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SUMMARY:Exhibition:  Archetype-Hidden Memory — Paintings by Lex Braes
DESCRIPTION:CRS (Center for Remembering & Sharing) presents “Archetype-Hidden Memory\,” an exhibition of small paintings and works on paper by Lex Braes. This is the second solo exhibition by Braes at CRS\, the first having taken place in 2012. These works result from Braes’ practice of painting a handful of images over and over\, transforming them into abstract patterns that nevertheless express the energy and emotion of the original images and suggest some hidden language and connection between the works. The exhibition will open on February 11\, 2019 and will remain on view through April 14. \nAll works Courtesy of the Artist\, and Galerie Felix Ringel\, Düsseldorf. This exhibition was organized by CRS staff member Takeshi Inoue. \nRUNES \nScottish painter Lex Braes starts with a thought and an image\, and then reduces that image to a structure of a few lines\, maybe five lines or a single endless line\, like a Celtic knot. With handmade paint on plaster\, linen and here on paper\, he mines a motif that he first found in 2009\, using organic geometry to discover shapes\, creating rhomboids\, parallelograms\, and abstract forms that suggest and reminisce about ancient memories. Some of Braes’s forms recall the keening\, wailing figure of a man on a Greek krater\, seen on a trip to Athens. Others are derived from memories of a reclining female figure. These are indelible memories that sometimes become the joined lines that form two shapes\, an abstract form\, or uplifted arms signaling mourning. \nA series of forms on paper\, incremental grey lines lean slightly\, more ample or less close\, to create a rhythm\, with one smaller form set slightly apart. Another sheet of paper is loaded with forms\, erased by waves of additional colors\, and layered paint. While it appears now to be just a warm grey\, a solid wall of color\, the intimate painting on paper has some extra moisture\, with traces of liquid running down the sheet\, like cleansing rain that is seen through a dirty window. A third painting on paper\, reveals a layered technique where the remaining stroke is a single gesture\, an O form. \nPoignantly marked with ground earth pigments mixed with polymers on prepared paper\, his images are reminders of a fleeting impression as it crosses the painter’s mind. Perhaps that happens once or maybe a hundred times in a day\, and probably too many times in an hour. The thoughts are punctuated with a change of material or surface. His reductive paintings are layered and built up surfaces\, mixing in the ad hoc elements of rain water\, or moldy earth as a new color\, connecting to primal and essential nature with constant reconfiguration\, to end up with the most fragile simplicity. Strong statements\, given in bare minimal colors that remind of earth\, first strokes like cave paintings\, blue water and sky. Using a language only known to him\, yet universal\, Braes draws upon the essential wildness of his native Scotland\, filled with the ancient civilizing and peaceful grounding of Pictish stones\, runic inscriptions and pictograms that channel ancient and universal human emotions. \nThe painter’s daily movement travels between small oil sketches on paper to rounded sculpted forms\, connected to remnants of wood\, or paintings on linen. New drawings of graphite marks emerge from beneath layers and layers of an empty space\, formed by painting around reserved places on the paper\, allowing viewers to peek at an original space of emptiness. Braes captures an essential quality undetected in our daily frenetic lives. He bridges living memory of enduring spirit with a connection from the past. \n— Lisa A. Banner \nABOUT LEX BRAES\nhttp://www.lexbraes.com \nEDUCATION\nUniversity of California\, San Diego\, CA. Allan Kaprow MFA advisor 1983-84 Brooklyn Museum Art School (graduate study) Brooklyn NY 1979-80. Duncan of Jordanstone College of Art Design\, University of Dundee Scotland 1974-79. BA\, MFA \nTEACHING EXPERIENCE\nPratt Institute\, Brooklyn NY\, UGArch Visiting Associate Professor Fall 2003 to present Pratt Institute\, Graduate Interior Design\, Visiting Associate Professor Fall 2017 to present The New York Studio School\, NY Faculty member 1999 – 2001 \nCOLLABORATION / PERFORMANCE\nFull Circle\, performance\, dance Annie Wang music Pauline Oliveros Show Room Gowanus 2014\nCollaboration Kinetic Movement: Drawing/Dance with Kayoko Nakajima 2012 Eve Best\, Shakespeare Sessions in NY stage painting live performance 2010 Re-doing Allan Kaprow 18 happenings in 6 parts\, participation alongside Coryl Crane-Kaprow Deitch Studios LIC NY PERFORMA07 Nov 2007\nModern Man by Roger Kirby\, set projection New End Theatre Hampstead London July 2003 \nONE PERSON EXHIBITIONS\nNYU the Institute of Fine Arts “GHOST” Curated by Lisa A Banner Oct 15 2018 – Jan 15 2019\nMelville House Gallery “A Dozen by Lex Braes” Jan 7 – Feb 13 2015\nSalon Meir\, “Angels” Munich Germany Oct 15 – Nov 30 2013\nShow Room\, New York “Routine” January 15 – February 26 2012\nFelix Ringel Galerie\, Düsseldorf\, Germany “holding pattern” July 8 – Aug 7 2010\nGalerie Der Moderne Münich Germany March 12 – April 17 2010\nMichael Langen Feldafing Germany “Punctuated Equilibrium” Oct 19 2002 – Jan 12 2003\nFelix Ringel Galerie Düsseldorf “Punctuated Equilibrium” Jun 21 – Jul 27 2002 Rosenberg + Kaufman Fine Art New York “suspension” Oct 16– Dec 1 2001 Rosenberg + Kaufman Fine Art NY “Clearing” Nov 16 1999 – Jan 8 2000 Rosenberg + Kaufman Fine Art New York “Still” Jan. 13- Feb. 14 1998\nKunstkiosk Zurich Switzerland “New Works” Nov. 2 – Dec. 6\, 1996 \nSELECTED GROUP EXHIBITIONS\nHammond Museum with Kit White in North Salem\, NY May 8 – June 15\, 2019\nFelix Ringel Galerie “gallery artists – work on paper” Spring 2017 CloudGallery“ArtforRefugees”A msterdamNLFeb12–Feb232016 Sideshow Williamsburg “Life on Mars” Jan Feb 2016\nFlowers NY Small is Beautiful Dec 2015 Jan 2016\nShow Room Gowanus farewell exhibition January 2015\nFlowers London “Small is Beautiful” Dec 3 2013 – Jan 5 2014\nFelix Ringel Galerie\, Düsseldorf\, gallery artists\, Winter 2013\, Spring 2014 Show Room New York “Summer Ceylon” July 17 – July 28 2013\nLoving is Repeating Artist collaboration book International Print Center of NY􏰀 Masque Libros II Feria Internacional Libro de Artista de Madrid Spain 2013 Triangle Workshop Dumbo NY collaboration: with Salwa Aleryani 29 Sep 2012 National Academy Museum NY “Annual 2012” January 24 – April 29 2012 Felix Ringel Galerie Düsseldorf Germany Spring 2011\nFlowers NY\, gallery artists July – Aug 2010\nGalerie Der Moderne\, Münich\, Germany winter 2009\nFlowers NY small works Dec 2007\, 2009\nSchafler Gallery\, Pratt Institute\, Brooklyn “Crossing Disciplines Drawing” faculty selection Feb 15 – April 15 2005 \nAWARDS\nMarble House Projects\, residency Dorset VT June 2014\nVermont Studio Center\, visiting artist/teacher January 2013\nVilla Waldberta\, stipendium\, International Residency Münich May June 2008 YADDO artist residency 2007 March 2019\nTriangle Artists Workshop 30th Anniversary Invitational 2012\nGlasgow Educational Trust Award to study Degas drawings: Fogg Museum Harvard Sep 1978 \nBIBLIOGRAPHY\nMnemosyne Atlas Freya Powell collective social memory 2012\, 2014\, 2016\, 2018\nPratt Journal of Architecture Re: Making Full Circle with Annie Wang publication 2016\nLoving is Repeating artist book collaboration with Freya Powell Nov 2013\nHyperallergic Sarah Walko Collaboration Across Borders in Artist Workshops Jan 22 2013\nLex Braes works 1986 – 2009 monograph published by Michael Langen\, Roland Angst design Berlin 2010\nKaren Wilkin: catalogue essay “recent work” Nov 2009\nThomas Kuhn: catalogue essay “holding pattern” Dec 2009\nNatasha Prevost: “Lex Braes’ red line” Inflexions Issue 2 Jan 2009 (Journal of Philosophy) Montreal Canada\nAlison Leigh Defrees: “Art in the Balance” Profile Janera 2008\nAngela Bachmair: “Mysterious Traces” Augsburger Allgemeine Jan10 2004 Karen Wilkin: “At the Galleries” in Partisan Review Winter 2002 Winter 2000 Ken Johnson “suspension” Fine Arts & Leisure\, review New York Times Nov 16\, 2001\nDonald Kuspit: “Clearing” essay for Exhibition Catalogue November 1999 – Jan 2000\nKit White: “Lex Braes at Rosenberg + Kaufman Fine Art” Review\, Dec 15\, 1999\nRoland Legiardi-Laura “Lex Braes at Rosenberg + Kaufman” BOMB Spring 1998\nEileen Daspin: “Trends” Wall Street Journal\, March 6\, 1998\nMark Staff Brandl: Zurich “Lex Braes at Kunstkiosk”\, in Art in America\, Jan 1997\nSue Scott: “Invitational” Elizabeth Harris Gallery” in ARTnews Jan 1994\nJanet Koplos: “Lex Braes at Stephen Rosenberg” in Art in America July 1992
