To wind up at the Metropolitan Museum of Art must have been an interesting journey. Could you please tell us a little about yourself and the journey that brought you there.

I’m a chemist. I studied chemistry in Italy and then crystallography which is the discipline that studies crystalline materials particularly minerals; I obtained my PhD in Italy. Then I came to the US for a postdoctoral period at the University of Michigan continuing along that line with regular chemistry. That’s where I started looking for an alternative career in the industry.

Simultaneously, I discovered American art museums and found that they are very interesting and different than European museums, especially the Italian ones.

There is a degree of integration among different professions and also a broader array of professions within the museum. I discovered that there were scientists working in museums. Here in the US I found they have science labs that we are supporting the restorers, conservators and the art curators in their investigation which was a big discovery for me. Very few people were hiring scientists in museums and it was just a few university laboratories doing this and there were no scientists in museums, and even now there are no scientists in museums in Italy.

So I always had the thought to do this but I always left it as a thought thinking it would be nice but I can’t.

I discovered this field, then I just picked up the phone and started calling all the labs in museums. I spoke with their scientists and asked about an opening. I had a list of 12 it names to call. I still remember in fact my wife Jennifer, who at the time I was dating, said who told me that since I had a list of contacts to just pick up the phone and call.

And I wondered how to do that because I wouldn’t do that in Italy. She reminded me that this is not Italy and this is how you do things in America. So I just called them.

Everybody was very nice. There weren’t many opportunities. But the last person I called was the scientist at Los Angeles County Museum of Art. He said yes and he informed me that they had a fellowship I should apply for and so I applied. I actually went there on my own. I took a Southwest flight that probably stopped in 16 places before getting to LA to go for the interview.

They offered me a job that paid very little. I could manage and so, after a lot of trouble to get the Visa permit, I started in LA. I still remember when I went there for my interview because it was March and there was still snow on the ground in Ann Arbor, Michigan where I was living at the time. I got to LAX (which is not the best place in LA) but when I saw the palm trees I said, I’m going to get this job. So I started it and that September I moved to LA. I spent two years there as a fellow which is basically a very Junior position but it was an extraordinary experience because I really had a fantastic mentor, great colleagues, and it was really so integrated. There I got to work on everything from paintings to ancient Egyptian silver and bronze sculptures, Modern art. So really that was how I learned. After two years, I had the opportunity to get a research position at the Freer Gallery in Washington DC, which is the collection of Asian art of the Smithsonian. There I started working on a special project on Japanese art.

Then, after two years LA County Museum of Art called me and told me that the person I worked with there had retired and asked if I was interested in the job of senior scientist there. After some time there the Met museum called. Even though I loved Los Angeles, I could not say no to New York. New York is where things happen and and my task at the MET was really to create the first scientific research department in the all history of the MET. The MET had a few scientists, but they were working on different conservation areas, in different environments. So they asked me to come in, bring them together and create a bigger structure. Therefore, I gave up surfing in the morning before I went to work and I moved to NYC.

I’m still here, 16 years later.

You are a very successful scientist, what is your role/job description at the Met museum?

Now every day the first thing I do is to arrange the calendar for the following week because out of 16 people on my team I can only bring in six people every day because of Covid-19 occupancy restrictions, so I’m just like the guy who takes down bookings for the tennis courts or something like that. It’s not very exciting and you can imagine everybody wants to be here. A lot of my work is administrative. I created a team, I assembled a work structure; as a non profit we have to do a lot of fundraising that is looking for grants to secure positions to take care of the maintenance of equipment and to purchase new equipment. My biggest priority right now is really helping museums and the Arts to achieve more representation and more diversity.

We’re lucky that in the sciences we have an amazing pool of talented scientists of color, so we can take advantage of programs that existed in the past. We increased the minority representation in the sciences and our task now is reaching out to these candidates letting them know that this is a great career and they can join the museum and contribute and help us become more representative of America. To do that I just need to do a lot of knocking on doors to get money.

Because today is a very quiet day I could come in to do the interview with you and also work in the laboratory. I’m thinking it’s a luxury for me. I can shut off the paperwork and go to the laboratory where I’m putting together a new instrument that will allow us to do more work in identifying materials in works of art. Tomorrow I have a new Junior scientist who’s a PhD candidate here at City College and who works with me.

I also work on Japanese art. That’s my skill, my passion. I’ve done a lot of work to study artworks such as the famous Great Wave by Hokusai. If you Google me you’ll see that I talk a lot about that. Our job is to discover how those prints were made, and also to really look through materials, through the technology, through the identification of artists pigments and processes, and understand more about the society that produced these works.

Our aim would be not to just stop at the surface or under the surface, but scrape down and tell a story that really says something new about Hokusai and understand art through the lens of the components and physical nature of the object.

How do you apply your scientific expertise to the artworks that the museum deals with? Can you give an example?

For example, in Hokusai’s Great Wave (you can look up in our collection website) you see there’s a beautiful and dynamic live representational force of nature in the Great Wave where tiny little men are about to be washed out by the wave. One of the things that was very interesting to me was the use of blue. Now the woodblock printing in Japan in the 1800s was the most advanced color reproduction technique in the world. So even though it was a pre-industrial society, there was no steam power, no machine, etc., they could achieve amazing results in several fields.

They were able to achieve amazing color quality, amazing quality control over print that were sold at a very low cost. It was commercial illustration, it was not art. You start seeing prints like the Great Wave, my own hypothesis is that we have the beginning of artistic prints in that they go beyond even what was already highly achievable at that time in the sense that the depth of color and the color range is amazing. Our brain processes variations in light (expressed in drawings with light and dark shading) as variation in depth in space. Hokusai and the master craftsmen who printed this work knew this intuitively, and they took extra care with lighter and darker shades of blue to create depth and movement. The observation is that these works are truly exceptional, and trying to deconstruct them to see what makes them amazing in the use of color and then going into analysis to prove this theory is part of the work. Therefore, we use a variety of tools, and the most important ones are the eye and the microscope, as you really want to get close to it and observe it. I’m not that good but my colleagues that work in conservation really have highly trained eyes and they can very often tell me what I’m going to find. They are always right. And then we go on with non-invasive analytical techniques. These are instruments that allow us to identify the materials without removing particles from the work, eventually it may be necessary to do what we call micro sampling, that is removing microscopic fragments.

We have a fiber optic instrument that shines just like regular white light and we capture the reflection of the color, and we can see through a spectrometer broken down in each wavelength rather than the eye which has only three receptors, the eye sees blue, green, and red.

Blue, green, and red are amazing colors because we have color vision essentially by seeing these three colors. This instrument instead has hundreds of receptors so we can really get a very complex picture that gives us the fingerprint of a certain color. We can tell whether it’s Indigo or Prussian Blue.

