK HERE or visit www.nycitycenter.org/ and enter code 4519.
PHONE: Call CityTix® at 212-581-1212 and mention code BTO.
IN PERSON: Bring a printout of this offer to the NY City Center box office at 131 West 55th ST., (between 6th and 7th Aves.) up to two hours before curtain.

BOX OFFICE HOURS: Mon-Sat 12-8pm; Sun 12-7pm
Performance Schedule:
Tues 7, Wed-Sat 8; Wed, Sat, Sun 2

GROUP SALES (15+): Marcia Pendelton/WTG Group Sales
646.467.7393 | wtggroupsales@aol.com

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Harlem Stage The Bachata Roja Legends

Featuring singers Ramon Cordero, Augusto Santos and "El Chivo Sin Ley" (The Lawless Goat), guitar giant Edilio Paredes; and young bachatero star, singer-guitarist Joan Soriano a.k.a. "El Duque" (The Duke); with Frank Mendez - guitar, Samuel Paredes - bass, Roberto Santos - guira and Randy Alejo - percussion.

Saturday, August 15, 2009
2:00 - 7:00 pm - Rain or Shine in the PS 161 Field - entrance at Amsterdam and West 134th Street
2:00 pm: Gates open

FREE!

For more information visit HarlemStage.org or call 212-281-9240, ext. 19 or 20
No chairs allowed. Bring a blanket to sit on.

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The Riverside Theater
Thursday, August 6 - Monday, August 17
The Riverside Theatre and BeBop Theatre Collective present two one-act plays celebrating the bold spirit of poet and Black Arts Movement playwright Sonia Sanchez.

8:00 P.M.-August 6, 7, 8, 13, 14, 15, 17
3:00 P.M.-August 9, 16
$20 General Admission
$30 OPENING NIGHT PERFORMANCE & RECEPTION CELEBRATION

The Riverside Theatre
91 Claremont Ave @120th St.
For tickets, call
212 870-6784
www.theriversidetheatre.org

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Cote Di'voire CIDW Festival
Saturday, August 8, 2009

Festivities at: MORNINGSIDE PARK, HARLEM USA
Including Musical performances, Food, Face Painting
Danse workshop, Fashion Show, Art Exhibit, Health Screening

For More Information Contact:
George Konan, CIDW Executive producer
email: cotedivoire7@gmail.com
Join FACEBOOK: COTEDIVOIRE7

July 20, 2009

Luck of The Draw:Photos from the event

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Like the Spice presents Off the Clock a group exhibition

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Let me start this blurb with one simple statement I LOVE LIKE THE SPICE GALLERY!!!!!

Like The Spice is a very cool little gallery in Brooklyn, New York. Marisa Sage (Sage, Like the Spice...get it? lol) is a talented artist and instructor who was my first photoshop instructor. The gallery focuses on contemporary art and artists and hosts several great shows every year. Marisa also hosts regular artist dinners in which a group of art lovers engage in a stimulating discussion of art and culture with an exhibiting artist over a homegrown, delicious and healthy meal. Below is a blurb on the new exhibition in the space. Check it out.

Like the Spice is pleased to present Off the Clock, a group exhibition of works by artists who work or have worked as studio assistants to other artists, featuring works by Rachel Beach who has assisted Roxy Paine, Jason Bryant who assists Kehinde Wiley, Allison Edge who has assisted McDermott & McGough and Jeff Koons, Charlie Ledbetter who also has assisted Jeff Koons, Jenny Morgan and David Mramor who assist Marilyn Minter and Reuben Negron who assists Papa Colo. The seven artists in this show have each spent a considerable amount of time working in another artist's studio. Here we present their personal artwork, giving viewers an introduction to the next generation of artists who may one day have assistants of their own as well as a chance to consider the studio assistant's place in the art world more generally.

Rachel Beach makes wooden sculptures with a tromp l'oeil kick, playing three-dimensional reality against two-dimensional illusion. Jason Bryant's cropped, photorealistic paintings of models and celebrities bring mystery and humanity back to the age of overexposure. Allison Edge investigates tween psychology, innocence, and nostalgia in her highly detailed oils. Charlie Ledbetter combines images inspired by multiple texts in compositions that playfully evoke grand literary themes. Jenny Morgan's portraits conflate the physicality of paint and person, psychology and physiology. Her collaborative works with David Mramor, investigate the tension and fluidity of portrait and landscape, abstraction and representation. In his sensuously painted watercolors, Reuben Negrón explores the private lives of people in love and lust, exposing and elevating them at once.

