Featured Events in New York in March 2024 (June Updated)

homesearch is about looking for a place to live. As human animals, we expend a great part of life’s energy finding and maintaining shelter. The reference source for these images is online real estate listings. homesearch can feel deeply personal, though shelter is a universal need. In this time, we must evaluate our priorities and take responsibility for the protection of our earthy habitats. -NINA JORDAN, 2024 Nina Jordan is a painter and printmaker living and working in Brooklyn, NY. She is the recipient of a NYFA fellowship in printmaking and artists’ books. Her prints and artists’ books are in many collections including the Metropolitan Museum of Art, New York, New York Public Library, the Yale University Art Gallery, and the University of Richmond Museum.

Martha Tuttle’s practice embeds natural elements in the forms of her paintings. The compositions emphasize materiality, employing physical processes such as dyeing, weaving, and sewing that permeate each of the works that are colored with naturally derived substances. Passages of translucent stretched silk are dyed with plant matter and iron while others are painted with stone pigments, creating pools of subtle elemental colors. Visually, the marks on the silk begin to suggest the cracking of a geological topography. Shapes of thick wool, which the artist spins and weaves herself, as well as painted linen, add sculptural fields to the converging materials. Appearing to emerge and recede behind these sections, visible stretcher bars create compositional balance rather than solely serving as support. Many of the diagonal bars are blackened by torch fire, further reinforcing the invocation of the elemental. The addition of carefully integrated found and fabricated stones punctuate these multi-paneled compositions. Extending the space of the paintings beyond and between the individual stretchers, these sculptural objects further the presence of physicality, touch, and the use of natural materials in Tuttle’s wall works. The stones are sourced from the Southwestern United States through Tuttle’s own collecting and that of people with whom she has an affinity, creating a web of knowledge and connection around the minerals. Other “stones” included in the exhibition are cast into glass or aluminum, which appear alongside the found rocks. For the artist, this represents an attempt at a dialogue with substances and timelines that often feel outside of human reach. Together the minerals and stone simulacra resonate with the larger geological questionings of the exhibition concerning how relationships can be established with the geologic. The convergence of macro and micro elements within the works begins to interweave with the artist’s larger practice of bringing together vast expanses, such as landscape or skyscape, with the focused examination and study of details including the geological and biological. As Tuttle suggests, these connections ultimately visualize expanded, and often overlooked, kinships. She asks whether these panels can serve as metaphors for our own human intimacies with our surrounding world and geologies. And further, if these sensitives to our surrounding natural environments can further empathize and enhance our human connections with one another. Reflecting on the meanings of the word “touchstone” and its connotations, and the relationship between stones and compassion, Tuttle writes: “It can be so tender to bond with a stone. To move it from apartment to apartment, to give it a prime spot on your windowsill. Perhaps, to be personally invested in something geologic is in a small way to care more about connections than boundaries. Whatever can grow our empathy, even an iota, is worth keeping in hand.” Aiming to conjure these notions, Tuttle’s tactile paintings intuitively connect touch with matter. Martha Tuttle (b. Santa Fe, NM, 1989) lives and works in Brooklyn, NY. She received an MFA from Yale School of Art, New Haven, CT (2015) and a BA from Bard College, Annandale-on-Hudson, NY (2011). Institutional exhibitions include Moody Center for the Arts, Houston, TX (2024); Storm King Arts Center, New Windsor, NY (2020-21); and Mana Contemporary, Jersey City, NJ (2021) among others. She participated in a Rauschenberg Residency, Captiva, FL (2019); Sharpe-Walentas Studio Program Residency, Brooklyn, NY (2017); and received a Josef Albers Foundation Traveling Fellowship (2014). Her work is in the collections of The Museum of Fine Arts, Houston, TX; The Museum of Modern Art, New York, NY; The National Gallery of Art, Washington, DC; Philadelphia Museum of Art, PA; and The University of San Diego, CA among others.

The exhibition’s title reflects the energetic nature of the paintings, along with the visual aspect of the letter X, seen in the intersecting lines that cover the canvases. A continuation of her practice, XSTATIC further explores the influence of pioneering computer art on contemporary abstraction. In a departure from her first exhibition with the gallery in October 2021, Benson’s compositions have turned to emphasize fine line work made with an airbrush. From afar, warped planes buzz with motion; when the viewer steps closer, densely-scribbled marks are revealed as the source rather than solid blocks of color. The paintings are rendered in color combinations from monochromatic palettes to power clashing hues, creating harmony in the unexpected. “Here is a downright paradox, a whimsical aporia: albeit abstract and self-reflexive, the luxuriously colored and highly intricate paintings of Trudy Benson are imbued with rich art-historical and present-day references,” writes Raphy Sarkissian in the exhibition’s catalogue, “Within Benson’s methodically constructed pictorial fields, where geometric structures and painterly gestures cohabit, autonomy and allusion register as being cut from the same cloth, as inextricable sides of the same coin. To confront the compositionally innovative and chromatically lavish paintings of the recently realized series titled XSTATIC is to come face to face with a self-contained formalist language that is nonetheless inseparable from the boundless archive of modernist abstraction and the visual grammars of its canonical masters.” Trudy Benson (b. 1985 in Richmond, VA) received her Master of Fine Arts from the Pratt Institute in 2010 and her Bachelor of Fine Arts from Virginia Commonwealth University in 2007. She has been the subject of recent solo exhibitions at Galerie Krinzinger, Vienna, Austria; Weber Fine Art, Greenwich, CT; SUNNY, New York; Massif Central, Brussels, Belgium; Miles McEnery Gallery, New York; and Ceysson & Bénétière, Saint-Étienne, France. Her work has been included in recent group exhibitions at Krinzinger Schottenfeld, Vienna, Austria; Eric Firestone Gallery, East Hampton, NY; m.simons, Amsterdam; Mother Gallery, Beacon, NY; Miles McEnery Gallery, New York; and Gaa Projects, Cologne, Germany. Benson’s work may be found in the collections of the Aïshti Foundation, Beirut, Lebanon; Beth Rudin DeWoody Collection, New York; Hudson Valley MOCA, Peekskill, NY; Portland Museum of Art, ME; Saatchi Gallery, London; Schwartz Art Collection, Harvard Business School, Cambridge, MA; and the Susan and Michael Hort Collection, New York. The artist lives and works in Newburgh, NY.