So what we discovered was how those two pigments were mixed which makes the printing more complex, time consuming, and ultimately more expensive, if you see that the publisher chose to go through this route and created something that clearly has more added value, more artistic quality. Then, this is not a normal print, and I think that that is an important statement to make because it says something about the time that was done and what people wanted and it gets a bit more complex. You can imagine that landscapes are important to those who love to travel. And that’s normal for us. We don’t even think about it. You have a landscape in front of you and say, oh I would like to visit the place or I visited that place. I think about older times like special feudal society when they were not allowed to travel and could not just pick up and go with money; but also needing to be authorized by their local sovereign lord. You could not just go somewhere else and not work for him.

So what we see in Japan in Tokyo is that people had a little bit more money and

people started traveling. So maybe it’s a pilgrimage. Maybe it’s going to a famous sanctuary or famous art place. So if you’re a person of means you travel and you commission a painting that shows a famous place.

If your personal means are less you may buy a print and maybe still travel so the print could be a souvenir. If you’re somebody who cannot travel at least you can afford the print because now you see the landscapes around you. There is always a correlation of what you see in paintings and what you need to make that painting.

Before the 1820’s (The Great Wave is from 1830s) you cannot find landscape prints in Japan.

Quite simply because they didn’t have a blue color that you can use for print that would give you the bright blue of the sky and the deep blue of the ocean. All they had was indigo, which is the color of blue jeans, a bit of a dull color. It doesn’t really work. If you make it really concentrated it comes out a dull grey-blue.

If you want to you can make it a little like the blue sky but it won’t be the real blue sky and so at some point Prussian blue from Europe arrived in Japan. And that’s about 1820 the moment it arrives you have landscape prints. This is not a coincidence.

We traced the use of colors which is the very basic step into looking at a piece of art with the curators or art historians. We then join in and so it’s a little bit of a forensic conversation, a little bit of art historical background. We go in through a step-by-step approach using not the eyes but microscopes, for non-invasive analysis as well as x-ray laser based infrared tools.

Have you ever come across a forgery?

We generally don’t comment on forgeries and similar issues. There are other issues which are not outright forgeries, but it’s where a piece has been restored and and so a part is not original and some of them could be historical and some could be very new. So it’s more about deciding which one stays and which one goes. I know it’s a very fascinating topic, but I am sure there are actually less forgeries than you think. We haven’t seen many those. We also have the opposite which is when we have an object that may be classified as a reproduction or a copy and with true analysis we can tell that it’s actually the real thing. That’s far more exciting because instead of condemning something you can actually bring it back from obscurity.

What do you think of the art world right now during Covid-19? What has the impact been as far as you see?

I can tell you only what I know about-that it is certainly a crisis.

This is hitting all of us really hard.

I say it’s a catastrophe because right now the MET is losing an enormous amount of money. We’re trying to stay open and we really wanted to stay open, not so much to find revenue. As you know, we have a particular admission policy where New Yorkers and New York State residents “pay as they wish”.

The fixed price ticket is only for people outside of the State of New York. But with Covid the only people who come to the museum are New Yorkers and New York State residents. Our revenue is very small right now and really I would say the decision was to open because we think we represent something for the city for our members, for our public, and we wanted to be there.

The reopening was not about the money. As you look at museums closing around the country it’s very sad and I hope that museums can stay open and will decide to stay open if they can.

It is a great time now to visit and experience the museum because there are only very small crowds. Everybody is wearing a mask. Everybody is distancing. You can relax in the galleries.

What has been the most challenging part of your job?

We are a frontier profession but the field is still making advances that are considerable. Also we are at the border between different disciplines so it’s really a matter of communication. It’s really learning the language of other professions while communicating our work in a way that is responsible and relevant to others, and fighting every day for our own relevance. Really the ones at the table are the ones being part of the messaging in every sense.

What has been the most enjoyable part of your job?

I like to talk all over the world about my profession. I’ve been honored to be with scientists who achieve far more than me and we talked to school children and we see them get excited when we bring them here in the labs. We want to do more and more of that. That is absolutely enjoyable.

Then, the other part that is amazingly enjoyable is being in the lab and developing something new, creating a new instrument, making a new discovery. That is something that by itself is worth all the work that you put in.

You most likely do not work alone. What kinds of things do the team members do to assist you with your work?

The staff is highly specialized: chemists or geologists. Most of them are with PhDs where 80% are women, 20% men. Every year we have two to three postdoctoral fellows. We have had over 200 since I came here: interns from High School to graduate, undergraduate to graduate, and post graduate fellows to high level scientists coming.

That’s a very broad crew. We have people specializing in different areas. So I have a person who specializes in analysis of paintings, a person specializing in organic material now. This is sort of the oil, the tempera order. We have a person specializing in organic analysis for the rest of the collection. We established it recently, three people who are in charge of the environment. They study air quality, temperature, humidity, and light conditions.

It’s a luxury to have so many. We’re probably the largest in the US in a museum.

These types of diversity of scientific training and discipline is very important when you think of an art museum like the MET. We collect anything and everything from ancient Asia art

to the contemporary world. There isn’t another museum in the world that has a collection so broad and I don’t mean this to brag. For example, the British museum has the widest archaeological collection but does not have the diversity of art that the Met museum has.

It doesn’t matter how big you are, but it’s about the diversity.

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Where are you from? Please introduce yourself.

My name is Margaret Zox Brown. I was born and bred in Manhattan and have lived here for basically my entire life.

When did you start painting? What kind of art do you paint?

I started painting in my late 20s. It felt like an exciting leap for me since I had been drawing for my whole life. Painting was a new and challenging medium, and I was introduced to color. I immediately was taken with color and it became (and still is) a focus within my art. I would say that my art is Representational Expressionism.

What medium do you use for your paintings?

Almost all of my paintings are oil on canvas. I have also added oil paint to Conté drawings on paper, creating mixed media pieces. Oil paint and oil painting mediums are what I love most.

How did the lockdown impact your creation and what did it mean for you going forward?

Before Covid, I was heavily immersed in painting a series of New York Characters. Because I could no longer find my subjects nor go to my Garment District studio to paint, I had to rethink everything. After doing a few colored pencil drawings and watercolors at the dining room table, I knew I just had to find a way to paint in oil again to express all that I was feeling during this unique time. I made a temporary, makeshift studio out of the studio apartment above where I live. Eventually that apartment will be joined with our living space but during the lockdown it would be sitting empty. So I made it into my studio. I started painting oil paintings that reflected, once again, my world and the emotions I felt around what I chose to highlight with my art. I also changed from titling each piece to now during this Lockdown series, dating the paintings in order to chronicle how I was feeling throughout this time. I have learned a lot about myself and my intention with my art through this Lockdown series. I realize that I have always been painting the magnificence of the quotidian and connecting with the world by sharing it. And while my world is of course smaller, it is actually so much larger because we all are going through the same thing and we all are experiencing a world of life at home. I am so happy finding beauty within the moment. I have no idea where I will be emotionally in the future, but for now, even as the world starts to open up, I can see continuing to paint what I have been painting.