LikeTheSpice.com

Peek through the doors of Like the Spice Gallery, and you'll see an example of how art can be clever
and all-encompassing at the same time. In our space at 224 Roebling Street, between S 2nd and S 3rd, in Williamsburg, Brooklyn, Like the Spice promotes art that carries both meaning and beauty.

Like the Spice artists are encouraged to push their limits and find new directions in their work, bringing
art that is resonating, not just hanging. From pencil and oil to sculpture and video; our paintings are fresh and our digital art is not just about the pixels.

Like the Spice is happy to be a part of Williamsburg 2nd Fridays. Click here to learn more!
{224 Roebling Street. Brooklyn, NY 11211} {718-388-5388} {info@likethespice.com} {Wed - Sun 12-7, Mon by appt. only}

Google Maps

For more info on me visit my official website
www.rickyday.net





Chaperone John Waters' Desperate Living (1977) w/ Kalup Linzy WEDNESDAY, JULY 22. 7PM

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Chaperone John Waters' Desperate Living (1977) w/ Kalup Linzy
WEDNESDAY, JULY 22. 7PM. FREE. EFA Project Space, 323 W. 39th Street, 2nd Floor

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"For a long time, I was a fan of John Waters' film Serial Mom with no familiarity of his previous work. Shortly after beginning the Conversations Wit de Churen series, I was accepted into the Skowhegan School of Painting and Sculpture. There, the faculty and my mentors suggested I look at early John Waters films. One film in particular,Desperate Living (1977), captured my imagination the most. Having first viewedDesperate Living a quarter of a century after its release, this classic film gave me the courage to freely and subversively explore subjects of race, gender and sexuality in my own video work - in particular, Conversations Wit de Churen 4: Play Wit de Churen and KK Queen Survey. In these particular works, psycho-sexually charged domestic drama, bad nerves, irreverent relationships, and characters who often could care less about each other's feelings all reflect Waters' influence." - Kalup Linzy

From June 10th through July 29th, 2009, EFA Project Space presents Chaperone. This weekly series consists of films handpicked by a group of artists, all whose work provocatively explores disparate aspects of our culture's love affair with mediated reality.

For more info on me visit my official website
www.rickyday.net





Exhibition extended at Kinkead Contemporary in LA

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Kinkead Contemporary is pleased to announce that Heather Cantrell's exhibition, A Study in Portraiture: Act 1, curated by Caryn Coleman, will be extended through August 15, 2009.

Heather Cantrell - A Study in Portraiture: Act 1
June 20 - August 15, 2009
Curated by Caryn Coleman
Opening reception Saturday, June 20, 6-9pm.


Heather Cantrell, A Study in Portraiture (Laura Howe), 2008. Silver rag archival ink jet. Ed. Unique (2 A.P.s), 15" X 12.5".

A Study in Portraiture deals with the subversion and altering of identity through portraiture and how those issues manifest themselves through Heather Cantrell's exploration of tribes and subcultures, specifically those of the art world. The project explores her usage of theatricality and references to historical artworks within her chosen medium of photography to document the performative. Involving much more than mere photography, Cantrell's artistic practice entails a conceptual strategy that incorporates performance, theater, painting, sculpture, and sociology. The resulting photographic image represents this in one captured moment with all its beautiful ambiguity and intrigue - it is a 'play-still.'

Kinkead Contemporary will be turned into an "in-house" photography studio for Heather Cantrell's A Study in Portraiture: Act I where members of the Los Angeles art community will be invited to participate in the performative act of having their portrait taken. Using hand-painted backdrops and a variety of costume and prop materials, Cantrell pushes her role as a director, embracing ideas of the theater, by making each exhibition of A Study in Portraiture an act in a play (hence the titling "Act I" and "Act II" etc.) where each individual has the ability to realize and portray a character. Referencing West African photographers Seydou Keita and Malick Sidibe as well as the 18th century society portraits of British painter Thomas Gainsborough, she addresses the subject's complicity in constructed identity and the role the artist also has in creating this. Like these artists, she does this while simultaneously documenting a generation - hers being an ethnographic exploration in the exclusivity of the contemporary art world.