URL:https://crsny.org/event/exhibition-archetype-hidden-memory-paintings-by-lex-braes/2019-03-31/
LOCATION:CRS (Center for Remembering & Sharing)\, 41 E 11th St 11th Fl\, New York\, NY\, 10003\, United States
CATEGORIES:CRS Presents,Exhibition
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SUMMARY:Exhibition:  Archetype-Hidden Memory — Paintings by Lex Braes
DESCRIPTION:CRS (Center for Remembering & Sharing) presents “Archetype-Hidden Memory\,” an exhibition of small paintings and works on paper by Lex Braes. This is the second solo exhibition by Braes at CRS\, the first having taken place in 2012. These works result from Braes’ practice of painting a handful of images over and over\, transforming them into abstract patterns that nevertheless express the energy and emotion of the original images and suggest some hidden language and connection between the works. The exhibition will open on February 11\, 2019 and will remain on view through April 14. \nAll works Courtesy of the Artist\, and Galerie Felix Ringel\, Düsseldorf. This exhibition was organized by CRS staff member Takeshi Inoue. \nRUNES \nScottish painter Lex Braes starts with a thought and an image\, and then reduces that image to a structure of a few lines\, maybe five lines or a single endless line\, like a Celtic knot. With handmade paint on plaster\, linen and here on paper\, he mines a motif that he first found in 2009\, using organic geometry to discover shapes\, creating rhomboids\, parallelograms\, and abstract forms that suggest and reminisce about ancient memories. Some of Braes’s forms recall the keening\, wailing figure of a man on a Greek krater\, seen on a trip to Athens. Others are derived from memories of a reclining female figure. These are indelible memories that sometimes become the joined lines that form two shapes\, an abstract form\, or uplifted arms signaling mourning. \nA series of forms on paper\, incremental grey lines lean slightly\, more ample or less close\, to create a rhythm\, with one smaller form set slightly apart. Another sheet of paper is loaded with forms\, erased by waves of additional colors\, and layered paint. While it appears now to be just a warm grey\, a solid wall of color\, the intimate painting on paper has some extra moisture\, with traces of liquid running down the sheet\, like cleansing rain that is seen through a dirty window. A third painting on paper\, reveals a layered technique where the remaining stroke is a single gesture\, an O form. \nPoignantly marked with ground earth pigments mixed with polymers on prepared paper\, his images are reminders of a fleeting impression as it crosses the painter’s mind. Perhaps that happens once or maybe a hundred times in a day\, and probably too many times in an hour. The thoughts are punctuated with a change of material or surface. His reductive paintings are layered and built up surfaces\, mixing in the ad hoc elements of rain water\, or moldy earth as a new color\, connecting to primal and essential nature with constant reconfiguration\, to end up with the most fragile simplicity. Strong statements\, given in bare minimal colors that remind of earth\, first strokes like cave paintings\, blue water and sky. Using a language only known to him\, yet universal\, Braes draws upon the essential wildness of his native Scotland\, filled with the ancient civilizing and peaceful grounding of Pictish stones\, runic inscriptions and pictograms that channel ancient and universal human emotions. \nThe painter’s daily movement travels between small oil sketches on paper to rounded sculpted forms\, connected to remnants of wood\, or paintings on linen. New drawings of graphite marks emerge from beneath layers and layers of an empty space\, formed by painting around reserved places on the paper\, allowing viewers to peek at an original space of emptiness. Braes captures an essential quality undetected in our daily frenetic lives. He bridges living memory of enduring spirit with a connection from the past. \n— Lisa A. Banner \nABOUT LEX BRAES\nhttp://www.lexbraes.com \nEDUCATION\nUniversity of California\, San Diego\, CA. Allan Kaprow MFA advisor 1983-84 Brooklyn Museum Art School (graduate study) Brooklyn NY 1979-80. Duncan of Jordanstone College of Art Design\, University of Dundee Scotland 1974-79. BA\, MFA \nTEACHING EXPERIENCE\nPratt Institute\, Brooklyn NY\, UGArch Visiting Associate Professor Fall 2003 to present Pratt Institute\, Graduate Interior Design\, Visiting Associate Professor Fall 2017 to present The New York Studio School\, NY Faculty member 1999 – 2001 \nCOLLABORATION / PERFORMANCE\nFull Circle\, performance\, dance Annie Wang music Pauline Oliveros Show Room Gowanus 2014\nCollaboration Kinetic Movement: Drawing/Dance with Kayoko Nakajima 2012 Eve Best\, Shakespeare Sessions in NY stage painting live performance 2010 Re-doing Allan Kaprow 18 happenings in 6 parts\, participation alongside Coryl Crane-Kaprow Deitch Studios LIC NY PERFORMA07 Nov 2007\nModern Man by Roger Kirby\, set projection New End Theatre Hampstead London July 2003 \nONE PERSON EXHIBITIONS\nNYU the Institute of Fine Arts “GHOST” Curated by Lisa A Banner Oct 15 2018 – Jan 15 2019\nMelville House Gallery “A Dozen by Lex Braes” Jan 7 – Feb 13 2015\nSalon Meir\, “Angels” Munich Germany Oct 15 – Nov 30 2013\nShow Room\, New York “Routine” January 15 – February 26 2012\nFelix Ringel Galerie\, Düsseldorf\, Germany “holding pattern” July 8 – Aug 7 2010\nGalerie Der Moderne Münich Germany March 12 – April 17 2010\nMichael Langen Feldafing Germany “Punctuated Equilibrium” Oct 19 2002 – Jan 12 2003\nFelix Ringel Galerie Düsseldorf “Punctuated Equilibrium” Jun 21 – Jul 27 2002 Rosenberg + Kaufman Fine Art New York “suspension” Oct 16– Dec 1 2001 Rosenberg + Kaufman Fine Art NY “Clearing” Nov 16 1999 – Jan 8 2000 Rosenberg + Kaufman Fine Art New York “Still” Jan. 13- Feb. 14 1998\nKunstkiosk Zurich Switzerland “New Works” Nov. 2 – Dec. 6\, 1996 \nSELECTED GROUP EXHIBITIONS\nHammond Museum with Kit White in North Salem\, NY May 8 – June 15\, 2019\nFelix Ringel Galerie “gallery artists – work on paper” Spring 2017 CloudGallery“ArtforRefugees”A msterdamNLFeb12–Feb232016 Sideshow Williamsburg “Life on Mars” Jan Feb 2016\nFlowers NY Small is Beautiful Dec 2015 Jan 2016\nShow Room Gowanus farewell exhibition January 2015\nFlowers London “Small is Beautiful” Dec 3 2013 – Jan 5 2014\nFelix Ringel Galerie\, Düsseldorf\, gallery artists\, Winter 2013\, Spring 2014 Show Room New York “Summer Ceylon” July 17 – July 28 2013\nLoving is Repeating Artist collaboration book International Print Center of NY􏰀 Masque Libros II Feria Internacional Libro de Artista de Madrid Spain 2013 Triangle Workshop Dumbo NY collaboration: with Salwa Aleryani 29 Sep 2012 National Academy Museum NY “Annual 2012” January 24 – April 29 2012 Felix Ringel Galerie Düsseldorf Germany Spring 2011\nFlowers NY\, gallery artists July – Aug 2010\nGalerie Der Moderne\, Münich\, Germany winter 2009\nFlowers NY small works Dec 2007\, 2009\nSchafler Gallery\, Pratt Institute\, Brooklyn “Crossing Disciplines Drawing” faculty selection Feb 15 – April 15 2005 \nAWARDS\nMarble House Projects\, residency Dorset VT June 2014\nVermont Studio Center\, visiting artist/teacher January 2013\nVilla Waldberta\, stipendium\, International Residency Münich May June 2008 YADDO artist residency 2007 March 2019\nTriangle Artists Workshop 30th Anniversary Invitational 2012\nGlasgow Educational Trust Award to study Degas drawings: Fogg Museum Harvard Sep 1978 \nBIBLIOGRAPHY\nMnemosyne Atlas Freya Powell collective social memory 2012\, 2014\, 2016\, 2018\nPratt Journal of Architecture Re: Making Full Circle with Annie Wang publication 2016\nLoving is Repeating artist book collaboration with Freya Powell Nov 2013\nHyperallergic Sarah Walko Collaboration Across Borders in Artist Workshops Jan 22 2013\nLex Braes works 1986 – 2009 monograph published by Michael Langen\, Roland Angst design Berlin 2010\nKaren Wilkin: catalogue essay “recent work” Nov 2009\nThomas Kuhn: catalogue essay “holding pattern” Dec 2009\nNatasha Prevost: “Lex Braes’ red line” Inflexions Issue 2 Jan 2009 (Journal of Philosophy) Montreal Canada\nAlison Leigh Defrees: “Art in the Balance” Profile Janera 2008\nAngela Bachmair: “Mysterious Traces” Augsburger Allgemeine Jan10 2004 Karen Wilkin: “At the Galleries” in Partisan Review Winter 2002 Winter 2000 Ken Johnson “suspension” Fine Arts & Leisure\, review New York Times Nov 16\, 2001\nDonald Kuspit: “Clearing” essay for Exhibition Catalogue November 1999 – Jan 2000\nKit White: “Lex Braes at Rosenberg + Kaufman Fine Art” Review\, Dec 15\, 1999\nRoland Legiardi-Laura “Lex Braes at Rosenberg + Kaufman” BOMB Spring 1998\nEileen Daspin: “Trends” Wall Street Journal\, March 6\, 1998\nMark Staff Brandl: Zurich “Lex Braes at Kunstkiosk”\, in Art in America\, Jan 1997\nSue Scott: “Invitational” Elizabeth Harris Gallery” in ARTnews Jan 1994\nJanet Koplos: “Lex Braes at Stephen Rosenberg” in Art in America July 1992