Most artists’ work has a purpose or a message. What is the message of your art? What emotions and feelings do you want to convey visually in each painting?

My intention with my art is to find the true beauty in the quotidian and to share that with the world. Life most definitely has ups and downs, but I prefer to express the beauty, both aesthetically and emotionally, that I see and I know we all can share.

Tell us about the favorite work of art you created and why it is.

I have many favorite pieces because I have been painting for a very long time and have gone through many different series. Also, I always love where I am in the present the most. So to answer your question, for now I would say my favorite painting is, “April 28th – May 17th, 2020.” This is a painting that is part of my Lockdown series. It is a painting of my husband and dog, snuggling together on the couch. I feel that this painting encompasses so much emotionally and uses so many artistic elements to achieve this that it is pleasing on so many levels. It reveals a sense of love and comfort and life and warmth. All these wonderful feelings of home are brought about through: subject, perspective, color, line and form, light, paint application, layout and design.

Do you have any future projects that you would like to share with us?

I am continuing with this series and continually receiving press about it.

Whose art work do you admire? Whose artwork has impacted you? What direction do you see for the world of art?

I admire many artists for varying reasons: Gauguin for his color, Matisse for his flat picture plane, Alice Neel for her figures, Morandi for his capturing of a moment of pause, and many contemporary artists whose work and careers I follow and applaud. I see the art world definitely continuing to thrive. Everyone needs art more than ever now. It is not only a documentation of the times we are living in but it also provides culture and optimism and a sense of community. And I believe that even if viewing or experiencing art might not be in the way we all have known, the internet is the perfect place to share and discover and enjoy art.

Margaret Zox Brown’s Website

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New York City is a vibrant and dense city, full of life, colors, and forms. A city known for its love of art in all expressions and ways. Artists and creators find in New York City an open space to showcase their talent, that openness and invitation to create are what makes New York City a reference in the world and a destination for many artists and visitors who want to experience and see the world through the eyes of those who have a story to tell.

A beautiful and special place is Central Park, right in the middle of Manhattan, a space that has allowed New Yorkers and guests to experience nature in the middle of this concrete jungle. Central Park is there to offer all its visitor a space to breath, to walk and to decompress from the intensity that this city can embody. Central Park is also an open space and an open canvas for many artists to present their work to the world.

The Horses is a remarkable art installation located in the Doris C. Fredman Plaza in Central park, curated by Public Art Fund and the curator Daniel S. Palmer. The Horses is an impressive artwork of three aluminum horses, created by the well-known and respected French artist Jean-Marie Appriou. The massive sculptures raging from 16 feet tall to 16 feet long are outstanding installations that evoke those whimsical and poetic figures that can be found in magical stories.

Appriou was inspired by the horses-drawn carriages that are one of the many attractions found in Central Park and by August Saint-Gaudens’s gilded monument of William Tacumseh Sherman on horseback, located in the area. The Horses are magnificent sculptures, carved in clay and foam models, cast in aluminum and full of textures emulating muscles, metal plates and in some places like fabric. One horse is seated, the two others are standing but their location it’s made to create a feel of a scene or scenario.

Public Art Fund curator said about the artist in the public art fund press release, “Jean-Marie Appriou’s unconventional approach to sculpture is almost alchemical, His craftsmanship is informed by a deep knowledge of the historical lineage of sculptors that have preceded him. At the same time, Appriou’s equine sculptures are otherworldly, evoking the silent majesty of horses with nuanced sculptural details that flicker between narrative and poetry.” 

The Horses are sculptures of a mix of human and horse form, giving the viewers the experience of being in front of mystical creatures, encouraging the visitors to see beyond what their eyes see and into what their imagination see. The Horses installation is also an active experience, where people can walk under the standing horse, or around the others to see all of their details and touch their textures, an activity that creates a distinctive experience.

The installation is a beautiful artwork that invites all visitors to use their imagination and to find the magic in the creation and is a suitable art piece that asks everyone to experience the charmed that Central Park offers. Art could be a special way to see the world, with curious eyes and with an open and creative mind, and that is the perfect attitude to go to Central Park and see and discover all its beauty, secrets, and artistic elements.

The world is living in a new reality, where social distancing, face mask and proper hygiene are part of the vocabulary, a new reality in which parks and open spaces are now the perfect and safest places to visit and to spend time. For New Yorkers and tourist now days Central Park has become not only an essential point in an itinerary but also a must visit to fulfill the artistic need, to calm the anxious mind and to enter for a moment in a new and simple reality full of nature and art. The Horses and this type of art exhibits give people the chance to practice art in a safe and fun way.

Public art is a great way to enjoy and satisfy that artistic necessity in any day, but most important during this time when people are not only facing isolation and health concern but also economical concerns. Now creativity is a key not only to create art or to find it but also a way to enjoy time, families, and friends. New York is a place that offers many forms of public and accessible art to its residents and guests. The Horses installation is an example of that artistic vain that is part of the essence of this city.

The Horses will be on display at Doris C. Freedman Plaza, 5^th Avenue at 60^th Street, until August 2020.

Jean-Marie Appriou, The Horses, 2019, Cast aluminum, courtesy of the artist and CLEARING, New York/Brussels; Galerie Eva Presenhuber, Zürich/New York
Presented by Public Art Fund, Doris C. Freedman Plaza, Central Park, Sep 11, 2019 – Aug 30, 2020

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What is Clio Art Fair? Can you please describe Clio Art Fair to me?

Clio Art Fair is a marketplace that allows independent artists to come into direct contact with insiders without the presence of any intermediary. The project was born when I was living in New York and working as an art critic, I had come into contact with many independent artists capable of producing quality works but who had difficulty finding exhibition spaces and therefore an audience of insiders; this was because we had little time or little experience to devote to our promotion. Starting from this need, we built a tailor-made fair where artists can promote themselves, and where gallery owners will not be present as exhibitors but are invited to participate as spectators.

When did you create the Clio Art Fair? And how many editions have taken place so far?AB: In our first 6 years of life, Clio had 11 editions of the fair and hosted 541 artists representing 5 continents and 35 countries.

What kind of works do you showcase at the fair?

All sorts of artworks from independent artists and collectives from all over the world. Artists have been freed up to use different materials and media and to deviate from accepted art practice definitions. Clio also hosted two special sections: I Want to Go Home, curated by Asya Rotella in March 2019, and A Nest Watching an Avalanche in March 2020.

What makes Clio Art Fair unique?

The logistics services that we are able to make available to our artists is what makes Clio unique. We can offer logistics for the shipment of the works, for installation and also for sale if requested. We have a team of art handlers and very close curators and sellers built over the years. Moreover, during the selection process, our team of curators establishes a dialogue with each artist, preparing in detail the selection and promotion on-site and online of each work.

How did Clio Art Fair grow in the past years?