Cantrell's portrait studio will remain in the main gallery throughout the exhibition functioning as the site for scheduled sessions throughout the show (these will occur both privately and publicly) and as an installation object when not in use. Also on display will be selected framed portraits and a wall where small photographs will be added as each session occurs. The website www.studyinportraiture.com is a documentary component to the series featuring project history, images of the sessions, portrait photographs, news, and interviews.

KinkeadContemporary.com

For more info on me visit my official website
www.rickyday.net





July 19, 2009

LeBasse Projects presents: 'A Distorted Lens' New work from David Flores and Lisa Alisa

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LeBasse Projects presents:
'A Distorted Lens'
New work from David Flores and Lisa Alisa

Artist reception: Saturday, July 18th, 7 to 10pm
Music and Beverages sponsored by DailyduJour

LeBasse Projects is proud to announce, 'A Distorted Lens,' a two-artist exhibition featuring gallery artists David Flores and Lisa Alisa. Both artists have worked with the gallery since the first group show hosted by director Beau Basse in 2005. Coming full circle, the artists are each presenting new bodies of work to open the summer season at LeBasse Projects' new gallery.

In his first Los Angeles show since 2006, Flores delivers all new artwork that embodies his unique interpretation of pop iconography. In addition to his paintings he has embellished dozens of vintage fashion, music and news magazine spreads with his vision of the world around him. Flores' stained-glass window style creates a warped view of the pop icons he simultaneously idolizes and mocks.

Lisa Alisa is clearly influeced by Japanese artists like Hayao Miyazaki and Takashi Murakami, but her work tends to have much more bite. Generally featuring thinly veiled self-portraits, her paintings are what she refers to as 'new feminist' artwork. While bloody and violent, the paintings are a metaphor for both the brutality of life and the desire for change within the artist herself. There's a thick vein of dark, surreal humor running through the images

The pair both paint in the 'superflat' style, but have clearly found their own voices in making their individual commentary on society. Alisa is openly shouting her feminist views while Flores' work is subtly, but undeniably masculine. Together Alisa and Flores reflect both sides of the dynamic that distinguishes between men and women.

For additional inquiries or preview please contact us at:
contact@lebasseprojects.com or 310.558.0200

www.lebasseprojects.com

July 17, 2009

Arts Happenings in Harlem

A Dialogue Between CORNEL WEST and CARL DIX

The ascendancy of Obama...and the continued need for resistance and liberation. A dialogue between Cornel West and Carl Dix.
July 14, Tuesday, 7pm
Harlem Stage at Aaron Davis Hall
150 Convent Avenue at west 135th Street
Tickets: $20 - Premium Tickets: $100. Group rates also available.
To purchase tickets:
From Revolution Books: 212-691-3345, or on line at www.revolutionbooksnyc.org/Purchase.htm
From Harlem Stage: 212-281-9240 ext.6, or online www.harlemstage.org
For more information or to volunteer, call Revolution Books at 212-691-3345, Email: cornelcarldialogue@gmail.com

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African Voices Presents Tips on Using the Internet to Promote Your Book

Saturday, July 18, 2009, from 1:30 pm-2:45pm
African Voices magazine will host "Doin' It: Promoting & Selling Your Book Online," a discussion on the resources available for authors to successfully use new technology to promote and sell their book online.

Guests will include a panel of publicists, authors, and other professionals who specialize in Internet marketing, everything from blogs, e-newsletters, social media networking, and the use of mobile phones will be covered in this exciting presentation. Learn how to get the word out about your new book without having a multi-million dollar marketing budget!