Kathryn Markel Fine Arts is excited to announce an upcoming exhibition of paintings by Peter Hoffer, Impressions de la Région Toulousaine, ie. Impressions from the Region of Toulouse. It will be Hoffer’s fourth solo exhibition with the gallery and will take place at the gallery’s 529 West 20th Street location from March 28th to May 4th, 2024. “When in a natural setting such as a forest, we are sensitized to our surroundings in a manner that we don't experience in any urban setting. The silence of a tree, blade of grass, or a moss-covered stone fills our periphery with a sense of familiarity and comfort.” - Peter Hoffer Hoffer’s paintings are more relational than representational - he explores trees as protagonists. His approach to each painting is narrow, he singles out a tree and positions it at eye level. As a result, he creates an uncertain vantage point of the tree's dimension - either the viewer is close to it and it is small, or further away and the tree happens to be massive. Regardless of the viewer’s perception, a confrontation happens that humanizes the tree itself. In Hoffer’s words, “the forest becomes a stage; the tree becomes an actor.” Each painting in the exhibition is coated with a layer of resin, simultaneously distancing and immersing the viewer. Surfaces have been marked, scratched, cracked, and seared, much like the terrain itself. The surface layers of these works are dynamic, balancing between the various states of the seasons. The random etching of the surface calls to task a questioning of materiality and value. The works fluctuate between rest and discontent. The preciousness of the objet d’art, as well as the peripheral landscape represented, is rediscovered like an artifact. The suggested neglect through time is salvaged, preserved, and displayed. The markings on the paintings, inconsistencies in the resin surface, and the unrefined finishing of the canvas structure allude to elements outside of the artist’s control. The result invokes a sense of abandon and a hint of a work in transition. As the paintings draw attention to areas of the landscape that can be considered “less than spectacular," they force the viewer to search for landmarks or meaning within the composition. Peter Hoffer lives and works in Montreal, Canada, and Paris, France. He exhibits extensively throughout Canada, the eastern United States, and internationally. His work is placed in private collections worldwide including the Musée des Beaux Arts in Montréal, the Musée Du Québec in Québec City, Bombardier, Royal Bank of Canada, and the corporate collections of Fidelity Investments USA, Banque Nationale, and Michelin Canada Inc.

Miles McEnery Gallery is pleased to announce a solo exhibition of new paintings by Michael Reafsnyder, on view at 525 West 22nd Street from 28 March through 11 May 2024. An opening reception will be held on Thursday, March 28 from 6:00pm to 8:00pm. This is Reafsnyder’s eighth exhibition with the gallery. The exhibition is accompanied by a digital catalogue with an essay by Julian Hoeber. Reafsnyder’s exuberant and celebratory paintings relish in delight, glee, and exhilaration. They refuse the notion that gestural painting emerges from the anguish of life; they reject both easy existentialism and sentimental pathos. The sheer pleasure of viewing Reafsnyder’s nuanced surfaces is stimulated by their abundance of vividly saturated colors, their profusion of painterly gestures, and their array of enigmatic compositions. Rather than romanticizing a past set of values, or anticipating future ones, the paintings render palpable a present moment in our experience of visual imagery. In his art, the actual contingencies of viewing and the pictorial conditions for communication meet in a cacophony of all-or-nothing enthusiasm. Julian Hoeber writes, “Paint is a material. It is organized in a painting by play and discovery. That organizing will inevitably produce arrangements of paint that generate meaning, be they ghostly faces or histories or sense tingling fields of color. The sensations have affect and are not neutral. The histories aren’t either, but Reafsnyder won’t let them be albatrosses. He comes to them with other things— his proclivities and tastes, his peculiar banks of knowledge, the limits of his particular physical self— that let those histories go off on tangents, turn into jokes or open up on more possibilities for play.” Michael Reafsnyder (b. 1969 in Orange, CA) received his Master of Fine Arts degree at the ArtCenter College of Design in Pasadena, CA in 1996 where he studied under Mike Kelley and Jeremy Gilbert-Rolfe. Reafsnyder has been the subject of solo exhibitions at Susanne Vielmetter Los Angeles Projects, Culver City, CA; Galería Marta Cervera, Madrid, Spain; Blum and Poe, Santa Monica, CA; Las Vegas Art Museum, NV; Uplands Gallery, Melbourne, Australia; W.C.C.A., Singapore, and elsewhere. His work has been included in group exhibitions including “Step Into Liquid” (curated by Dave Hickey), Ben Maltz Gallery, Otis Art Institute, Los Angeles; “Los Angeles Ceramic Museum of Art,” ACME, Los Angeles; “Fresh Paint,” Galerie Eugene Lendl, Graz, Austria, “Black Dragon Society,” Black Dragon Society, Los Angeles; and “New Work: Abstract Painting,” Todd Hosfelt Gallery, San Francisco, among others. Reafsnyder’s work can be found in the collections of the Los Angeles County Museum of Art, CA; Museum of Contemporary Art, San Diego, CA; Columbus Museum of Art, OH; Harvard University, Cambridge, MA; Las Vegas Art Museum, NV; Portland Art Museum, OR; Weisman Museum of Art, Los Angeles; and the Minneapolis Institute of Art, MN, among others. The artist lives and works in Southern California.