During this period together, the fair grew exponentially. In the beginning, the fair started on the fifth floor of the Wolf Building on 26th Street, and by 2018, we were organizing our events on street-level storefronts  positioned in the key areas of the city.

Is there a preferred medium of art that has been successful using this method?

It is important for us to have the maximum diversity of media present, site-specific included.

Do you have any particular success stories related to the new types of dialogues that you have created (artists/collectors, artists/curators)?

From 2014 to today we have managed to create a network of returning artists, curators, and collectors. Every edition we meet new friends, people we sometimes hang out with during the year. Our fair is an opportunity for dialogue, sharing, and comparison with people from all over the world.

What are the plans for this year? And how has this pandemic impacted the fair?

Considering the current health situation, we are officially suspending our fair programming for the next 12 months.

Starting with the name chosen for our project, Clio, the muse of history, we have never hidden the Greek and Latin references of our roots. Our culture, although lovingly open to influences from all over the world, which provide for profitable and mutually enriching exchange, continues to have at its core an education that includes the texts of the Old Testament. Our spirituality is experiencing an epochal and ancestral challenge. And these new times have allowed us to dedicate ourselves to the rediscovery of texts that contributed to our education in our youth and have helped us to  rediscover an awareness of how to live in an obligatory period of repose. In biblical times, every seventh year was a “sabbath under the Mosaic law, a time during which the land was allowed to rest. Clio will enter a sabbath of sorts.

When and where will the next editions of Clio Art Fair be taking place?

We have arrived in our seventh year of activity with an awareness that we will be coming to a halt. However, we are ready to announce new developments. Clio, the Manhattan Fair for independent artists, will debut in Venice in June 2021 as a side event of the Biennale, it will then return to NY in September 2021 during the Armory Show and will debut in Los Angeles in February 2022 as a satellite event of Frieze LA. Once this period of emergency is over, we expect a period of freshness, vigor, and additional energy. We are awaiting and planning for an historical awakening.

We are ready to select the artists for our new programming period, and we invite you to submit your works. The application is free. The marketing fee will be waived if you complete the application by December 14, 2020.

With the hope of a profitable and creative sabbatical period, we respect social distancing today, but we will re-hug stronger than ever tomorrow.

https://www.clioartfair.com/

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New York City is a cosmopolitan city, where art museums are one of its biggest attractions for visitors who want to learn about art. The variety of options New York has to offer for those seeking to get in touch with the artistic world is an advantage and privilege for locals and visitors. Now the City has an additional option for people who admire, love and appreciate dogs.

The AKC Museum of the Dog, founded in 1982 in New York City, was later moved to St. Louis County, Missouri. After more than 32 years the museum is back in the City. A museum dedicated to celebrate dogs, their history, influence in society, and to praise the emotional bond between canines and humanity.

A unique place where sightseers will find fine-art paintings from various artists and media. Figurines and artifacts that showcase the history and diversity of dogs and their elements, as well as a substantial library with about 42,000 books and all sort of dog related information that a visitor might want to explore. Including a children section.

The Museum of the Dog according to their website, offers “rotating exhibits featuring objects from its 1700 pieces.” Visitors will discover paintings of famous dogs through history, including painting U.S. Presidents George H. Bush’s dog Millie and George W Bush’s dogs Barney and Miss Beazley. It was reported that former first lady Barbara Bush praised the museum in a letter in 1990. Among other famous dogs, visitants will see Edwar VII’s wire fox terrier Caesar.

As part of the American Kennel Club, an organization considered a leader force in all dogs related matters and advocacy, the museum has growth under their financial support and contribution. “The AKC Museum of the Dog houses one of the largest collections of dog art in the world and is an important part of AKC’s history and future,” expressed Ronald H. Menaker, Chairman of the Board for the American Kennel Club in their press information.

For some art critics, art dedicated to dogs has not being taken serious at times due to the sentimentality attachment, for visitors is a new way to learn and appreciate dogs. The Museum of the Dog has added technology and screens where a digital dog will appear to interact with guests enhancing the visitors experience.

The Museum of the dog located in 101 Park Avenue, entrance on East 40th street, open Tuesday through Sunday.

Written by Monica Herrera

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The human body has always been a fascination for many artists. It has been a source of inspiration, study, and analysis. If we could understand the body, we could probably comprehend the mystery that it embodies and develops the creativity that comes from that knowledge.

Mark Manders, an accomplished contemporary artist from the Netherlands, has always been interested in the human figure, especially the head which has been a significant element represented in his work throughout his career. Manders created an impressive art installation, a thirteen feet tall remarkable piece called Tilted Head, commissioned by the Public Art Fund and exhibit at the Doris C. Freedman Plaza in New York City. This large-scale sculpture that looks like an incomplete half-head made by clay but is actually of cast bronze, is one of the latest artworks that the city is displaying for locals and visitors, as part of their commitment to bring art into public places.

The massive sculpture appears to be a work still in progress or abandoned in a studio, a clear distinction of the labor that entails an installation of that magnitude. Tilted Head has its eyes closed, an expression of tranquility and the upper third of the face is cut. Other elements conforming the piece are wooden planks on the top, two chairs and a suitcase smaller than the installation can be seen in the back. All these components in different sizes have a purpose as stated in the Public Art Fund site “this shift in scale, unexplained objects, and trompe l’oeil bronze effect alter our perception and spark the imagination.”

As most of Manders’ work Tilted Head is his way to write with objects, a transition from his initial interest to be a writer in his younger years to a fascination with objects that evolved in the use of as a language of creativity and art. The result is a career filled with incredible sculptures and art pieces that speak to the public rather through the senses than through the written word. An invitation to the viewer to use their ingenuity and interpretations to formulate their own conclusions about his art.

Central Park as the backdrop of Tilted Head creates a clear contrast between the calm and simplicity of the sculpture against the color, the chaos and vibrancy of the park, making the scenery a compelling New York City spot and photo postal that visitors can experience.

Tilted Head is available for viewing until September 1st, 2019 at the Doris C. Freedman Plaza at the 60th street and Fifth Avenue, Central Park, New York City.

Written by Monica Herrera

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New York City is known for its impressive skylines, rich culture and vibrant communities. Considered a melting pot of different cultures and traditions. A diversity represented in its population and also in its art. Many artistic expressions are constantly created to showcase those unique backgrounds and languages that make it a city like no other.

This multiculturalism feeds artist with inspiration, opportunities, and a platform to amplify their message through their work. If you make it here, you can make it anywhere says the famous Frank Sinatra lyric in reference to New York. A phrase that has become a popular invitation for those who come from the outside. It doesn’t matter what language you speak or where you are from, New York City has a cultural history built with the contribution of all those that have come from different places and it will keep growing from the ones that keep arriving.