The program is a part of the historic Harlem Book Fair and will be held at County Cullen Library, Auditorium (Corner 136 St. & Malcolm X Blvd.). For information call: 212 865-2982.
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Dwyer Cultural Center Community Works Presents:
Inaugural Summer Programs
July 7 - August 31, 2009
Affordable cultural and performing arts events for the community!
Group Rates and discounts for youth and seniors!
Jumpin' @ The Dwyer
All Performances are at 11 AM and 1:30 PM

IMPACT REPERTORY THEATRE
Tuesday, July 14
Join this Oscar-nominated group as they celebrate the extraordinary talents and unique visions of Harlem's young people; addressing issues important to all communities through energetic song, dance and spoken word. Post show discussion.

SARAFINA
Thurs. July 16
A screening of the acclaimed movie musical about South African students involved in the notorious 1976 Soweto Riots in opposition to apartheid. An inspirational story about having the courage to fight for a better world at any age! Please join producer Voza Rivers who brought this award winning film to Broadway and Harlem in 1984 for an in- depth post discussion on this groundbreaking film.

For more information on these events go to
http://www.dwyercc.org/
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New York African Chorus Ensemble : The Gathering IV

A night of African Traditional, Popular, and Art music & Awards ceremony Directed by Joyce Adewumi
Featuring: Mai Lingani-Vocal, Yacouba (Cora) Mahamadou (Dejembe), Aya Kato-Piano, New York African Chorus Ensemble Inc, South African Harlem Voices

Place: The Riverside Theater (91 Claremont Ave., 120th street)
Donation $10.00
Date: Saturday July 18, 2009
Time: 7pm sharp

For Tickets Call Joyce at 212-862-4858, Gloria at 212-368-5444, Paul at 917-539-7271
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Gospel Uptown - Harlem's Inspirational Place

Friday, July 24 - 8:00pm
$30 cover
Call For Ticket Information:
(212) 280-2110

Hezekiah Walker
Bishop Hezekiah Xzavier Walker, Jr. (born December 24, 1962, in Brooklyn, New York) is a Grammy Award-winning gospel music artist, founder and leader of the Love Fellowship Choir, and Pastor & Bishop of the Love Fellowship Tabernacle, with locations in Brooklyn, New York, and Bensalem, Pennsylvania, in the United States. Bishop Walker is also the Founder and Overseer of the Covenant Keepers International Fellowship, which spiritually covers, giving guidance and direction to, numerous pastors and their churches in the US - including multiple Love Fellowship Tabernacle - The Kingdom Church, with locations throughout the US and in South Africa.

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Sonia Barnett Art Exhibit "Evolution"

Hamilton Grange Branch Library at 503 West 145th Street between Amsterdam and Broadway

Exhibition Dates: July 1, 2009-October 31st, 2009.
Reception: Wednesday, July 1st. 5:00 PM-7:00 PM.

Open to the Public

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Exhibitions Curated by Laura R. Gadson

Harlem Sewn Up: Quilted Reflections of a Community
June 20th - November 2009
Dwyer Cultural Center, 258 St Nicholas Ave @ 123rd St.
Mon-Fri 10am-6pm, Sat 11am-5pm

A group quilt exhibition featuring Faith Ringgold, Michael Cummings, Ife Felix, Laura Gadson, Dindga McCannon, Myrah Brown Green, Bisa Butler, Adriene Cruz, Diane Pryor Holland and the Harlem Girls Quilting Circle.

*****

Jewelry as Art - an exhibition featuring the fine work of Jewelry Artisans
July 2nd - Aug. 16th
Gallery M, 123 West 135th Street
Tues - Sat: Call for gallery hours (212) 234-4106
Jewelry artisans are often not recognized in a formal visual arts setting. This exhibition will shine a bright light on their artistry and celebrate their craft.

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Sincere's Heart, a play by Brandi Webb
Opening Wednesday, July 8th, 2009!

Show Dates/Location: July 8th through the 12th at Producers Club Grand Theatre at 358 West 44th St. (btw. 8th & 9th Aves.) NY, NY 10036.

Synopsis: Sincere struggles to support his two teenage sisters however, his transition from brother to parent proves him to be ill-prepared. Tensions surface when his uncle, Jerold - a drug addict, steps in as the legal guardian of his sisters. Is either one of them fit to raise the girls?

"Romanticism," an exhibition of new photographs by Lou Reed at Adamson Gallery in D.C.