Bibeau Krueger is pleased to announce Sonya Rapoport: Digital Mudra (1986–1989), an exhibition presenting original photographs, 35mm slides, and an artist-published edition by Sonya Rapoport (1923–2015). This is the artist's first solo exhibition in New York City since 1981. Sonya Rapoport (American, b. 1923, Brookline, MA; d. 2015, Berkeley, CA) is considered a pioneer in new media. Rapoport used the personal computer in interactive gallery exhibitions as early as 1982 to explore what she called “soft material:” data about domestic spaces, sentimental objects, her shoe collection, and emotional states, subjects that she characterized as explicitly feminist. Rapoport's tenacity in developing material methodologies for creating artwork in relation to the accelerated information age in which she lived included multivariate participant-based installations with an emphasis on pattern-finding and organizational similarities shared between humans and their data sets. By cataloging human behavior, Rapoport analyzed the personal and the political through data, performance, and photographic media. Digital Mudra grew from Rapoport’s fascination with the way meaning can be expressed through gesture. She began with a set of photographs of participant’s hands derived from her computer-mediated performance Biorhythm (Works Gallery, San José, California, 1983), in which she gathered data about viewers’ personalities and emotional states. Searching for preexisting systems to categorize and decode these ambiguous gestures, she identified the mudra gesture language used in South Indian kathakali dance tradition, in which the positions of the hands and fingers translate to specific words or concepts that can be used to tell a story. Anchoring the exhibition are thirty-five wall-mounted plexiglass frames arranged in an irregular grid pattern that relate to a poem, providing a visual sequence for photographs from Biorhythm. Each photograph is mounted in an acrylic shadow box and superimposed with a mudra that visually matches the gesture in the photograph. These are labeled with phrases that participants used to express how they were feeling, as well as translations of the mudras. This work was first exhibited in the computer-mediated “audience participation performance” Digital Mudra, at KALA Art Institute, Berkeley, in 1987, in which Rapoport worked with esteemed kathakali dancer K.P. Kunhiraman (1931-2014). The current exhibition also includes a projected 35mm slide show featuring hand gestures clipped from newspapers in the mid-1980s. These images include world leaders and public figures, as well as comic strip characters, each matched with a mudra gesture. The juxtaposition of reportage of political violence and international conflict with bizarre or childish humor is both jarring and typical of Rapoport’s practice, which is both a serious attempt to create new systems of understanding of the human condition, and a lighthearted parody which pokes fun at itself. Rapoport offers the paranoid suggestion that there exists a secret gesture language which, analyzed by computer, can be used to decode subconscious patterns in human relationships. The final element of the exhibition is an artist book and software publishing project Digital Mudra (diskette), (1988), which contains documentation of the interactive exhibition, an instructional booklet, thirty-five digital mudra cards, and a floppy disk with an interactive program that prompts viewers to select mudras and compose a poem. This reflects Rapoport’s active participation in early computer-networked creative communities, including Fine Art Forum and Art Com, which distributed Rapoport’s software. A related version of Digital Mudra was also published online in 1989, predating the World Wide Web.

Prepare to engage in a high-intensity workout at the upcoming Zumba Mega Class in New York City. The event will take place at the Taino Towers gym located at 240 East 123rd Street, New York, NY 10035 on March 28, 2024. Participants can look forward to breaking a sweat and burning calories while enjoying the energetic rhythms of Zumba. Get ready to experience a fun and dynamic fitness session that will leave you feeling energized and revitalized. Mark your calendars for this exciting event and join fellow fitness enthusiasts in a collective celebration of movement and music.

Experience a thought-provoking live show titled "Creative Catalysts: An LGBTQIA+ Arts Storytelling Show" at the Leslie-Lohman Museum of Art in New York City on March 28, 2024. Celebrate LGBTQIA+ artists and progress through a diverse group of storytellers from different generations and backgrounds. Hosted by the talented singing drag chanteuse, Castrata, the event will showcase the impact and legacy of arts on various identities. The Generations Project and the Leslie-Lohman Museum of Art aim to foster connections within the LGBTQ+ community, preserving our history and amplifying marginalized voices. This inclusive event offers CART and ASL services, ensuring accessibility for all attendees. The museum provides a welcoming environment, with wheelchair accessibility, gender-neutral restrooms, and large print materials available. Support the mission of The Generations Project and the Leslie-Lohman Museum of Art by considering a donation. Join us in this inspiring celebration of LGBTQIA+ creativity and expression, as we honor the power of storytelling and artistic innovation. Don't miss this opportunity to be part of a meaningful and impactful event.

TypeThursdayNYC on Mar 28 at Pratt, located in Brooklyn's Engineering Building at 200 Willoughby Avenue, NY 11205, is a monthly gathering for type enthusiasts. The event features Type Crit, a friendly group critique session where attendees can receive valuable feedback on their letterform projects. The evening begins with check-in and socializing followed by Type Critiques and closing remarks. Participants are encouraged to bring in-progress projects involving letterform design or usage for feedback. Presenters have the opportunity to receive free admission, quick feedback, and recognition on social media. TypeThursdayNYC welcomes all individuals passionate about letterforms, whether to network, learn, or contribute feedback. To submit work for Type Crit, simply upload files through the online form provided by TypeThursdayNYC. This event is made possible by generous sponsors, volunteers, and supporters. Admission for Pratt students is free, while others can attend for a nominal fee.

Experience a captivating event titled "Party as Performance: Process hosted by YiuYiu 瑶瑶," presented by YiuYiu 瑶瑶 from Chinatown Records. This unique gathering will take place on March 28 at the LMCC Arts Center at Governors Island in New York. Delve into the rich history of Chinatown Records 華埠錄音 through a selection of cherished Chinese albums passed down through generations. From contemporary tunes to melodies dating back to the 1920s, YiuYiu 瑶瑶 offers a glimpse into the cultural tapestry that has adorned Chinatown's living spaces and dance floors for years. Immerse yourself in a time-traveling journey through these vast musical collections that have provided the soundtrack to countless fond memories shared among families and neighbors. Entrance to this enlightening event is free, providing an opportunity to engage with a cultural legacy that continues to resonate through the ages.