As a way to celebrate the city’s immigration diversity as well as a celebration of the artist, Kasmine Gallery’s rooftop is presenting a new exhibit consisting of three remarkable sculptures by Robert Indiana (1928-2018).  Indiana was an American artist creator of one of the most renowned works of art of the 20th century on the theme of love. On view from the High Line with access on 28th  street, for the first time, the three sculptures are exhibited in one place. Each sculpture is a reproduction of Indiana’s famous LOVE series. Expressed in three of New York’s most significant dialects: English LOVE, Spanish AMOR, and Hebrew AHAVA.

Indiana’s LOVE composition consists of the word LOVE in bold serif lettering of VE stacked underneath the L and off-kilter O. The original image, green and blue with a lively red script, was used for the Museum of Modern Art Christmas card in 1965. Followed by exhibits of iconic paintings, drawings and small sculptures in the 1960s. Later created as a public sculpture for the first time in 1971. Subsequently, with a series of love theme creations displayed in many museums and parks all over the world.

The three versions of the installation in this exhibition have a similar arrangement of the word in each language. AHAVA created in cor-ten steel, LOVE in color blue, red and white, and AMOR has a vibrant red and yellow.

Indiana was considered a leader in the pop art movement. A movement that originated in the United Kingdom and the United State during the 1950s. Popular imagery and mass culture art were included as a contrast to traditional fine art. Focusing on realism with the use and incorporation of advertising, comic books and day to day objects like Campbell’s soup cans, pop art challenged the ideas of abstract expressionism.

For Indiana the work done with the LOVE series was a return to his beginnings as a sculptor, painter and poet, as stated in his website, for Indiana, “ The Love Sculpture is the culmination of years of work base on the original premise  that the word is  an appropriated and usable element of art.”

The exhibition is accessible to view from the High Line on the 27th street until September 2019.

Written by Monica Herrera

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She has long been known as photographer, whose black and white portraits of subjects looking away or cut off by the frame, with fragmentary captions that read as if lifted out of an unfolding story, announced her in the 1980s as a major voice in black feminist art.

Lorna’s works have been included in numerous exhibitions both nationally and internationally and the journey continues. Lorna is currently exhibiting at the world’s most prestigious gallery, Hause & Wirth a Swiss contemporary and modern art gallery in New York City. The exhibit titled “Lorna Simpson. Darkening” which is currently ongoing is the artist’s first solo exhibition with the gallery in New York. Presenting for the first time in the public, the exhibit will bring forth new large-scale paintings by Lorna; it finds Simpson returning to and building upon themes and motifs at the center of her practice: explorations focused on the nature of presentation, identity, gender, race and history.

For more than 30 years, Simpson’s works have entangled viewers in an equivocal web of meaning, drawing upon techniques of collage through the use of found materials, often culled from the pages of vintage Jet and Ebony magazines. In “Darkening “Simpson continues to engage viewers with layers of paradox, threading dichotomies of figuration and abstraction, destruction and creation, past and presents.

Lorna’s Darkening has been on view at Hause & Wirth from 25^th April 2019 and will end on 26^th July 2019.

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Hunt for Inspiration – a recent solo gallery show featuring artwork by Jamie Martinez at the Galerie Protege in Chelsea was incredibly well received in its opening reception.  The basement level gallery was buzzing with excited viewers of all kinds.  A mixed lot of artists, enthusiasts, collectors, photographers and more talked with excitement while taking iPhone photos of the work – reveling in the unique qualities of the geometric images that emblazon Martinez’s canvases.

The show contains a collection of artwork demonstrating the progression in the artist’s concepts of geometry and abstraction as it develops over time.  Early versions of Martinez’s work are actually “abstract fabric artwork” as he describes them, using “abstract digital images that examine the beginning process of my work,” explains Martinez.  These early artworks are composed of overlapping triangular pieces of brightly colored fabric that are sewn together on top of a canvas, creating a collage-like conglomeration of textures and shapes, somewhat reminiscent of a quilt, which perhaps alludes to more simplistic and early forms of artwork.

Intermingled amongst some of the earlier fabric pieces are second stage artworks or pieces that are the next phase of evolution in the progression of Martinez’s concept.  These second level artworks vary as some are composed of vast fields of tiny triangles creating seas of color and texture, while others are highly complex, featuring a more three dimensional element, as they are larger images composed of hundreds of small painted wooden squares, or tiles, which are affixed together to create a mosaic style, singular large image.  From a distance, these vast collections of squares, which are further divided into tiny triangles, begin to come together to illustrate an extremely distorted face.

Next to these paintings are small signs that read, “Use your camera to see the image”.  The signs imply that once you photograph the image (or even just use your cameras view finder to look at the work) it is somehow again changed in form.  This is a recurring theme in Martinez’s work, and as demonstrated in Hunt for Inspiration, when viewed through a camera, the paintings do indeed look different, and almost become more clear and vivid in digital form.

“The birth of my paintings start with an idea for a series; then I go on the internet and find images that appeal to me and express what I want to communicate in my painting.  Once I have the images that are provocative… I focus on how to deconstruct the images using triangles and paint the image so it can only be appreciated when seen through technology.”  – Jamie Martinez

This aspect of Martinez’s work creates an intriguing commentary, as it requires the viewer to use a digital interface to experience physical artwork in its most vivid form.

The final phase of artworks in Martinez’ concept depicts further evolved and elaborate images which are again broken down into distorted geometric patterns.  These third level paintings are painted directly onto canvas, but in this version the images use a wide variety in scale of triangles, creating tiny clusters of shapes which illustrate a smoother transition in shading and texture.  These images portray distorted faces of various animals in both regal and aggressive poses.

“My new paintings deal with the validation of images, our obsession with our smartphones and the relationship between art and technology. When you look at my paintings in person, you don’t see the clear image. Technology validates the images and only through it can you clearly see the details of my work. Then after it’s posted online–it takes a life of its own.” – Jamie Martinez

Hunt for Inspiration provides a provocative look at both the evolution of Jamie Martinez’s work as an artist as well as a highly intriguing commentary on society’s reliance on technology to interface with reality.  The images in the show range from simplistic geometry to highly evolved and elaborate compositions which require technology in order to gain a full experience of their contents.  The viewer is left with much to contemplate after seeing this show, including the question of which is the real artwork; is it the digital image or the physical painting, and how will this affect the future of art creation and appreciation?  Many of these questions are left unanswered, although it is clear that neither the digital image nor the physical painting are complete without the other.

Hunt For Inspiration is currently on display at Galerie Protege, 197 Ninth Avenue in Manhattan, and closes April 23, 2015.

Writing by Lia Simone
Photos by Cojo

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Haven’t made any plans for Easter Sunday? This Sunday, April 20th, if you live within walking distance of the big apple or plan on visiting, you have a unique opportunity to see New York City’s streets fill up with the adorable, beautiful, humorous, and ridiculous fabulousness that is our stylish fashionsta’s Easter bonnets and costumes.