URL:https://crsny.org/event/exhibition-archetype-hidden-memory-paintings-by-lex-braes/2019-04-01/
LOCATION:CRS (Center for Remembering & Sharing)\, 41 E 11th St 11th Fl\, New York\, NY\, 10003\, United States
CATEGORIES:CRS Presents,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://crsny.org/wp-content/uploads/2019/02/mourning_studies_2017.jpg
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DTSTART;VALUE=DATE:20190402
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DTSTAMP:20190213T200109Z
CREATED:20190211T004036Z
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SUMMARY:Exhibition:  Archetype-Hidden Memory — Paintings by Lex Braes
DESCRIPTION:CRS (Center for Remembering & Sharing) presents “Archetype-Hidden Memory\,” an exhibition of small paintings and works on paper by Lex Braes. This is the second solo exhibition by Braes at CRS\, the first having taken place in 2012. These works result from Braes’ practice of painting a handful of images over and over\, transforming them into abstract patterns that nevertheless express the energy and emotion of the original images and suggest some hidden language and connection between the works. The exhibition will open on February 11\, 2019 and will remain on view through April 14. \nAll works Courtesy of the Artist\, and Galerie Felix Ringel\, Düsseldorf. This exhibition was organized by CRS staff member Takeshi Inoue. \nRUNES \nScottish painter Lex Braes starts with a thought and an image\, and then reduces that image to a structure of a few lines\, maybe five lines or a single endless line\, like a Celtic knot. With handmade paint on plaster\, linen and here on paper\, he mines a motif that he first found in 2009\, using organic geometry to discover shapes\, creating rhomboids\, parallelograms\, and abstract forms that suggest and reminisce about ancient memories. Some of Braes’s forms recall the keening\, wailing figure of a man on a Greek krater\, seen on a trip to Athens. Others are derived from memories of a reclining female figure. These are indelible memories that sometimes become the joined lines that form two shapes\, an abstract form\, or uplifted arms signaling mourning. \nA series of forms on paper\, incremental grey lines lean slightly\, more ample or less close\, to create a rhythm\, with one smaller form set slightly apart. Another sheet of paper is loaded with forms\, erased by waves of additional colors\, and layered paint. While it appears now to be just a warm grey\, a solid wall of color\, the intimate painting on paper has some extra moisture\, with traces of liquid running down the sheet\, like cleansing rain that is seen through a dirty window. A third painting on paper\, reveals a layered technique where the remaining stroke is a single gesture\, an O form. \nPoignantly marked with ground earth pigments mixed with polymers on prepared paper\, his images are reminders of a fleeting impression as it crosses the painter’s mind. Perhaps that happens once or maybe a hundred times in a day\, and probably too many times in an hour. The thoughts are punctuated with a change of material or surface. His reductive paintings are layered and built up surfaces\, mixing in the ad hoc elements of rain water\, or moldy earth as a new color\, connecting to primal and essential nature with constant reconfiguration\, to end up with the most fragile simplicity. Strong statements\, given in bare minimal colors that remind of earth\, first strokes like cave paintings\, blue water and sky. Using a language only known to him\, yet universal\, Braes draws upon the essential wildness of his native Scotland\, filled with the ancient civilizing and peaceful grounding of Pictish stones\, runic inscriptions and pictograms that channel ancient and universal human emotions. \nThe painter’s daily movement travels between small oil sketches on paper to rounded sculpted forms\, connected to remnants of wood\, or paintings on linen. New drawings of graphite marks emerge from beneath layers and layers of an empty space\, formed by painting around reserved places on the paper\, allowing viewers to peek at an original space of emptiness. Braes captures an essential quality undetected in our daily frenetic lives. He bridges living memory of enduring spirit with a connection from the past. \n— Lisa A. Banner \nABOUT LEX BRAES\nhttp://www.lexbraes.com \nEDUCATION\nUniversity of California\, San Diego\, CA. Allan Kaprow MFA advisor 1983-84 Brooklyn Museum Art School (graduate study) Brooklyn NY 1979-80. Duncan of Jordanstone College of Art Design\, University of Dundee Scotland 1974-79. BA\, MFA \nTEACHING EXPERIENCE\nPratt Institute\, Brooklyn NY\, UGArch Visiting Associate Professor Fall 2003 to present Pratt Institute\, Graduate Interior Design\, Visiting Associate Professor Fall 2017 to present The New York Studio School\, NY Faculty member 1999 – 2001 \nCOLLABORATION / PERFORMANCE\nFull Circle\, performance\, dance Annie Wang music Pauline Oliveros Show Room Gowanus 2014\nCollaboration Kinetic Movement: Drawing/Dance with Kayoko Nakajima 2012 Eve Best\, Shakespeare Sessions in NY stage painting live performance 2010 Re-doing Allan Kaprow 18 happenings in 6 parts\, participation alongside Coryl Crane-Kaprow Deitch Studios LIC NY PERFORMA07 Nov 2007\nModern Man by Roger Kirby\, set projection New End Theatre Hampstead London July 2003 \nONE PERSON EXHIBITIONS\nNYU the Institute of Fine Arts “GHOST” Curated by Lisa A Banner Oct 15 2018 – Jan 15 2019\nMelville House Gallery “A Dozen by Lex Braes” Jan 7 – Feb 13 2015\nSalon Meir\, “Angels” Munich Germany Oct 15 – Nov 30 2013\nShow Room\, New York “Routine” January 15 – February 26 2012\nFelix Ringel Galerie\, Düsseldorf\, Germany “holding pattern” July 8 – Aug 7 2010\nGalerie Der Moderne Münich Germany March 12 – April 17 2010\nMichael Langen Feldafing Germany “Punctuated Equilibrium” Oct 19 2002 – Jan 12 2003\nFelix Ringel Galerie Düsseldorf “Punctuated Equilibrium” Jun 21 – Jul 27 2002 Rosenberg + Kaufman Fine Art New York “suspension” Oct 16– Dec 1 2001 Rosenberg + Kaufman Fine Art NY “Clearing” Nov 16 1999 – Jan 8 2000 Rosenberg + Kaufman Fine Art New York “Still” Jan. 13- Feb. 14 1998\nKunstkiosk Zurich Switzerland “New Works” Nov. 2 – Dec. 6\, 1996 \nSELECTED GROUP EXHIBITIONS\nHammond Museum with Kit White in North Salem\, NY May 8 – June 15\, 2019\nFelix Ringel Galerie “gallery artists – work on paper” Spring 2017 CloudGallery“ArtforRefugees”A msterdamNLFeb12–Feb232016 Sideshow Williamsburg “Life on Mars” Jan Feb 2016\nFlowers NY Small is Beautiful Dec 2015 Jan 2016\nShow Room Gowanus farewell exhibition January 2015\nFlowers London “Small is Beautiful” Dec 3 2013 – Jan 5 2014\nFelix Ringel Galerie\, Düsseldorf\, gallery artists\, Winter 2013\, Spring 2014 Show Room New York “Summer Ceylon” July 17 – July 28 2013\nLoving is Repeating Artist collaboration book International Print Center of NY􏰀 Masque Libros II Feria Internacional Libro de Artista de Madrid Spain 2013 Triangle Workshop Dumbo NY collaboration: with Salwa Aleryani 29 Sep 2012 National Academy Museum NY “Annual 2012” January 24 – April 29 2012 Felix Ringel Galerie Düsseldorf Germany Spring 2011\nFlowers NY\, gallery artists July – Aug 2010\nGalerie Der Moderne\, Münich\, Germany winter 2009\nFlowers NY small works Dec 2007\, 2009\nSchafler Gallery\, Pratt Institute\, Brooklyn “Crossing Disciplines Drawing” faculty selection Feb 15 – April 15 2005 \nAWARDS\nMarble House Projects\, residency Dorset VT June 2014\nVermont Studio Center\, visiting artist/teacher January 2013\nVilla Waldberta\, stipendium\, International Residency