Renowned grief therapist Claire Bidwell Smith will be presenting her latest book, "Conscious Grieving," at P&T Knitwear Books & Podcasts in New York City. Alongside her will be Marisa Renee Lee, an expert in coping with grief, engaging in a discussion, audience Q&A, and book signing. Smith's unique approach to grief, combining personal experience with years of professional practice, offers hope and transformation to those navigating loss. The event is ticketed with limited seating available in an amphitheater style, and admission costs between $7.18 and $25.07, a portion of which can be used towards purchasing the featured book or café items. Attendees are encouraged to wear masks, and the talk will be followed by a book signing. For those unable to attend, signed copies of "Conscious Grieving" can be pre-ordered for shipping to most locations. Claire Bidwell Smith, known for her work in grief therapy and her published books, continues to expand the conversation around grief and loss, while Marisa Renee Lee, a grief coping expert, brings a unique perspective shaped by personal experience and advocacy work.

Join Tessa Hulls for an extraordinary book event at Greenlight Bookstore in Fort Greene, Brooklyn. On Thursday, March 28 at 7:30pm, Hulls will be presenting her captivating and genre-defying graphic memoir, Feeding Ghosts. This evocative narrative takes readers on a poignant journey through three generations of women in the author's family: her Chinese grandmother, her mother, and herself. With meticulous research and stunning artwork, Feeding Ghosts delves into the depths of one family's history, intertwined with the tumultuous backdrop of Chinese history. Through a combination of discussion, visuals from the memoir, a reading, and a book signing, Tessa Hulls will provide a unique insight into her work. The memoir explores the profound impact of fear and trauma across generations, and the enduring power of love that binds them together. This event is a rare opportunity to engage with Hulls' masterful storytelling and gain a deeper understanding of the profound themes within her book. Book Event: Tessa Hulls with TK is a not-to-be-missed occasion for literature enthusiasts and those interested in exploring the complexities of family, history, and identity. Admission is free, so mark your calendars and make your way to Greenlight Bookstore at 686 Fulton Street, Brooklyn, NY 11217 on March 28, 2024. Don't miss out on this remarkable event.

Join Carlos Jiménez NA, Professor of Architecture and principal of Carlos Jiménez Studio, in a one-on-one conversation with Patricio Del Real, PhD, Associate Professor of History of Art and Architecture at Harvard University. Taking place at the National Academy of Design in New York on March 28, 2024, this event titled "Modern and Reformed: Carlos Jiménez + Patricio Del Real in Conversation" offers a unique opportunity to gain insights into Jiménez's 40-year architectural practice. The focus will be on his notable project for Won Buddhism of Houston, currently on view in the exhibition "Sites of Impermanence". Jiménez's approach to architecture goes beyond mere construction; he perceives it as a life force that is both timeless and adaptable. Admission to this enlightening discussion is free, but reservations are required. The program will commence at 6:30 PM in an accessible venue. If you require ASL interpretation or CART captioning services, please email your request at least two weeks before the event. Don't miss this chance to delve into the visionary world of Carlos Jiménez and the fascinating connections between modern architecture and its transnational influences with Patricio Del Real.

Get ready to experience David Cross: Shootin' the Shit, Seein' What Sticks at the renowned littlefield venue in Brooklyn on March 28, 2024. This exclusive arts event promises an evening filled with laughter, wit, and unforgettable moments. With tickets priced at just $19.29, attendees can look forward to an exceptional performance by the talented David Cross. Located at 635 Sackett Street, Brooklyn, NY 11217, the venue offers a cozy and intimate setting for guests to enjoy the show. So mark your calendars and join in on the fun as David Cross takes the stage to entertain and delight the audience. Don't miss out on this one-of-a-kind opportunity to witness a true comedy genius in action. Get your tickets now and get ready for a night of laughter and entertainment that will have you laughing till it sticks!

Get ready for an unforgettable night at Gramercy Theatre on March 28, 2024, as MAOLI - Boots On The Ground Tour Plus Special Guest TBA takes the stage. Located at 127 East 23rd Street, New York, NY, 10010, this concert promises an electrifying lineup of hits including fan favorites like "A Little More Tequila," "Make Me Want To," and "Whiskey Doesnt Work." The show will also feature special performances of "Unwritten," "Country Reggae," and "Golden." With a mix of soulful melodies and upbeat tunes, MAOLI is sure to captivate the audience with their unique blend of music styles. Tickets for this not-to-be-missed event will be available for purchase starting from October 27, 2023, at 14:00 until March 29, 2024, at 01:00. Don't miss your chance to experience the magic of MAOLI - Boots On The Ground Tour Plus Special Guest TBA live in concert!

Get ready for an unforgettable experience at I DONT KNOW HOW BUT THEY FOUND ME: GLOOMTOWN TOUR, set to take place at Irving Plaza Powered By Verizon 5G on March 28, 2024. The venue's address is 17 Irving Place, New York, NY, 10003. This exclusive event promises a night filled with electrifying performances and captivating music. Some of the songs that will be featured during the concert are sure to leave the audience in awe. Be sure to mark your calendars, as tickets for I DONT KNOW HOW BUT THEY FOUND ME: GLOOMTOWN TOUR will go on sale starting from December 8, 2023, at 3:00 PM and will be available until March 29, 2024, at 1:00 AM. Don't miss this opportunity to be part of a truly magical night that will leave you wanting more. Experience the magic of I DONT KNOW HOW BUT THEY FOUND ME: GLOOMTOWN TOUR and create memories that will last a lifetime.

Welcome to harf., a captivating concert experience taking place at Mercury Lounge on March 28, 2024. Situated at 217 East Houston St., New York, NY, 10002, this event promises to be an unforgettable night filled with soul-stirring melodies and electrifying performances. The carefully curated setlist will feature a mesmerizing selection of songs that will touch your heart and leave you wanting more. Tickets for harf. will be available for purchase starting from January 17, 2024, at 7:00 PM until March 29, 2024, at 3:00 AM. Don't miss this opportunity to immerse yourself in an evening of musical brilliance and artistic expression. Mark your calendars and secure your tickets to harf. for a night that will resonate with your soul long after the final note fades away.