New Yorkers become mobile works of art, walking along Fifth Avenue from 49th to 57th Streets. New York’s Easter Parade began in 1900 along 5th Avenue and has become an iconic tradition. Now people gather around St. Patrick’s Cathedral to hear mass and take pictures of the informal paraders.

Outside of the church, people let their freak flags fly.

This parade isn’t about floats, it’s more of a fun way to interact with others. People watching has always been a great treat in the fashion and art capital of the world.

Here, you get to pet someone’s dog dressed as a rabbit, run up to the purple man with flowers in his hair to snap a quick selfie, and take a group shot with smiling strangers dressed as bunnies.

Some hats are elegant…while some…

The Easter Parade and Easter Bonnet Festival runs from 10 am until 4 pm along Fifth Avenue from 49th to 57th Streets. The blocks are closed to cars, so it is safe for pedestrians, including children, and pets!

The Stations of the Cross, a group show, becomes the template for artists of various faith traditions to create 28 shrines in two churches, featuring personal relics of their experience on the journey toward death.

On Good Friday a procession will go from Greenpoint to St. Paul’s Church in Williamsburg at 8:30pm. During the procession, lighting of candles, the singing of hymns, readings, and a ritual of carrying a cross from Greenpoint to Williamsburg takes place. Pastor Ben, who’s father is a Professor of Spanish, grew up bilingual. He leads a bilingual, Spanish and English language congregation at St. Paul’s. A French chant of Reproaches is followed by time to meditate on the various stations of the cross. The leads to St. Paul’s, where participants can contemplate the performative reliquaries and meet the artists who created the pieces.

Artists include Aaron Soldner, Chantal Bruchez-Hall, Calla Wright, Andrew Jordan, Betty T. Kao, Baxton Alexander, Ben McKelahan, Raul Barquet, Amy Kienzle, Margaret Semrau, and Rochelle Voyles. St. Paul’s Visiting hours to reflect on the artwork and meditate are Wednesdays: 6-8pm, Sundays: 11am-2pm.

Pastor Ben stands before a photographic installation of an erotic butoh influenced piece, Performative reliquary. Based on Station 2. “Jesus is betrayed by Judas and arrested. Kiss of Betrayal, Wrongful Imprisonment” playing off of the pain, ecstasy, and will to give of the self and sacrifice for mankind. He is given a crown of thrones, a metallic fluid is poured onto him, covered in a glam illumination of gold, as a broken silver coin is traced along his glittering bloody ribs.

Pastor Ben contributed to Station 1, “Jesus in the Garden of Gethsemane, Sweating blood”, using mementos from his upbringing such as a Day of the Dead scull. Pastor Ben, who was a physics major at Reed College, is a warm contemporary priest. He leads an interdenominational art group that takes place in the church’s bell tower.

He decided to curate The Stations of the Cross as a way for people to become involved with a community minded church. Parables is a outreach project of his with the goal to build relationships in northern Brooklyn through sharing stories, making art, and re-imagining the symbols of tradition through the lens of our lives.

The Lutheran Church is an agnostic faith, the members of the art group range from Christian, Jewish, atheists, to agnostics. On Sunday, April 20th at 3:30pm there will be an Easter Potluck and Egg Hunt at Ben and Elana’s Apartment (they live in a church!). https://parablesnyc.org

Artist / Author Betty T. Kao

Have a great Easter, filled with Parades, Resurrection, Parables, and the cute bunnies reminding you, that Jesus died for your sins.

Written and Photographed by Betty T. Kao

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New York – Thursday, February 13, 2014

Was it too snowy to go to the galleries tonight?  How about if the art came to your living room?!  An Infomercial as Art? Announcing the first New York television broadcast of Good/Bad Art Collective’s experimental infomercial “FOREVER“ (Tonight at EDIT: 2:07 AM   2:37 AM on CBS in NYC).

The late night broadcasts of FOREVER represent the final stage of the Collective’s CURTAINS project for Nasher XChange. CURTAINS is a three-part experiment, involving an interactive opening event, a traditional extended art exhibition, and a short film broadcast on late-night television in different cities around the country. The three stages of the project create a complex, nonlinear narrative that comes to conclusion and explanation with the screening of FOREVER.

FOREVER is a short film disguised as a late-night television infomercial. The short tells the story of an unnamed man offering his secret of immortality through personal stories and philosophies, eventually leading to the abrupt and ironic end of his presentation.

FOREVER Trailer from Jason Reimer on Vimeo.

Combining traditional studio documentation and footage taken at the CURTAINS one-night art event, the man’s secret is revealed through a toll-free phone number the viewer is requested to call by program’s end.

It will technically be considered EARLY Friday morning 02/14/14 because it is so late, but this airs TONIGHT around EDIT: 2:07 AM 2:37 AM on WCBS 2 (NYC) on all providers. I was told by the collective’s press contact that “they could move us to the slot before or after at their transgression” (EDIT: Their Transgression moved it back one slot) so I would suggest tuning in to CBS at like 2:05 AM EST if you want to see history be made.

If you don’t live in NYC, here is the list of scheduled airings in other cities (click then look at the sidebar scroll). EDIT: This aired ass-early in the morning on Valentines Day in NYC.

Good/Bad Art Collective Explores the Television Medium for Dallas Texas’ Nasher Sculpture Center’s Public Art Exhibition, Nasher XChange.

Written by Cojo “Art Juggernaut”

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Our own Artiholics Writer Laura West is having a solo show which opens tonight.

CHROMA
/krōma/ intensity of color (Event Page on Facebook)
Exhibit: January 6 – February 3rd, 2014

Le Salon d’Art – 90 Stanton Street, Lower East Side, NYC
Opening Party: Friday, January 10th – 7pm-10pm

Laura West, a NYC based artist/writer, explores bright colors, dark images and uses this emotional release to dictate the route of her work. The high-energy and physicality of throwing string gel paint over a meticulous base is a rush that is visible in all of her bold colors, expressive drips and often off-kilter subject matter. Laura earned her BFA as a full scholarship recipient in Screenwriting and Studio Art at New York University. She has exhibited her work in various shows across NY, was published in a collection of national/international magazines as well as featured in an interview on RTN (Russian Television Network).

www.lgwest.com

With a special performance by singer/songwriter Gillian Grogan at 9pm.

www.facebook.com/bluegrassnbees

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New York – Wednesday, January 8, 2014

Art Opening Tonight 6-8pm- View The Facebook Invite.

Galerie Protégé is pleased to present Beyond Literacy, an examination of emerging street art with works by Artiholics own Joseph Meloy, as well as artists Enrico Oyama, Chris RWK, and Herb Smith.

In the 1980’s, murals would speed by on passing trains in subway stations. Break-dance culture and hip-hop entered the mainstream in New York City in ways that would change the fabric of global society. Still, there remained a lingering stigma connected to the visual manifestation of the streets.