Münich May June 2008 YADDO artist residency 2007 March 2019\nTriangle Artists Workshop 30th Anniversary Invitational 2012\nGlasgow Educational Trust Award to study Degas drawings: Fogg Museum Harvard Sep 1978 \nBIBLIOGRAPHY\nMnemosyne Atlas Freya Powell collective social memory 2012\, 2014\, 2016\, 2018\nPratt Journal of Architecture Re: Making Full Circle with Annie Wang publication 2016\nLoving is Repeating artist book collaboration with Freya Powell Nov 2013\nHyperallergic Sarah Walko Collaboration Across Borders in Artist Workshops Jan 22 2013\nLex Braes works 1986 – 2009 monograph published by Michael Langen\, Roland Angst design Berlin 2010\nKaren Wilkin: catalogue essay “recent work” Nov 2009\nThomas Kuhn: catalogue essay “holding pattern” Dec 2009\nNatasha Prevost: “Lex Braes’ red line” Inflexions Issue 2 Jan 2009 (Journal of Philosophy) Montreal Canada\nAlison Leigh Defrees: “Art in the Balance” Profile Janera 2008\nAngela Bachmair: “Mysterious Traces” Augsburger Allgemeine Jan10 2004 Karen Wilkin: “At the Galleries” in Partisan Review Winter 2002 Winter 2000 Ken Johnson “suspension” Fine Arts & Leisure\, review New York Times Nov 16\, 2001\nDonald Kuspit: “Clearing” essay for Exhibition Catalogue November 1999 – Jan 2000\nKit White: “Lex Braes at Rosenberg + Kaufman Fine Art” Review\, Dec 15\, 1999\nRoland Legiardi-Laura “Lex Braes at Rosenberg + Kaufman” BOMB Spring 1998\nEileen Daspin: “Trends” Wall Street Journal\, March 6\, 1998\nMark Staff Brandl: Zurich “Lex Braes at Kunstkiosk”\, in Art in America\, Jan 1997\nSue Scott: “Invitational” Elizabeth Harris Gallery” in ARTnews Jan 1994\nJanet Koplos: “Lex Braes at Stephen Rosenberg” in Art in America July 1992
URL:https://crsny.org/event/exhibition-archetype-hidden-memory-paintings-by-lex-braes/2019-04-02/
LOCATION:CRS (Center for Remembering & Sharing)\, 41 E 11th St 11th Fl\, New York\, NY\, 10003\, United States
CATEGORIES:CRS Presents,Exhibition
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DTSTART;VALUE=DATE:20190403
DTEND;VALUE=DATE:20190404
DTSTAMP:20190213T200109Z
CREATED:20190211T004036Z
LAST-MODIFIED:20190213T200109Z
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SUMMARY:Exhibition:  Archetype-Hidden Memory — Paintings by Lex Braes
DESCRIPTION:CRS (Center for Remembering & Sharing) presents “Archetype-Hidden Memory\,” an exhibition of small paintings and works on paper by Lex Braes. This is the second solo exhibition by Braes at CRS\, the first having taken place in 2012. These works result from Braes’ practice of painting a handful of images over and over\, transforming them into abstract patterns that nevertheless express the energy and emotion of the original images and suggest some hidden language and connection between the works. The exhibition will open on February 11\, 2019 and will remain on view through April 14. \nAll works Courtesy of the Artist\, and Galerie Felix Ringel\, Düsseldorf. This exhibition was organized by CRS staff member Takeshi Inoue. \nRUNES \nScottish painter Lex Braes starts with a thought and an image\, and then reduces that image to a structure of a few lines\, maybe five lines or a single endless line\, like a Celtic knot. With handmade paint on plaster\, linen and here on paper\, he mines a motif that he first found in 2009\, using organic geometry to discover shapes\, creating rhomboids\, parallelograms\, and abstract forms that suggest and reminisce about ancient memories. Some of Braes’s forms recall the keening\, wailing figure of a man on a Greek krater\, seen on a trip to Athens. Others are derived from memories of a reclining female figure. These are indelible memories that sometimes become the joined lines that form two shapes\, an abstract form\, or uplifted arms signaling mourning. \nA series of forms on paper\, incremental grey lines lean slightly\, more ample or less close\, to create a rhythm\, with one smaller form set slightly apart. Another sheet of paper is loaded with forms\, erased by waves of additional colors\, and layered paint. While it appears now to be just a warm grey\, a solid wall of color\, the intimate painting on paper has some extra moisture\, with traces of liquid running down the sheet\, like cleansing rain that is seen through a dirty window. A third painting on paper\, reveals a layered technique where the remaining stroke is a single gesture\, an O form. \nPoignantly marked with ground earth pigments mixed with polymers on prepared paper\, his images are reminders of a fleeting impression as it crosses the painter’s mind. Perhaps that happens once or maybe a hundred times in a day\, and probably too many times in an hour. The thoughts are punctuated with a change of material or surface. His reductive paintings are layered and built up surfaces\, mixing in the ad hoc elements of rain water\, or moldy earth as a new color\, connecting to primal and essential nature with constant reconfiguration\, to end up with the most fragile simplicity. Strong statements\, given in bare minimal colors that remind of earth\, first strokes like cave paintings\, blue water and sky. Using a language only known to him\, yet universal\, Braes draws upon the essential wildness of his native Scotland\, filled with the ancient civilizing and peaceful grounding of Pictish stones\, runic inscriptions and pictograms that channel ancient and universal human emotions. \nThe painter’s daily movement travels between small oil sketches on paper to rounded sculpted forms\, connected to remnants of wood\, or paintings on linen. New drawings of graphite marks emerge from beneath layers and layers of an empty space\, formed by painting around reserved places on the paper\, allowing viewers to peek at an original space of emptiness. Braes captures an essential quality undetected in our daily frenetic lives. He bridges living memory of enduring spirit with a connection from the past. \n— Lisa A. Banner \nABOUT LEX BRAES\nhttp://www.lexbraes.com \nEDUCATION\nUniversity of California\, San Diego\, CA. Allan Kaprow MFA advisor 1983-84 Brooklyn Museum Art School (graduate study) Brooklyn NY 1979-80. Duncan of Jordanstone College of Art Design\, University of Dundee Scotland 1974-79. BA\, MFA \nTEACHING EXPERIENCE\nPratt Institute\, Brooklyn NY\, UGArch Visiting Associate Professor Fall 2003 to present Pratt Institute\, Graduate Interior Design\, Visiting Associate Professor Fall 2017 to present The New York Studio School\, NY Faculty member 1999 – 2001 \nCOLLABORATION / PERFORMANCE\nFull Circle\, performance\, dance Annie Wang music Pauline Oliveros Show Room Gowanus 2014\nCollaboration Kinetic Movement: Drawing/Dance with Kayoko Nakajima 2012 Eve Best\, Shakespeare Sessions in NY stage painting live performance 2010 Re-doing Allan Kaprow 18 happenings in 6 parts\, participation alongside Coryl Crane-Kaprow Deitch Studios LIC NY PERFORMA07 Nov 2007\nModern Man by Roger Kirby\, set projection New End Theatre Hampstead London July 2003 \nONE PERSON EXHIBITIONS\nNYU the Institute of Fine Arts “GHOST” Curated by Lisa A Banner Oct 15 2018 – Jan 15 2019\nMelville House Gallery “A Dozen by Lex Braes” Jan 7 – Feb 13 2015\nSalon Meir\, “Angels” Munich Germany Oct 15 – Nov 30 2013\nShow Room\, New York “Routine” January 15 – February 26 2012\nFelix Ringel Galerie\, Düsseldorf\, Germany “holding pattern” July 8 – Aug 7 2010\nGalerie Der Moderne Münich Germany March 12 – April 17 2010\nMichael Langen Feldafing Germany “Punctuated Equilibrium” Oct 19 2002 – Jan 12 2003\nFelix Ringel Galerie Düsseldorf “Punctuated Equilibrium” Jun 21 – Jul 27 2002 Rosenberg + Kaufman Fine Art New York “suspension” Oct 16– Dec 1 2001 Rosenberg + Kaufman Fine Art NY “Clearing” Nov 16 1999 – Jan 8 2000 Rosenberg + Kaufman Fine Art New York “Still” Jan. 13- Feb. 14 1998\nKunstkiosk Zurich Switzerland “New Works” Nov. 2 – Dec. 6\, 1996 \nSELECTED GROUP EXHIBITIONS\nHammond Museum with Kit White in North Salem\, NY May 8 – June 15\, 2019\nFelix Ringel Galerie “gallery artists – work on paper” Spring 2017 CloudGallery“ArtforRefugees”A msterdamNLFeb12–Feb232016 Sideshow Williamsburg “Life on Mars” Jan Feb 2016\nFlowers NY Small is Beautiful Dec 2015 Jan 2016\nShow Room Gowanus farewell exhibition January 2015\nFlowers London “Small is Beautiful” Dec 3 2013 – Jan 5 2014\nFelix Ringel Galerie\, Düsseldorf\, gallery artists\, Winter 2013\, Spring 2014 Show Room New York “Summer Ceylon” July 17 – July 28 2013\nLoving is Repeating Artist collaboration book