Experience the ultimate fusion of Soca music and Spin class at Island Lunatic - Soca.SPIN.Sweat 3.28.24 in Brooklyn. Immerse yourself in the vibrant sounds and infectious energy of Caribbean carnival music while pushing your fitness boundaries. Whether you're a newcomer or a seasoned spin enthusiast, this themed class is designed to challenge you to ride to the rhythm of the music. Let the pulsating beats drive you to new levels of endurance and exhilaration as you sweat away the calories. Join us at BYKlyn Studios, located at 309 Bergen Street, Brooklyn, NY 11217, on March 28, 2024, for an unforgettable experience. Ticket prices range from $30 to $80. Don't miss this opportunity to elevate your workout routine and unleash your inner Island Lunatic.

Art Soirée at Tipsy Grape Wine Bar in Brooklyn presents an evening of sophistication, featuring wine tasting, exclusive art prints, and a live artist panel. Following the sold-out VISIONS: Opening Night on February 1st, this intimate event at 110 Smith Street on March 28 invites guests to explore artworks, meet the artist, and potentially make a purchase. General Admission tickets are priced at $55.20, which includes a glass of wine. For a more exclusive experience, Collector’s Tickets are available for $150, offering a glass of wine, a signed art print, and select seating. The V.I.P. Ticket, priced at $321.96, includes a bottle of wine with appetizers of choice, a signed art print, and lounge seating. Join this special evening of art and wine at Art Soirée at Tipsy Grape Wine Bar for an unforgettable experience.

Join the Funny THURSDAYS event at Comedy In Harlem in New York City, featuring a comedy show tailored for grown and sexy adults. Hosted by comedian Simeon Goodson and with music by Dj K Nikki, this event is a production of Robert Dominique Enterprise. Come and enjoy a night of laughter and entertainment at 508 East 117th Street, New York, NY 10035, on March 28, 2024. Tickets are available for $28.52. Get ready for a fun-filled evening with top-notch comedy and music in the vibrant atmosphere of Harlem.

Arsenal Contemporary Art New York is pleased to present a solo exhibition of recent paintings and drawings by Carol Wainio, in partnership with Trépanier-Baer Gallery, Calgary, Alberta. As if emerged from the fever dream of an abstract painter, Carol Wainio’s pictures blend history, ecology, traditional children’s literature and children’s art, into a single unified surface. She employs superimposition, palimpsest, and layering in her pictures, as well as a variety of formal juxtapositions — virtual collage, incongruous symbols, accidental defacement, and childish scribbles — to evoke the hybrid emotions that are unique to her richly allusive practice. Born of Finnish immigrant parents, Wainio’s family lore of repeated displacements and invasive neighbors have infused her work with a strong interest in history, a subject she has studied at the graduate level. Her recent pictures are formally and thematically consistent with earlier work, while the confidence of maturity has increased their complexity with assured paint handling. Wainio interweaves evermore elaborate landscapes and vignettes from the fables that we have traditionally taught children in the West, stories of magic, anthropomorphism and cruelty. Her use of found commercial iconography implicates the larger culture, while her incorporation of found children’s drawings introduce a dream-like poignancy to an urgent message slowly delivered. Although she paints in acrylic, Wainio’s palette and facture alternate between the somber wood tones of the oil-based old masters, and the cheerful, faded color of vintage commercial imagery from the dawn of mechanical reproduction. The succession of historical styles and pictorial idioms acts as a metaphor for the dire multigenerational legacy of climate change, species extinction, and humanitarian emergencies. Wainio is broadly represented in major Canadian museum collections and is the recipient of numerous prestigious distinctions, notably the Governor General’s Award in the Visual and Media Arts, a career defining honor for a Canadian artist. She lives and works in Ottawa and Montreal. This is Wainio’s first solo exhibition in New York. Carol Waino was born in Sarnia, Ontario in 1955, She studied at Halifax’s storied Nova Scotia College of Art and Design (NSCAD) in 1976, at the height of the school’s fame as a bastion of advanced training for intellectually ambitious artists. Known for its emphasis on conceptual rigor as a basis for serious contemporary practice, NASCAD’s interdisciplinary curriculum and stellar faculty encouraged critical thinking as an artistic virtue. Wainio went on to pursue history at the University of Toronto, and graduate studies at Concordia University in Montréal from which she obtained an MFA, and where she began to focus her practice on painting. Trépanier-Baer Gallery is a leading Canadian art gallery based in Calgary, Alberta, Canada. Founded by Yves Trépanier and Kevin Baer in 1991, the gallery specializes in contemporary art and supports senior and mid-career artists including Vikky Alexander, James Carl, Chris Cran, Christian Eckart, DaveandJenn, Alicia Henry, Chris Millar, Luanne Martineau, Kent Monkman, Evan Penny and Carol Wainio. It also presents the work of promising emerging artists, most recently the sculptor Jen Aitken. The gallery also advances research and showcases the work of historical modern artists such as Marcel Barbeau, Oscar Cahén, Marion Nicoll and Fred Herzog. TrépanierBaer is a member of the Art Dealers Association of Canada (ADAC) and the Association des galleries d’art contemporain (AGAC).