A masterpiece was thrown up on a wall that was once masked over by a fresh coat of paint by those that were considered “vandals”. If only the work had been brought forth by a provincial member of the art community, the work would have been permitted to exist. Keith Haring’s Crack is Wack mural on the east side of Harlem is one fast example.

Otherness became sexy and the notion of the “outsider” was embraced by the art world as the quest for a new fetish reared its head. Anonymity was a necessity and the tag was a proxy name for the artist. Collectors who would frequent galleries now looked to the streets.

Works by street artists are now being sold at auction for six figures, yet myths of a pseudo-criminal distinctiveness exists as validation. Beyond Literacy highlights four artists who use both the language of the streets and art in their practice. The works in the exhibition are a reminder of how a work by the likes of Richard Serra is never questioned — whether housed a public space or shown at a gallery. Now that the historic 5 Pointz has been painted over, alarm bells are ringing as street art’s contribution to the contemporary sentiment should no longer be considered defacement, but rather, a celebrated piece of art history.

Please join us for our opening reception on Wednesday January 8th, 2014 from 6pm-8pm.

On view from January 8th – February 1st, 2014

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Do you know of (or did you create) any great new New York City works of art completed in 2013?  The Municipal Art Society of New York (MAS)  is now accepting nominations for their annual Brendan Gill Prize.

For more than 25 years, MAS has celebrated the creation of uniquely New York works of art—in all forms.  Each year MAS honors the creator(s) of a work of art made during the previous year that captures the energy and spirit of New York City with an endowed cash prize.  Eligible works can be a book, poem, play, art installation in any medium, architectural or landscape design, musical composition, or choreographed performance, or other art form. Whether the nominated individual or group is well known or just emerging, the goal of the Gill Prize is to draw attention to the varieties of artistic experience that enrich our contemporary life.

The prize is named for longtime New Yorker theater and architecture critic, champion preservationist and former MAS chairman, Brendan Gill.  A man of extraordinary intelligence and wit, Brendan shared his remarkable talents with New York City and with MAS until his death in 1998.  The prize was established in 1987 in honor of Brendan Gill by friend and fellow MAS board member Jacqueline Kennedy Onassis along with board members Helen Tucker and Margot Wellington.

The winner will be selected by the Brendan Gill jury, an esteemed group all intimately involved in the arts and culture of the city.  Among the many varied and accomplished past winners of the Brendan Gill Prize are; Christo and Jeanne-Claude, Louis Kahn (posthumously), Sarah Jones, Phillip Lopate, John Morse, Allison Prete, Sufjan Stevens, Michael Van Valkenburgh, and Mike and Doug Starn.  For more information about past year’s winners and for the 2013 nomination form, click here.  MAS will celebrate and award the winner during their annual meeting in March 2014.

All submissions must have been completed and produced between January 1, and December 31, 2013. Nominations will be accepted through January 6, 2014.

For any questions, contact Phyllis Cohen at pcohen@mas.org or 212-935-3960 x1224.

Posted by Cojo “Art Juggernaut”

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Wangechi Mutu: A Fantastic Journey – October 11, 2013–March 9, 2014 – At the Brooklyn Museum

Wangechi Mutu‘s new show, A Fantastic Journey, is currently up, and it is beyond a feast for the eyes. One could search her name, and find a plethora of digital photographs of her collages, but to say you’ve really seen Mutu’s work, you need to see it in person. The saturation and dissipation of paint, with all the intricate combinations of pasted photographs, is hard to completely see on a computer screen.

For those who are not familiar with her collage work, she renders the black female form with application of intensely innovative surface quality techniques, all along challenging those who use the term “exotic” to categorize a black woman. Perhaps the title, “A Fantastic Journey” comes from the visual voyage the viewer takes as they stumble across the hidden creatures, and varied patterns lying within a figure that has so many colors, that it brings a new meaning to the word, “colored woman.”

She demonstrates a mastery of balance between ambience and rich, detailed content. The hidden treasures found within her work range from decontextualized elements of animal heads and limbs cut out from magazines, combined with violent red splatter reminiscent of blood massacres, to pornographic images, and machinery parts, all of which compose most often in her works, a slender female warrior.

Viewing these images from a fine artist perspective, she nails all they needs to make visually pleasing and evocative imagery within her collages. Nothing less than extraordinary intuitive placement, each pattern synergistically flows from one to the next. If an art student is running short of what mark to make next, it is urgent to see this show, because Mutu knows how to experiment with color and juxtaposition.

When and if you see Wangechi Mutu’s show at the Brooklyn Museum, on the fourth floor, I strongly suggest you actually appreciate it, and pause at each collage, considering the painstaking details, the sophisticated color choices, and those suggestions of gender, war, race, colonialism, global consumption, and science-fiction. Don’t breeze past them, because you will regret not being attentive to the wide range of visual language she has developed at and since her education at Cooper Union and Yale. Each of her collages has its own unique hook to allure the viewer into its clusters of warm polka dots, and black mold ornamentations curving to the contours of the figure, or the figure’s bulbous lips and wide nose.

Her collages were her strongest work. Mutu is known for her collages, but this show was also an opportunity for her to demonstrate her strength in video installation, and sculpture. Her video work touches upon how “wild” and “untamed” her black female characters are, as one of her videos displays the artist, herself, eating cake without utensils in a fancy white dress, in some outdoors environment. Her other video, which immerses you within its cinema-like presence, displays a woman with a giant attachment of mechanized, industrial forms, oozing, smoking, eating bats. Her video work recalls the attention to detail and conglomeration of content that her collage work does, but it also moves on-screen.

She also installed trees made of multi-colored carpet throughout the exhibition space, and in another room (photo not included), she hung black plastic bags in tied hemp string from the ceiling. Her sculptures omitted the knowledge of color, tonality, and heavy-subject-matter-infused photographs. Her sculptures are simple, exploring the wrinkles the materials make. Her sculptures didn’t exploit the colors that people often associate with exotic fruits and flowers, but rather stuck with browns, grays, and earthy hues.

Wangechi demonstrates her vast imagination, and attention to detail so vividly in her fiery, colorful collages, I was hoping to literally walk into one of her worlds, being able to touch the different textured forms, smell the body odor of one of her figures, or hell, even eat some exotic fruit off the branches of her installed trees. Her installations are shadowed by her collage work. Mutu seems to work liberally, without restraint in her collages, and she challenged herself with her sculptures. My hopes were not let down by seeing this show, but I wonder if in the future, her installation and immersive sculptural work will truly compete with the seductive nature of her collages and 2 dimensional work. She is certainly in her element on flat surfaces, but it seems apparent that she could further push her installation work.

I have no doubt that this artist will continue to grow, and share her incredible gift with the world, especially through her 2-d work, but I’m still waiting for her sculptural work to grab me like her collages do.