International Print Center of NY􏰀 Masque Libros II Feria Internacional Libro de Artista de Madrid Spain 2013 Triangle Workshop Dumbo NY collaboration: with Salwa Aleryani 29 Sep 2012 National Academy Museum NY “Annual 2012” January 24 – April 29 2012 Felix Ringel Galerie Düsseldorf Germany Spring 2011\nFlowers NY\, gallery artists July – Aug 2010\nGalerie Der Moderne\, Münich\, Germany winter 2009\nFlowers NY small works Dec 2007\, 2009\nSchafler Gallery\, Pratt Institute\, Brooklyn “Crossing Disciplines Drawing” faculty selection Feb 15 – April 15 2005 \nAWARDS\nMarble House Projects\, residency Dorset VT June 2014\nVermont Studio Center\, visiting artist/teacher January 2013\nVilla Waldberta\, stipendium\, International Residency Münich May June 2008 YADDO artist residency 2007 March 2019\nTriangle Artists Workshop 30th Anniversary Invitational 2012\nGlasgow Educational Trust Award to study Degas drawings: Fogg Museum Harvard Sep 1978 \nBIBLIOGRAPHY\nMnemosyne Atlas Freya Powell collective social memory 2012\, 2014\, 2016\, 2018\nPratt Journal of Architecture Re: Making Full Circle with Annie Wang publication 2016\nLoving is Repeating artist book collaboration with Freya Powell Nov 2013\nHyperallergic Sarah Walko Collaboration Across Borders in Artist Workshops Jan 22 2013\nLex Braes works 1986 – 2009 monograph published by Michael Langen\, Roland Angst design Berlin 2010\nKaren Wilkin: catalogue essay “recent work” Nov 2009\nThomas Kuhn: catalogue essay “holding pattern” Dec 2009\nNatasha Prevost: “Lex Braes’ red line” Inflexions Issue 2 Jan 2009 (Journal of Philosophy) Montreal Canada\nAlison Leigh Defrees: “Art in the Balance” Profile Janera 2008\nAngela Bachmair: “Mysterious Traces” Augsburger Allgemeine Jan10 2004 Karen Wilkin: “At the Galleries” in Partisan Review Winter 2002 Winter 2000 Ken Johnson “suspension” Fine Arts & Leisure\, review New York Times Nov 16\, 2001\nDonald Kuspit: “Clearing” essay for Exhibition Catalogue November 1999 – Jan 2000\nKit White: “Lex Braes at Rosenberg + Kaufman Fine Art” Review\, Dec 15\, 1999\nRoland Legiardi-Laura “Lex Braes at Rosenberg + Kaufman” BOMB Spring 1998\nEileen Daspin: “Trends” Wall Street Journal\, March 6\, 1998\nMark Staff Brandl: Zurich “Lex Braes at Kunstkiosk”\, in Art in America\, Jan 1997\nSue Scott: “Invitational” Elizabeth Harris Gallery” in ARTnews Jan 1994\nJanet Koplos: “Lex Braes at Stephen Rosenberg” in Art in America July 1992
URL:https://crsny.org/event/exhibition-archetype-hidden-memory-paintings-by-lex-braes/2019-04-03/
LOCATION:CRS (Center for Remembering & Sharing)\, 41 E 11th St 11th Fl\, New York\, NY\, 10003\, United States
CATEGORIES:CRS Presents,Exhibition
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SUMMARY:A Course in Miracles Wednesday Classes
DESCRIPTION:Mondays 7:30 – 9 pm\nTaught by Yasuko Kasaki\, assisted by Christopher Pelham \nWednesdays 8 – 9:30 pm\nTaught by Christopher Pelham \nKnow your life purpose and the meaning of your current situation clearly. Communicate with your Inner Teacher. Heal yourself and others. \nThese ongoing classes focus on mind training designed to help you to experience the lessons and loving wisdom of ACIM. Each class contains some lecture from the ACIM Textbook\, some discussion and Q&A\, and typically 10 – 20 minutes of meditation\, creative visualization and/or spiritual reading practice in order to experience mind change. \nOur primary goal in these classes is for each student to learn to listen to the guidance of Holy Spirit and live his/her life with certainty and peace. Slowly\, you will re-train your eyes to see the world around you without judgment. You will learn to communicate with your holy spirit. \nIt is OK to attend without having studied the Course\, but we highly encourage you begin reading the Text and\, especially\, to begin the workbook lessons if you can! This course is meant to be experienced rather than simply talked about. You can find the text and lessons online. \nStudents of all experience levels and backgrounds are welcome!
URL:https://crsny.org/event/a-course-in-miracles-2/2019-04-03/
LOCATION:CRS (Center for Remembering & Sharing)\, 41 E 11th St 11th Fl\, New York\, NY\, 10003\, United States
CATEGORIES:ACIM-Related Event,CRS Presents
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DTEND;VALUE=DATE:20190405
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SUMMARY:Exhibition:  Archetype-Hidden Memory — Paintings by Lex Braes
DESCRIPTION:CRS (Center for Remembering & Sharing) presents “Archetype-Hidden Memory\,” an exhibition of small paintings and works on paper by Lex Braes. This is the second solo exhibition by Braes at CRS\, the first having taken place in 2012. These works result from Braes’ practice of painting a handful of images over and over\, transforming them into abstract patterns that nevertheless express the energy and emotion of the original images and suggest some hidden language and connection between the works. The exhibition will open on February 11\, 2019 and will remain on view through April 14. \nAll works Courtesy of the Artist\, and Galerie Felix Ringel\, Düsseldorf. This exhibition was organized by CRS staff member Takeshi Inoue. \nRUNES \nScottish painter Lex Braes starts with a thought and an image\, and then reduces that image to a structure of a few lines\, maybe five lines or a single endless line\, like a Celtic knot. With handmade paint on plaster\, linen and here on paper\, he mines a motif that he first found in 2009\, using organic geometry to discover shapes\, creating rhomboids\, parallelograms\, and abstract forms that suggest and reminisce about ancient memories. Some of Braes’s forms recall the keening\, wailing figure of a man on a Greek krater\, seen on a trip to Athens. Others are derived from memories of a reclining female figure. These are indelible memories that sometimes become the joined lines that form two shapes\, an abstract form\, or uplifted arms signaling mourning. \nA series of forms on paper\, incremental grey lines lean slightly\, more ample or less close\, to create a rhythm\, with one smaller form set slightly apart. Another sheet of paper is loaded with forms\, erased by waves of additional colors\, and layered paint. While it appears now to be just a warm grey\, a solid wall of color\, the intimate painting on paper has some extra moisture\, with traces of liquid running down the sheet\, like cleansing rain that is seen through a dirty window. A third painting on paper\, reveals a layered technique where the remaining stroke is a single gesture\, an O form. \nPoignantly marked with ground earth pigments mixed with polymers on prepared paper\, his images are reminders of a fleeting impression as it crosses the painter’s mind. Perhaps that happens once or maybe a hundred times in a day\, and probably too many times in an hour. The thoughts are punctuated with a change of material or surface. His reductive paintings are layered and built up surfaces\, mixing in the ad hoc elements of rain water\, or moldy earth as a new color\, connecting to primal and essential nature with constant reconfiguration\, to end up with the most fragile simplicity. Strong statements\, given in bare minimal colors that remind of earth\, first strokes like cave paintings\, blue water and sky. Using a language only known to him\, yet universal\, Braes draws upon the essential wildness of his native Scotland\, filled with the ancient civilizing and peaceful grounding of Pictish stones\, runic inscriptions and pictograms that channel ancient and universal human emotions. \nThe painter’s daily movement travels between small oil sketches on paper to rounded sculpted forms\, connected to remnants of wood\, or paintings on linen. New drawings of graphite marks emerge from beneath layers and layers of an empty space\, formed by painting around reserved places on the paper\, allowing viewers to peek at an original space of emptiness. Braes captures an essential quality undetected in our daily frenetic lives. He bridges living memory of enduring spirit with a connection from the past. \n— Lisa A. Banner \nABOUT LEX BRAES\nhttp://www.lexbraes.com \nEDUCATION\nUniversity of California\, San Diego\, CA. Allan Kaprow MFA advisor 1983-84 Brooklyn Museum Art School (graduate study) Brooklyn NY 1979-80. Duncan of Jordanstone College of Art Design\, University of Dundee Scotland 1974-79. BA\, MFA \nTEACHING EXPERIENCE\nPratt Institute\, Brooklyn NY\, UGArch