GHOST SHIP is a “Cabinet of Curiosities.” Historically known as Kunstkammers or Wunderkammer (wonder-rooms), these cabinets of curiosities were encyclopedic collections of objects with undefined categorical boundaries. Much like its traditional counterpart, GHOST SHIP explores the wondrously impossible possibilities of objects, their interaction with each other and the world around them, and the value we embed them with. Bringing together a diverse group of multidisciplinary artists, the exhibition is an exploration of the relationship between space and objects, in all of their inner, outer, physical, and metaphysical iterations. Through questioning the elements of art-making, such as intention, influence, atmosphere and environment, and interaction, the idea of quantum entanglement emerges and guides the viewer on a wondrous exploration of everlasting entwined fundamental connections, both intentional and accidental. Drew Bennett’s oil on wood paintings are a practice in active observation. His work seeks to establish a deeper awareness of and connection between the human body and the natural world, and represent an ongoing exploration into a painting’s ability to convey Bennett’s gratitude for the world around him. His paintings celebrate the natural world, taking inspiration and source material from the landscape of Northern California. The artist lives and works in Oakland, California. Scott Benzel’s interdisciplinary works investigate the development, processes, and inherent contradictions in contemporary mass media systems of production, collective cultural identities, and mythologized cultural histories. As a visual artist, musician, performance artist, and composer, Benzel’s work blurs the distinction between representation and abstraction and challenges the viewers’ perception of space and reality. The artist lives and works in Los Angeles, California. Tanya Brodsky’s sculptures explore the poetics of futility in the structures that govern everyday life. Her work approaches incongruities within the built environment as a tactic for revealing the hidden logic and relationships concealed by familiar use. Brodsky’s work modifies elements of architecture and technology, recreating, isolating, and generating new, and often absurd, interrelationships. The artist lives and works in Los Angeles, California. Jonathan Casella’s work is a personal investigation into the rearticulation of visual language. His work explores how human perception is informed and influenced by form and pattern, color, and coded visual languages. Casella’s distinct hard-edged, painting-weaving technique challenges and deconstructs pre-existing understandings and visual syntax. The artist lives and works in Los Angeles, California. Preston Douglas is a multidisciplinary artist who works between painting, fashion, and performance. His work challenges the traditional limitations of painting by incorporating sculptural elements, and explores how performative forms can create spiritual, non-religious atmospheres of faith for collective unity. Through surfaces that allude to both beauty and darkness, Douglas provides viewers with the space to question contemporary cultural conviction. The artist lives and works in Los Angeles, California. Emily Endo’s multidisciplinary practice pulls from the disparate, yet conjoined, histories of science and mysticism. Working in glass, organic media, and aroma molecules, Endo’s work references the transformative relationships between body, material, and space. Adornment, corporeal self-expression, and the fragmented body intersect with historical and imagined material animacies to create mythopoetic objects and figures. The artist lives and works in Joshua Tree, California. Roberta Gentry’s work is inspired by the natural world and the balance of order and chaos that exists within it. Through her paintings, which incorporate color and contrast as a rhythmical element, Gentry explores the connections and conflicts that occur between architecture and biology, questioning the divide between natural and artificial. The artist lives and works in Los Angeles, California. History of Frogs is a collaborative project by multidisciplinary artists Antonia Pinter and Chase Biado to explore form, the shape of things, the change of forms, and how playing with the forms we live with can change the way we live. Their collaboration is an experiment to destabilize form through play-logic to find new relationships between people and objects, with both the idea of self and their constructed objects being conceptualized as ever-evolving and fluid. The artists live and work in Los Angeles, California. Sarah Ippolito works in sculpture, installation, and drawing to explore biomorphic exuberance and immanent vitality, alongside a deep interest in how humans identify with, desire, or eschew the bodies of other organisms. The distinct and vivid color in Ippolito’s work is informed by the natural world, referencing states of ripeness, warning,toxicity, defensive posture, camouflage, or sexual maturity. The artist lives and works in Los Angeles, California. Robert Levine’s sculptures play with the often-indistinct differences between art and things. With a focus on common, everyday objects, the artist embraces banality to challenge and expand the viewers’ perception, not only questioning familiarity but also what classifies as “art.” Levine meticulously crafts these objects in sculpted and painted wood, or precise and realistic paintings, allowing the artist’s hand to be visible only upon close inspection and validating the artist’s ability to transcend the common and quotidian. The artist lives and works in Venice, California. Ryan Martin’s paintings and drawings place his subjects in surreal, dream-like environments. Influenced by his childhood in the 1980’s and 1990’s in Southern California, vivid hues dominate his work. The artist nods to both his Native American and Russian roots by incorporating haloes of vibrantly-hued flora and fauna, a reference to warbonnets, which are attributed to males and masculinity during Native American rituals, and kokoshniks, which are solely attributed to the feminine. The artist lives and works in the San Francisco Bay Area, California. Joshua Miller’s painting practice is compiling a visual thesaurus, which both enables and necessitates a wide array of subjects and painterly techniques. His work winds its way through the mundane, pop, technology, iconography, and conceptions of the other. Drawing inspiration from popular culture, Miller’s paintings explore the phenomenology of the visual language, assuming the form of an imagery atlas that will tell the history of painting.The artist lives and works in Los Angeles, California. Adam Rabinowitz’s works are manifestations of appearance and disappearance through matter, space and light. Rabinowitz’s works are influenced by Walt Disney animation films, as well as by abstract post-war American art. His paintings are marked with psychedelic configurations and seem to be affected by heat or stuck by war, recalling the burnt landscapes of the Sinai Desert. The artist lives and works in Los Angeles, California and will have an exhibition at BOZO Mag in April 2024. Kristopher Raos’ expansive and technical range of visual language is communicated through colorful paintings, sculptures, and drawings, each created through an intense focus on his development as an artist. Generating content Massey Klein 124 Forsyth Street New York, NY 10002 masseyklein.com from a spontaneous array of sources including music, found objects, and ‘On The Fly Photographs,’ Raos’ work is of a particular contemporaneity. Raos’ work illustrates his interest in humor, precise (DIY) techniques, and attention to craft.The artist lives and works in Bakersfield, California. Erica Vincenzi’s work explores the implication, cropping and balancing the visual weight of her paintings in a way that is emotionally and philosophically informed by literature. Her subjects are recognizable, though defamiliarized to the point of representing more fiction than fact. Like replaying a memory, fantasy weaves in and out of her work with an ominous absurdity. Vincenzi zeroes in on an emotional atmosphere where delicious and alluring sensations call from unexpected settings, and the goal of visual completion is always out of reach. The artist lives and works in Los Angeles, California. BOZO Mag is a gallery located in both Cresthaven and Pasadena, California. Run by Danny Bowman and Alexandra Grunbeck, the gallery exhibits many of the artists included in GHOST SHIP including Jonathan Casella,Drew Bennett, and Adam Rabinowitz. The gallery was recently featured in the Los Angeles Times.