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Lou Reed, Untitled (Santa Fe), 2009. Pigment print, Image size: 8 x 12 inches, Paper size: 16 x 20 inches
Romanticism
July 25 - September 5, 2009

Opening Reception:
Saturday, July 25th
6:30 - 8:30 pm
Adamson Gallery is pleased to present "Romanticism," an exhibition of new photographs by Lou Reed - stunning black and white images of landscapes and architectural motifs, shot on the artist's travels to Scotland, Denmark, Big Sur and elsewhere. The photographs are taken with a digital camera that Reed had adapted to "see" in the infrared zone, which gives them as aura of strangeness, or otherworldliness. They have a timeless quality but are simultaneously very modern, like Reed himself. They are surprisingly small in scale, making these striking natural images personal, portable, and intimate.

First with his group, The Velvet Underground and then as a solo artist, Lou Reed has been making innovations in music since the 1960s. His name has become synonymous with the New York avant-garde, and with the city itself. With his photography, Reed has been moving out of New York, while his first collection featured portraits of the city, this new one focuses on more pastoral settings.

This collection of photographs takes its name from the 18th and 19th century art movement that sought a return to the emotion, beauty, and unknowability of the natural as a counterpoint to industrial era's emphasis on technological development and the pursuit of rational knowledge. Reed's images recall this impulse: they focus on the aesthetic and the sublime; the splendor of a single tree against a cloudy Scottish sky, suffused with light. There is, however, also something uncanny and eerie about some of the photographs; the absence of human figures, a road leading over a bridge into a dense, shadowy forest. Reed has recently adapted the poet and writer Edgar Allen Poe's The Raven, the supernatural is a theme that underwrites much of his recent work. Perhaps, like the Romantics, Reed is commenting on another Industrial Revolution - the rapid developments of globalization are once again placing the natural into both literal and metaphoric danger - the beauty of his landscapes takes on a more urgent meaning.

Reed says of his work, "I love photography. I love digital. I love digital. It's what I'd always wished for. Being in the camera and experiencing the astonishing accomplishment of the creations of life sparked through the beauty of the detailed startling power of the glass lens. A new German lens brings a mist to me. The colors and light I come to see through the beauty of the camera. A love that lasts forever is the love of the lens of sharpness - of spirit warmth and depth and feeling. It makes my body pour emotion into the heartbeat of the world. A great trade and exchange. I think of the camera as my soul. Much like a guitar. My lovely Alpa has rosewood grips. What more could you need?"

Lou Reed has been working in multiple media for over thirty years. Along with his band, The Velvet Underground, he was inducted into the Rock 'n' Roll Hall of Fame in 1996. He has acted in and composed music for a number of films, and is the recipient of the Chevalier Commander of Arts and Letters from the French government. He is the author of Pass thru Fire: The Collected Lyrics and the play The Raven. His previous books of photography, both published with Steidl, include Lou Reed's New York and Emotion in Action.

For more information, please contact Laurie Adamson or Erin Boland at (202) 232-0707 or email gallery@adamsongallery.com.
ADAMSON GALLERY
1515 fourteenth street nw
washington dc / 20005
phone: 202.232.0707
web: www.adamsongallery.com
email: gallery@adamsongallery.com

July 14, 2009

Hey Detroit check this out

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Contact: Dane Young For Immediate Release
313.790.9027
be_young_pr@yahoo.com


THE CONFESSIONAL

On July 31st 2009 Art Nouveau Magazine and HOP Models and Talent Agency will invade the city of Detroit to present an evening of glitz, glamour and fashion.

For one night only the industrial Tangent Gallery will be transformed into a battleground where sophistication and chic meets the urban streets. Find out what happens when models stop being polite and start getting real, “The Confessional”, Detroit.

“The Confessional” is a production that explores fashion capitals of the world, with an added element of reality. “The Confessional, is our take on America’s Next Top Model and the Real World” according to event coordinator Dane Young. This show will give the audience an insight on what it takes to put on a production as well as introduce the models as fictional reality tv show characters. “Over all fashion as never looked so real.”

The show features designs and styling by local artists Deante J, Gunk, 323, S.N.O.B.B, Esther & Ruth, Paper Dolls and many more. Opening reception is at 7pm, with meet and greet, and show will start imm