Visiting Associate Professor Fall 2003 to present Pratt Institute\, Graduate Interior Design\, Visiting Associate Professor Fall 2017 to present The New York Studio School\, NY Faculty member 1999 – 2001 \nCOLLABORATION / PERFORMANCE\nFull Circle\, performance\, dance Annie Wang music Pauline Oliveros Show Room Gowanus 2014\nCollaboration Kinetic Movement: Drawing/Dance with Kayoko Nakajima 2012 Eve Best\, Shakespeare Sessions in NY stage painting live performance 2010 Re-doing Allan Kaprow 18 happenings in 6 parts\, participation alongside Coryl Crane-Kaprow Deitch Studios LIC NY PERFORMA07 Nov 2007\nModern Man by Roger Kirby\, set projection New End Theatre Hampstead London July 2003 \nONE PERSON EXHIBITIONS\nNYU the Institute of Fine Arts “GHOST” Curated by Lisa A Banner Oct 15 2018 – Jan 15 2019\nMelville House Gallery “A Dozen by Lex Braes” Jan 7 – Feb 13 2015\nSalon Meir\, “Angels” Munich Germany Oct 15 – Nov 30 2013\nShow Room\, New York “Routine” January 15 – February 26 2012\nFelix Ringel Galerie\, Düsseldorf\, Germany “holding pattern” July 8 – Aug 7 2010\nGalerie Der Moderne Münich Germany March 12 – April 17 2010\nMichael Langen Feldafing Germany “Punctuated Equilibrium” Oct 19 2002 – Jan 12 2003\nFelix Ringel Galerie Düsseldorf “Punctuated Equilibrium” Jun 21 – Jul 27 2002 Rosenberg + Kaufman Fine Art New York “suspension” Oct 16– Dec 1 2001 Rosenberg + Kaufman Fine Art NY “Clearing” Nov 16 1999 – Jan 8 2000 Rosenberg + Kaufman Fine Art New York “Still” Jan. 13- Feb. 14 1998\nKunstkiosk Zurich Switzerland “New Works” Nov. 2 – Dec. 6\, 1996 \nSELECTED GROUP EXHIBITIONS\nHammond Museum with Kit White in North Salem\, NY May 8 – June 15\, 2019\nFelix Ringel Galerie “gallery artists – work on paper” Spring 2017 CloudGallery“ArtforRefugees”A msterdamNLFeb12–Feb232016 Sideshow Williamsburg “Life on Mars” Jan Feb 2016\nFlowers NY Small is Beautiful Dec 2015 Jan 2016\nShow Room Gowanus farewell exhibition January 2015\nFlowers London “Small is Beautiful” Dec 3 2013 – Jan 5 2014\nFelix Ringel Galerie\, Düsseldorf\, gallery artists\, Winter 2013\, Spring 2014 Show Room New York “Summer Ceylon” July 17 – July 28 2013\nLoving is Repeating Artist collaboration book International Print Center of NY􏰀 Masque Libros II Feria Internacional Libro de Artista de Madrid Spain 2013 Triangle Workshop Dumbo NY collaboration: with Salwa Aleryani 29 Sep 2012 National Academy Museum NY “Annual 2012” January 24 – April 29 2012 Felix Ringel Galerie Düsseldorf Germany Spring 2011\nFlowers NY\, gallery artists July – Aug 2010\nGalerie Der Moderne\, Münich\, Germany winter 2009\nFlowers NY small works Dec 2007\, 2009\nSchafler Gallery\, Pratt Institute\, Brooklyn “Crossing Disciplines Drawing” faculty selection Feb 15 – April 15 2005 \nAWARDS\nMarble House Projects\, residency Dorset VT June 2014\nVermont Studio Center\, visiting artist/teacher January 2013\nVilla Waldberta\, stipendium\, International Residency Münich May June 2008 YADDO artist residency 2007 March 2019\nTriangle Artists Workshop 30th Anniversary Invitational 2012\nGlasgow Educational Trust Award to study Degas drawings: Fogg Museum Harvard Sep 1978 \nBIBLIOGRAPHY\nMnemosyne Atlas Freya Powell collective social memory 2012\, 2014\, 2016\, 2018\nPratt Journal of Architecture Re: Making Full Circle with Annie Wang publication 2016\nLoving is Repeating artist book collaboration with Freya Powell Nov 2013\nHyperallergic Sarah Walko Collaboration Across Borders in Artist Workshops Jan 22 2013\nLex Braes works 1986 – 2009 monograph published by Michael Langen\, Roland Angst design Berlin 2010\nKaren Wilkin: catalogue essay “recent work” Nov 2009\nThomas Kuhn: catalogue essay “holding pattern” Dec 2009\nNatasha Prevost: “Lex Braes’ red line” Inflexions Issue 2 Jan 2009 (Journal of Philosophy) Montreal Canada\nAlison Leigh Defrees: “Art in the Balance” Profile Janera 2008\nAngela Bachmair: “Mysterious Traces” Augsburger Allgemeine Jan10 2004 Karen Wilkin: “At the Galleries” in Partisan Review Winter 2002 Winter 2000 Ken Johnson “suspension” Fine Arts & Leisure\, review New York Times Nov 16\, 2001\nDonald Kuspit: “Clearing” essay for Exhibition Catalogue November 1999 – Jan 2000\nKit White: “Lex Braes at Rosenberg + Kaufman Fine Art” Review\, Dec 15\, 1999\nRoland Legiardi-Laura “Lex Braes at Rosenberg + Kaufman” BOMB Spring 1998\nEileen Daspin: “Trends” Wall Street Journal\, March 6\, 1998\nMark Staff Brandl: Zurich “Lex Braes at Kunstkiosk”\, in Art in America\, Jan 1997\nSue Scott: “Invitational” Elizabeth Harris Gallery” in ARTnews Jan 1994\nJanet Koplos: “Lex Braes at Stephen Rosenberg” in Art in America July 1992
URL:https://crsny.org/event/exhibition-archetype-hidden-memory-paintings-by-lex-braes/2019-04-04/
LOCATION:CRS (Center for Remembering & Sharing)\, 41 E 11th St 11th Fl\, New York\, NY\, 10003\, United States
CATEGORIES:CRS Presents,Exhibition
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SUMMARY:Sufi Dance Class with Läle Sayoko
DESCRIPTION:Learn the ancient practice of meditative whirling known as Sufi dance or Sema (Sama in Iranian). You will learn the techniques of whirling\, but Sema is not about reproducing a certain form or aesthetic. Rather\, the technique serves as a vehicle for inner journeying. Sema means spiritual listening. Together we’ll create a sacred space in which we can safely listen to and share our true selves and experience oneness with the Divine. \nEach class consists of some explanation of the theory and technique\, exercises\, practice whirling\, and sharing and discussion of what you experienced and felt. \nPlease wear comfortable clothing like yoga pants or leggings and T shirts ( no tube top or short pants) and solid colors are recommended\, avoiding prints and shiny material which might distract the eye while whirling\, and wear socks or soft soled shoes. If you have a whirling skirt\, please feel free to bring it. \nAvoid eating a large meal for two hours prior to class. \nWhirling commonly induces dizziness or nausea. Over time\, through whirling\, we learn to trust ourselves to go off balance\, to be dizzy\, to surrender control. We empty our minds of all thoughts of the individual self as we give ourselves over to prayer and connect with a greater power\, the still center within\, around which we turn. Into this emptiness floods a divine fullness\, which sometimes gives rise to a state known as “mystical intoxication\,” a reflection of knowing and experiencing that you and I and the Divine are One. \nClasses are $25 ($20 with advanced registration). \nAbout Sufi Dance Instructor Läle Sayoko \nSufi Dance Instructor Läle Sayoko lives to embody and transmit the voice of spirit through music and dance. As CRS resident Sufi Dance instructor\, choreographer\, performing artist\, and musical curator\, she loves to welcome people into this holy practice to explore and share their own divinity. After a long professional dance career\, she retired to support her young daughter through a life-threatening medical crisis. Several years later she discovered that she could whirl as a form of prayer to support her daughter and began studying Sufi Dance with Paris-based Sufi Artist Rana Gorgani. In April 2018 Gorgani awarded her the International Sufi Dance Certification Of Cid UNESCO\, granting her authority to teach Gorgani’s method of Sufi Dance training. She currently teaches Sufi Dance classes at CRS every first Thursday of the month from 7 – 8:30 pm and leads the CRS Healing Circles + Whirling Prayer that take place every third Thursday of the month from 7:15 – 9 pm.\nhttps://www.facebook.com/lale.sayoko \n 
URL:https://crsny.org/event/sufi-dance-class-with-lale-sayoko-2019-04-04/2019-04-04/
LOCATION:CRS (Center for Remembering & Sharing)\, 41 E 11th St 11th Fl\, New York\, NY\, 10003\, United States
CATEGORIES:CRS Presents,sufi
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SUMMARY:Sufi Dance Class with Lâle Sayoko