The story ends at impact but the song persists I don’t see anything, you aren’t looking. As it persists tragedy lights the way in dying once a day. - Carly Burnell, 2024 Carly Burnell traces her roots as a granddaughter of the Southern California light and space movement. Her works, first incubated by natural light, find their ultimate meaning in the viewer’s perception of their visual plane. Her practice is informed by a tradition and spirit of transcendentalism – Burnell’s paintings are simultaneously individualistic and infinite. The paintings follow a strand of the expansive Zen Buddhist subject/object duality. There is no object and therefore no subject. There is just seeing. There is no painting, but instead something disguised as a painting. At one distance what you think you are seeing hovers as a mirage of what we think we understand to be a painting; you move in closer and you’re a thousand miles above the surface of the plutonian body, you move out farther and you’re just experiencing a photopsia. When spending time with Burnell’s paintings, one may exercise a muscle that has perhaps lain dormant within us for too long now – whether a literal interpretation of muscle through the use of our optic nerve adjusting to the subtle ways in which Burnell employs her oil paint with wax, silicone, and resin; or a metaphorical, psychic muscle, one reaching for the language required to give form to an intrinsic feeling that the paintings stir within us. The word muscle is used loosely as there is no real flexing required in the act of looking at Burnell’s paintings, the exertion comes with doing rather the opposite: you simply must do nothing as the paintings wash over you. And perhaps listen to them as you move in closer, out farther, from side to side, back and forth. There is a whisper at times, something uncanny that you can’t quite place your finger on – is the painting bruised? The paintings on view in but the song persists occupy these incorporeal spaces with a subtle certainty. The mezzo-piano self-assuredness of reykjavik (2021) finds its equal and opposite force reflected back in stomped (2024), whose confident frenetic brushwork evokes a mezzo-forte energy; creating a bright tension, in the vibration of which the paintings find their balance. precursory signs (2024) joins the song with its baritone cadenza. beneath the eye (2024) appears anthropomorphous in its physicality however behaves almost like a punctuation mark, giving either pause or emphasis, one cannot fully say as it depends on where in the sky the sun is, to the lilting phrase it forms with its companion the eye (2022). The sun then shifts further West a degree and you’re no longer with the same painting you thought you were with; you’re faced with an enigma. Perhaps you feel a pang of precariousness at first, it’s not as you thought, but you let your eyes adjust and soon enough you think you see clearly once more, the bruise was just a stain after all. The sun then shifts further West another degree.

I’m sitting outside of my home studio looking out at the Spanish Colonial Revival house across the street. A block east lies the headquarters of the Theosophical Society, renowned pioneers of Yoga and Eastern philosophy in the Western world during the early 1900s. To the south are the quantum scientists of CalTech. To the west is JPL, ground zero for space travel in the 1940s. Its founder Jack Parson, an occult magician, considered the current JPL site to be a portal to another dimension. And that’s just within a 5-minute radius. The military-industrial complex and esoteric institutions interweave across the California landscape, forming modern-day California. In Santa Monica, RAND, known for brainstorming many of the Cold War strategies, shares a wall with Starbucks, and is across the street from the iconic Santa Monica Ferris Wheel and Rollercoaster. Satellites, systems analysis, computing, the Internet — almost all the features of the information age were shaped in part at RAND. Silicon Valley's own genesis can be traced back to military presence in the 1950s, which laid the groundwork for subsequent private companies such as Apple, Google, and Facebook. Next door in Big Sur, The Esalen Institute, a catalyst in the New Age movement, today remains a revered sanctuary for the Techno-Spiritualists of Silicon Valley, and is equally valued as a founding pillar of modern marketing. With the emergence of Esalen’s Human Potential movement, society shifted its focus to self-exploration. Propagandists seized upon the individualistic methods of self-realization pioneered by Esalen, offering tailored fulfillment of the self through objects and images. The convergence of government research, LSD experimentation, bohemian artistic movements, and cults gave rise to a nebulous counterculture, fueled by utopian dreams—a wave still felt globally today.- Ramiro Hernandez Local Realism questions truth through an investigation of the illusory nature of reality in an interconnected, screen- mediated world. Based on the foundations of California landscape painting, Hernandez’s paintings demonstrate that to paint a place is not just to paint its geography. By incorporating dreams, ideals, history, and inner life, the artist delves into the complex interplay of forces shaping each hyper-curated, dreamlike reality. Local Realism explores the inner workings of semi-realistic paradises, where progress blurs the line between truth and illusion and is fueled by utopian dreams. Hernandez sources digitally, pulling images from social media, news articles, AI-generated memes, advertisements, and anything else mediated through screens. Varying in quality, the artist uses tracing techniques borrowed from Photorealists and Pop Artists and transfers digitally-projected screenshots onto canvas. The technique allows for a more journalistic perspective, an approach to better capture the nature of the image and embrace the mechanization. Beginning as completed, realistic paintings, each is then dissolved in washes of rainbow-colored pigment. The images are lost, modulated, retrieved, and lost again, a process repeated until each painting reaches a place that almost doesn’t exist. The artist’s deliberate technique challenges the sanctity of painting, a nod to the illusory nature of reality, and leaves each painting hanging in the balance of presence and absence. Each painting in Local Realism each painting simulates convergence and separation, where the components of Hernandez’s California intertwine to form a modern-day, illusory Garden of Eden. Amidst the seemingly idyllic tableaux lie a complex interplay of forces shaped by complex histories and romanticized pasts. Hernandez’s paintings are deliberately unclear, disintegrating, deceptive, alluding, hallucinating, and none are an answer to what “lies behind the curtain” but rather are offering an opportunity to contemplate the elusive nature of truth. Ramiro Hernandez graduated with a BFA in Painting from the California College of the Arts in San Francisco in 2010. The artist’s first solo exhibition with Massey Klein Gallery, Alta Vista, was on view from 3 June through 16 July, 2022, and in the fall of 2023, the gallery featured new and recent works by Hernandez on David Zwirner’s Platform. His work has been featured in exhibitions at Harkawik Gallery in New York, Baik Art in Seoul, Bozo Mag in Los Angeles and Pasadena, F2T Gallery in Milan, Marinaro Gallery in New York, M+B Gallery in Los Angeles, Nino Mier Gallery in Los Angeles, the Tecoah and Thomas Bruce Galleries at the California College of Arts in Oakland, the Bluebird Art House in Whittier, and the North/South Gallery at the CCA, among others. Hernandez was featured by New American Paintings in their 2021 Pacific Coast issue. The artist lives and works in Los Angeles, CA. Massey Klein Gallery is located at 124 Forsyth St. New York, NY 10002. Gallery hours are Thursday - Sunday 12pm-6pm. To schedule a private viewing, email info@masseyklein.com.