Written and photographed by Andrew Kaminski

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New to Bushwick or Ridgewood and wondering where you can find a decent spoken word poetry and storytelling venue in the neighborhood?  Wonder no more, for I have found it for you.  The first Sunday of every month (today) at The Bodega wine bar at 24 Saint Nicholas Avenue (corner of Troutman St.) in Bushwick, which is right on the border of Ridgewood from 6-9pm.

The Bodega Monthly is a first Sunday Live Storytelling extravaganza hosted by humorist Robert Semple.  Come on down and check it!

Make friends with Robert to get on the line-up for future month’s readings, as these are not open mic.  You must be invited to read in advance, so checking out a night or two will give you an idea of the vibe and what sort of material works in this room.

Written by Cojo “Art Juggernaut”

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Woke up late and having a lazy Saturday?  Want to get out of the apartment, get some fresh air, and do something fun to do that involves music, visual, and performance art?  Well, you are in luck.  Right now till 6 pm The New Museum’s IDEAS CITY is happening ALL AROUND NEW YORK CITY.

With so many things happening in so many places around the city you can plan your itinerary right on that website.  As you do, one thing you will not want to miss is the NEW MUSEUM UNTAPPED Music In The Park.

One of several events as part of IDEAS CITY happening today at Sara D. Roosevelt Park on Houston, between Chrystie and Forsyth.  Michael Alan and crew will be performing The Living Installation right now until 4pm.

If you do make a trip down to the Lower East Side to check out the performances, you can do like I did yesterday (the day before IDEAS CITY came to the park) and check out the local art scene of the L.E.S.

I walked around the park casually stopping in at all the art galleries in the neighborhood (which there are plenty) to see which of them would be open today during IDEAS CITY.  You can follow my trail and check out a bunch of great art not on the radar of the New IDEAS CITY itinerary, and have a little adventure for yourself. It’s a beautiful day for a walk, and parking around the park is restricted today, so if you have to drive, be sure to park far away and walk over.

Here is are some photos (in walking order) of the other art happening and galleries around the park or within a block or two’s walk away from the park that I stumbled on while just walking around (and you can too!).  A bunch of galleries were installing shows that were opening today, so enjoy!

The clock is ticking, go out and get some rays, and experience some art!

Written by Cojo “Art Juggernaut”

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Thursday, April 11th

11:30 am   MoMA TALKS : Inventing Abstraction, 1910-1925 – by Elisabeth Bardt Pellerin – MoMA
1:30 pm     MoMA TALKS : Highlights from the Collection:1885-1945 – by Elisabeth Bardt Pellerin – MoMA
6:00 pm    Desaturated Rainbow: Opening Reception – Field Projects – W.26th St., NYC
6:00 pm    Stanley Whitney | Other Colors I Forget: Opening Reception – Team Gallery – 83 Grand St.
6:00 pm    Echo of Echo Pt.1 | Joo Yeon Park: Opening Reception – Doosan Gallery – W.25th St.
6:00 pm    Bryan Graf | Broken Lattice: Opening Reception – Yancey Richardson Gallery – W. 20th St.
6:00 pm    Tallur L.N. | New Yorked: Opening Reception- Jack Shainman Gallery – W.20th St.
6:00 pm    Charles Fréger Wilder Mann: Opening Reception – Yossi Milo Gallery -245 10th Ave.
6:00 pm    John Klukas | Shape Shifter: Opening Reception – 511 Gallery – 252 11th Avenue, NYC
6:00 pm    Joshua Lutz | Hesitating Beauty and Amsterdam: Opening Reception – ClampArt Gallery – W55th St.
6:00 pm    3 & 6 | Anoka Faruqee, On Kawara, cont..: Opening Reception – Leo Koenig – W.23rd St. NYC
6:30 pm    Where are the Utopian Visionaries? Architecture of Social Exchange: Panel – Cooper Union
7:00 pm    Animal Farm : The Musial – by The Bruce High Quality Foundation – East Village
7:00 pm    Brain Cave Festival – Europa – Greenpoint, Brooklyn
7:00 pm    EXHIBITION: Manet | Great Art On Screen- NYU Skirball Center – West Village, NYC
8:00 pm    RAW:natural born artists NYC Presents MARVEL – 52 Walker St., NYC

Friday, April 12th

6:00 pm    Wessel Castle Alli Miller + Trey Burns : Opening Reception – et al projects – 56 Bogart, Bushwick, Bklyn
6:00 pm    Ben Durham | Portraits, Maps, Texts: Opening Reception: Nicole Klagsbrun Gallery – W.24th St.,NYC
6:00 pm    Seeing Double | Ellen Stagg & Hiroshi Kumagai – Mighty Tanaka – Dumbo, Bklyn
6:00 pm    Assonanze/Dissonanze: Opening Reception: Italian Cultural Institute – 686 Park Ave.,NYC
7:00 pm    Buff Monster & L’Amour Supreme : Number Of The Beast- Cotton Candy Machine, Williamsburg, Bklyn
7:00 pm    Definitions 03: Brainstorming for Ideas City 2013 theme: Untapped Capital – 97 Kenmare, NYC
7:00 pm    Uncharted Waters: REVERSE 2013: Opening Reception: – Reverse – Brooklyn, NY
7:00 pm    Static: Elana Adler and Hannah Lamar Simmons: Calico – Brooklyn, NY
7:00 pm    18 drawings and 1 painting: Paul Pagk: Opening Reception – Studio 10 – Bushwick, Bklyn

Saturday, April 13th

12:00 pm   Greenpointers Spring Market – From The Source – Greenpoint, Brooklyn
3:00 pm   Rainbow Book Fair – Holiday Inn –Midtown, NYC
4:00 pm   Lili Reynauld-Dewar | I Am Intact And I Don’t Care: Opening Reception – Clearing – Brooklyn
4:00 pm   Families/Cities Shift: Opening Reception- Susan Teller Gallery – 568 Broadway, NYC
6:00 pm   Rutgers MFA Show – White Box – Lower East Side
6:00 pm   useful pictures: Opening Reception -Michael Matthews – Harlem
6:00 pm   Janine Polak “Shoulder Touch” – Sardine– Bushwick, Bklyn
6:00 pm   De-rezzed: Henry Chung and Jennifer Grimyser : Opening Reception – Harbor – Ridgewood, Qns
6:30 pm    Gravity Light: New Paintings by Mike Olin: Opening Reception – Parallel Art Space – Ridgewood, Qns
7:00 pm    Gridworks : Bill Miller:  Opening Reception – Transfer Gallery – Bushwick, Bklyn
7:00 pm    Cold War Kids : Live Performance- @ Webster Hall, Nyc, NY
7:30 pm    Vintage NYC Magazine Launch Party – West 40th St.
8:00 pm    n+1 Magazine Issue 16 Launch Party– Bushwick, Bklyn

Sunday, April 14th

11:00 am – 4:30 pm    FIRST EVER: Ridgewood Market – Gottscheer Hall – Ridgewood, Qns
3:00 pm    Marking Spaces: Opening Reception – Queens Museum of Art

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