DESCRIPTION:Learn the ancient practice of meditative whirling known as Sufi dance or Sema (Sama in Iranian). You will learn the techniques of whirling\, but Sema is not about reproducing a certain form or aesthetic. Rather\, the technique serves as a vehicle for inner journeying. Sema means spiritual listening. Together we’ll create a sacred space in which we can safely listen to and share our true selves and experience oneness with the Divine. \nEach class consists of some explanation of the theory and technique\, exercises\, practice whirling\, and sharing and discussion of what you experienced and felt. \nWhirling commonly induces dizziness or nausea. Over time\, through whirling\, we learn to trust ourselves to go off balance\, to be dizzy\, to surrender control. We empty our minds of all thoughts of the individual self as we give ourselves over to prayer and connect with a greater power\, the still center within\, around which we turn. Into this emptiness floods a divine fullness\, which sometimes gives rise to a state known as “mystical intoxication\,” a reflection of knowing and experiencing that you and I and the Divine are One. \nPlease wear comfortable clothing (white\, gray or black color is preferable\, avoiding prints and shiny material which might distract the eye while whirling) and wear socks or soft soled shoes. If you have a whirling skirt and/or a frame drum\, please feel free to bring it. Avoid eating a large meal for two hours prior to class. \n$20 with advance registration\, $25 at the door \nLearn more about Sufi dance:\nhttp://www.ranagorgani.com/10-things-about-sufi-dance/ \nAbout Sufi Dance Instructor Lâle Sayoko \nSayoko was one of the founding members of Japan’s famous Samanyolu professional bellydance group\, and has since developed her own solo career touring with UK’s Mugenkyo Taiko Drummers on a 44 city tour of the UK\, to Turkey’s Baba Zula\, and with New York’s Bella Gaia multimedia Earth from Space journey show. Lale aspires for dance to be a powerful communicator though traditional technique and spiritual embodiment. She has lately been studying Sufi dance with Rana Gorgani\, and in April 2018 Gorgani awarded her the International Sufi Dance Certification Of Cid UNESCO\, granting her authority to teach Gorgani’s method of Sufi dance training. With CRS co-founders Yasuko Kasaki and Christopher Pelham\, she leads the CRS Healing Circles + Whirling that take place every third Thursday of the month at CRS (2nd Thursday in Aug 2018). \nhttp://www.lalesayoko.com
URL:https://crsny.org/event/sufi-dance-class-with-lale-sayoko/2019-04-04/
LOCATION:CRS (Center for Remembering & Sharing)\, 41 E 11th St 11th Fl\, New York\, NY\, 10003\, United States
CATEGORIES:CRS Presents,sufi
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DTSTAMP:20190213T200109Z
CREATED:20190211T004036Z
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SUMMARY:Exhibition:  Archetype-Hidden Memory — Paintings by Lex Braes
DESCRIPTION:CRS (Center for Remembering & Sharing) presents “Archetype-Hidden Memory\,” an exhibition of small paintings and works on paper by Lex Braes. This is the second solo exhibition by Braes at CRS\, the first having taken place in 2012. These works result from Braes’ practice of painting a handful of images over and over\, transforming them into abstract patterns that nevertheless express the energy and emotion of the original images and suggest some hidden language and connection between the works. The exhibition will open on February 11\, 2019 and will remain on view through April 14. \nAll works Courtesy of the Artist\, and Galerie Felix Ringel\, Düsseldorf. This exhibition was organized by CRS staff member Takeshi Inoue. \nRUNES \nScottish painter Lex Braes starts with a thought and an image\, and then reduces that image to a structure of a few lines\, maybe five lines or a single endless line\, like a Celtic knot. With handmade paint on plaster\, linen and here on paper\, he mines a motif that he first found in 2009\, using organic geometry to discover shapes\, creating rhomboids\, parallelograms\, and abstract forms that suggest and reminisce about ancient memories. Some of Braes’s forms recall the keening\, wailing figure of a man on a Greek krater\, seen on a trip to Athens. Others are derived from memories of a reclining female figure. These are indelible memories that sometimes become the joined lines that form two shapes\, an abstract form\, or uplifted arms signaling mourning. \nA series of forms on paper\, incremental grey lines lean slightly\, more ample or less close\, to create a rhythm\, with one smaller form set slightly apart. Another sheet of paper is loaded with forms\, erased by waves of additional colors\, and layered paint. While it appears now to be just a warm grey\, a solid wall of color\, the intimate painting on paper has some extra moisture\, with traces of liquid running down the sheet\, like cleansing rain that is seen through a dirty window. A third painting on paper\, reveals a layered technique where the remaining stroke is a single gesture\, an O form. \nPoignantly marked with ground earth pigments mixed with polymers on prepared paper\, his images are reminders of a fleeting impression as it crosses the painter’s mind. Perhaps that happens once or maybe a hundred times in a day\, and probably too many times in an hour. The thoughts are punctuated with a change of material or surface. His reductive paintings are layered and built up surfaces\, mixing in the ad hoc elements of rain water\, or moldy earth as a new color\, connecting to primal and essential nature with constant reconfiguration\, to end up with the most fragile simplicity. Strong statements\, given in bare minimal colors that remind of earth\, first strokes like cave paintings\, blue water and sky. Using a language only known to him\, yet universal\, Braes draws upon the essential wildness of his native Scotland\, filled with the ancient civilizing and peaceful grounding of Pictish stones\, runic inscriptions and pictograms that channel ancient and universal human emotions. \nThe painter’s daily movement travels between small oil sketches on paper to rounded sculpted forms\, connected to remnants of wood\, or paintings on linen. New drawings of graphite marks emerge from beneath layers and layers of an empty space\, formed by painting around reserved places on the paper\, allowing viewers to peek at an original space of emptiness. Braes captures an essential quality undetected in our daily frenetic lives. He bridges living memory of enduring spirit with a connection from the past. \n— Lisa A. Banner \nABOUT LEX BRAES\nhttp://www.lexbraes.com \nEDUCATION\nUniversity of California\, San Diego\, CA. Allan Kaprow MFA advisor 1983-84 Brooklyn Museum Art School (graduate study) Brooklyn NY 1979-80. Duncan of Jordanstone College of Art Design\, University of Dundee Scotland 1974-79. BA\, MFA \nTEACHING EXPERIENCE\nPratt Institute\, Brooklyn NY\, UGArch Visiting Associate Professor Fall 2003 to present Pratt Institute\, Graduate Interior Design\, Visiting Associate Professor Fall 2017 to present The New York Studio School\, NY Faculty member 1999 – 2001 \nCOLLABORATION / PERFORMANCE\nFull Circle\, performance\, dance Annie Wang music Pauline Oliveros Show Room Gowanus 2014\nCollaboration Kinetic Movement: Drawing/Dance with Kayoko Nakajima 2012 Eve Best\, Shakespeare Sessions in NY stage painting live performance 2010 Re-doing Allan Kaprow 18 happenings in 6 parts\, participation alongside Coryl Crane-Kaprow Deitch Studios LIC NY PERFORMA07 Nov 2007\nModern Man by Roger Kirby\, set projection New End Theatre Hampstead London July 2003 \nONE PERSON EXHIBITIONS\nNYU the Institute of Fine Arts “GHOST” Curated by Lisa A Banner Oct 15 2018 – Jan 15 2019\nMelville House Gallery “A Dozen by Lex Braes” Jan 7 – Feb 13 2015\nSalon Meir\, “Angels” Munich Germany Oct 15 – Nov 30 2013\nShow Room\, New York “Routine” January 15 – February 26 2012\nFelix Ringel Galerie\, Düsseldorf\, Germany “holding pattern” July 8 – Aug 7 2010\nGalerie Der Moderne Münich Germany March 12 – April 17 2010\nMichael Langen Feldafing Germany “Punctuated Equilibrium” Oct 19 2002 – Jan 12 2003\nFelix Ringel Galerie Düsseldorf “Punctuated Equilibrium” Jun 21 – Jul 27 2002 Rosenberg + Kaufman Fine Art New York “suspension” Oct 16– Dec 1 2001 Rosenberg + Kaufman Fine Art NY “Clearing” Nov 16 1999 – Jan 8 2000 Rosenberg + Kaufman Fine Art New York “Still” Jan. 13- Feb. 14 1998\nKunstkiosk Zurich Switzerland “New Works” Nov. 2 – Dec. 6\, 1996 \nSELECTED GROUP EXHIBITIONS\nHammond Museum with Kit White in North Salem\, NY May 8 – June 15\, 2019\nFelix Ringel Galerie “gallery artists – work on paper” Spring 2017 CloudGallery“ArtforRefugees”A msterdamNLFeb12–Feb232016 Sideshow Williamsburg “Life on Mars” Jan Feb 2016\nFlowers NY Small is Beautiful Dec 2015 Jan 2016\nShow Room Gowanus farewell exhibition January 2015\nFlowers London “Small is Beautiful” Dec 3 2013 – Jan 