Josef Koudelka began his career as an aeronautical engineer in Prague and Bratislava, where he obtained a Rolleiflex camera and began photographing stage productions for theater magazines. After documenting gypsy culture in Romania, Slovakia, and Western Europe, he committed to photography full-time in 1967. The following year, Koudelka photographed the Soviet invasion of Prague, publishing his images under the initials "P. P." (Prague Photographer) for fear of reprisal. He was anonymously awarded the Overseas Press Club's Robert Capa Gold Medal for this work in 1969. Since 1986, Koudelka has embraced and employed the expansive compositional format of the panorama. From his commissioned investigation of the French-English region impacted by the Channel Tunnel for La Mission Photographique Transmanche project, to his exploration of the political climate in Israel and Palestine, and his recent documentation of the persistence of classicism along the Mediterranean rim, Koudelka has continuously used panoramic cameras to showcase terrains that have been significantly shaped, altered, and even devastated by the effects of industry, time, and territorial conflict.

Experience the ultimate boxing event, Boxing Gals 101 by FitGalTribe x B.I.M.Body, taking place at Manhattanville Community Center in New York City on March 29, 2024. This exclusive gathering offers women the chance to delve into the world of boxing in a supportive and enjoyable setting. Prepare to master fundamental boxing techniques with a focus on stance, footwork, punches, and defensive maneuvers. Regardless of your experience level, this class is tailored to help build strength, enhance coordination, and elevate overall fitness. Embrace your inner BoxGal as you embark on this dynamic journey alongside FitGalTribe and B.I.M.Body. Secure your spot today for just $12 and unleash the power within you at Boxing Gals 101. #JABCrossHook.

Experience the unique Director's Tour at the renowned Renee & Chaim Gross Foundation's Historic Home & Studio in New York City. This exclusive exploration offers a behind-the-scenes look at the multi-story home dedicated to the life and works of artist Chaim Gross. Led by the Executive Director of the Foundation, attendees will delve into the story of how the Grosses' home was transformed by architects Arthur Malsin and Don Reiman, explore the different floors showcasing original sculptures and special exhibitions, and admire the extensive private art collection featuring works by notable artists. From Chaim's office filled with original sketches to rare archival materials, this tour provides a personalized and informative experience in a small group setting. Join this enriching journey to discover a hidden gem in the heart of Manhattan. Kindly note the photography guidelines and bag restrictions for a seamless visit. Embrace this opportunity to immerse yourself in the artistry and legacy of Chaim Gross at this captivating venue.

Looking for a unique arts event to unwind in Brooklyn? Look no further than Paint and Sips happening at 5 Central Ave on March 29, 2024. This event offers a fantastic opportunity to unleash your creativity while enjoying a relaxed and social atmosphere. For just $37, attendees can indulge in an evening of painting, sipping, and mingling with fellow art enthusiasts. Located at 5 Central Avenue, Brooklyn, NY 11206, this venue provides the perfect backdrop for a night of artistic expression. So, mark your calendars and secure your tickets for Paint and Sips. It's an experience not to be missed. Let your inner artist shine at this one-of-a-kind event in the heart of Brooklyn.

Witness history in the making at the inaugural event by AAVE LIFD ENT - "THE START", taking place in Brooklyn on March 29, 2024. Be part of this momentous occasion at 1114 Dekalb Ave, Brooklyn, NY 11221. Secure your spot now for only $28.52 and experience an unforgettable evening filled with entertainment and excitement. This is a unique opportunity to be part of the first-ever event organized by AAVE LIFD ENT, showcasing talent and creativity like never before. Don't miss out on this exclusive event. Mark your calendars and join THE START on March 29 in Brooklyn.

Get ready to experience the magic of Guster at Brooklyn Paramount on March 29, 2024. This highly anticipated concert will showcase a range of hits including "Keep It Together," "Endlessly," "One Man Wrecking Machine," and many more. Located at 385 Flatbush Ave. Extension, Brooklyn, NY, 11201, the venue promises an unforgettable evening filled with soulful melodies and captivating performances. Tickets for Guster will be available for purchase from December 15, 2023, at 17:00 until March 30, 2024, at 00:00. Don't miss the chance to witness this iconic band in action. Whether you're a longtime fan or discovering their music for the first time, this is an event not to be missed. Mark your calendars and secure your spot for an evening of pure musical delight. Get ready to sing along to classics like "Lazy Love," "Satellite," and "Simple Machine," as Guster takes you on a musical journey like no other.