5 2014\nFelix Ringel Galerie\, Düsseldorf\, gallery artists\, Winter 2013\, Spring 2014 Show Room New York “Summer Ceylon” July 17 – July 28 2013\nLoving is Repeating Artist collaboration book International Print Center of NY􏰀 Masque Libros II Feria Internacional Libro de Artista de Madrid Spain 2013 Triangle Workshop Dumbo NY collaboration: with Salwa Aleryani 29 Sep 2012 National Academy Museum NY “Annual 2012” January 24 – April 29 2012 Felix Ringel Galerie Düsseldorf Germany Spring 2011\nFlowers NY\, gallery artists July – Aug 2010\nGalerie Der Moderne\, Münich\, Germany winter 2009\nFlowers NY small works Dec 2007\, 2009\nSchafler Gallery\, Pratt Institute\, Brooklyn “Crossing Disciplines Drawing” faculty selection Feb 15 – April 15 2005 \nAWARDS\nMarble House Projects\, residency Dorset VT June 2014\nVermont Studio Center\, visiting artist/teacher January 2013\nVilla Waldberta\, stipendium\, International Residency Münich May June 2008 YADDO artist residency 2007 March 2019\nTriangle Artists Workshop 30th Anniversary Invitational 2012\nGlasgow Educational Trust Award to study Degas drawings: Fogg Museum Harvard Sep 1978 \nBIBLIOGRAPHY\nMnemosyne Atlas Freya Powell collective social memory 2012\, 2014\, 2016\, 2018\nPratt Journal of Architecture Re: Making Full Circle with Annie Wang publication 2016\nLoving is Repeating artist book collaboration with Freya Powell Nov 2013\nHyperallergic Sarah Walko Collaboration Across Borders in Artist Workshops Jan 22 2013\nLex Braes works 1986 – 2009 monograph published by Michael Langen\, Roland Angst design Berlin 2010\nKaren Wilkin: catalogue essay “recent work” Nov 2009\nThomas Kuhn: catalogue essay “holding pattern” Dec 2009\nNatasha Prevost: “Lex Braes’ red line” Inflexions Issue 2 Jan 2009 (Journal of Philosophy) Montreal Canada\nAlison Leigh Defrees: “Art in the Balance” Profile Janera 2008\nAngela Bachmair: “Mysterious Traces” Augsburger Allgemeine Jan10 2004 Karen Wilkin: “At the Galleries” in Partisan Review Winter 2002 Winter 2000 Ken Johnson “suspension” Fine Arts & Leisure\, review New York Times Nov 16\, 2001\nDonald Kuspit: “Clearing” essay for Exhibition Catalogue November 1999 – Jan 2000\nKit White: “Lex Braes at Rosenberg + Kaufman Fine Art” Review\, Dec 15\, 1999\nRoland Legiardi-Laura “Lex Braes at Rosenberg + Kaufman” BOMB Spring 1998\nEileen Daspin: “Trends” Wall Street Journal\, March 6\, 1998\nMark Staff Brandl: Zurich “Lex Braes at Kunstkiosk”\, in Art in America\, Jan 1997\nSue Scott: “Invitational” Elizabeth Harris Gallery” in ARTnews Jan 1994\nJanet Koplos: “Lex Braes at Stephen Rosenberg” in Art in America July 1992
URL:https://crsny.org/event/exhibition-archetype-hidden-memory-paintings-by-lex-braes/2019-04-05/
LOCATION:CRS (Center for Remembering & Sharing)\, 41 E 11th St 11th Fl\, New York\, NY\, 10003\, United States
CATEGORIES:CRS Presents,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://crsny.org/wp-content/uploads/2019/02/mourning_studies_2017.jpg
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DTSTART;VALUE=DATE:20190406
DTEND;VALUE=DATE:20190407
DTSTAMP:20190213T200109Z
CREATED:20190211T004036Z
LAST-MODIFIED:20190213T200109Z
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SUMMARY:Exhibition:  Archetype-Hidden Memory — Paintings by Lex Braes
DESCRIPTION:CRS (Center for Remembering & Sharing) presents “Archetype-Hidden Memory\,” an exhibition of small paintings and works on paper by Lex Braes. This is the second solo exhibition by Braes at CRS\, the first having taken place in 2012. These works result from Braes’ practice of painting a handful of images over and over\, transforming them into abstract patterns that nevertheless express the energy and emotion of the original images and suggest some hidden language and connection between the works. The exhibition will open on February 11\, 2019 and will remain on view through April 14. \nAll works Courtesy of the Artist\, and Galerie Felix Ringel\, Düsseldorf. This exhibition was organized by CRS staff member Takeshi Inoue. \nRUNES \nScottish painter Lex Braes starts with a thought and an image\, and then reduces that image to a structure of a few lines\, maybe five lines or a single endless line\, like a Celtic knot. With handmade paint on plaster\, linen and here on paper\, he mines a motif that he first found in 2009\, using organic geometry to discover shapes\, creating rhomboids\, parallelograms\, and abstract forms that suggest and reminisce about ancient memories. Some of Braes’s forms recall the keening\, wailing figure of a man on a Greek krater\, seen on a trip to Athens. Others are derived from memories of a reclining female figure. These are indelible memories that sometimes become the joined lines that form two shapes\, an abstract form\, or uplifted arms signaling mourning. \nA series of forms on paper\, incremental grey lines lean slightly\, more ample or less close\, to create a rhythm\, with one smaller form set slightly apart. Another sheet of paper is loaded with forms\, erased by waves of additional colors\, and layered paint. While it appears now to be just a warm grey\, a solid wall of color\, the intimate painting on paper has some extra moisture\, with traces of liquid running down the sheet\, like cleansing rain that is seen through a dirty window. A third painting on paper\, reveals a layered technique where the remaining stroke is a single gesture\, an O form. \nPoignantly marked with ground earth pigments mixed with polymers on prepared paper\, his images are reminders of a fleeting impression as it crosses the painter’s mind. Perhaps that happens once or maybe a hundred times in a day\, and probably too many times in an hour. The thoughts are punctuated with a change of material or surface. His reductive paintings are layered and built up surfaces\, mixing in the ad hoc elements of rain water\, or moldy earth as a new color\, connecting to primal and essential nature with constant reconfiguration\, to end up with the most fragile simplicity. Strong statements\, given in bare minimal colors that remind of earth\, first strokes like cave paintings\, blue water and sky. Using a language only known to him\, yet universal\, Braes draws upon the essential wildness of his native Scotland\, filled with the ancient civilizing and peaceful grounding of Pictish stones\, runic inscriptions and pictograms that channel ancient and universal human emotions. \nThe painter’s daily movement travels between small oil sketches on paper to rounded sculpted forms\, connected to remnants of wood\, or paintings on linen. New drawings of graphite marks emerge from beneath layers and layers of an empty space\, formed by painting around reserved places on the paper\, allowing viewers to peek at an original space of emptiness. Braes captures an essential quality undetected in our daily frenetic lives. He bridges living memory of enduring spirit with a connection from the past. \n— Lisa A. Banner \nABOUT LEX BRAES\nhttp://www.lexbraes.com \nEDUCATION\nUniversity of California\, San Diego\, CA. Allan Kaprow MFA advisor 1983-84 Brooklyn Museum Art School (graduate study) Brooklyn NY 1979-80. Duncan of Jordanstone College of Art Design\, University of Dundee Scotland 1974-79. BA\, MFA \nTEACHING EXPERIENCE\nPratt Institute\, Brooklyn NY\, UGArch Visiting Associate Professor Fall 2003 to present Pratt Institute\, Graduate Interior Design\, Visiting Associate Professor Fall 2017 to present The New York Studio School\, NY Faculty member 1999 – 2001 \nCOLLABORATION / PERFORMANCE\nFull Circle\, performance\, dance Annie Wang music Pauline Oliveros Show Room Gowanus 2014\nCollaboration Kinetic Movement: Drawing/Dance with Kayoko Nakajima 2012 Eve Best\, Shakespeare Sessions in NY stage painting live performance 2010 Re-doing Allan Kaprow 18 happenings in 6 parts\, participation alongside Coryl Crane-Kaprow Deitch Studios LIC NY PERFORMA07 Nov 2007\nModern Man by Roger Kirby\, set projection New End Theatre Hampstead London July 2003 \nONE PERSON EXHIBITIONS\nNYU the Institute of Fine Arts “GHOST” Curated by Lisa A Banner Oct 15 2018 – Jan 15 2019\nMelville House Gallery “A Dozen by Lex Braes” Jan 7 – Feb 13 2015\nSalon Meir\, “Angels” Munich Germany Oct 15 – Nov 30 2013\nShow Room\, New York “Routine” January 15 – February 26 2012\nFelix Ringel Galerie\, Düsseldorf\, Germany “holding pattern” July 8 – Aug 7 2010\nGalerie Der Moderne Münich Germany March 12 – April 17 2010\nMichael Langen Feldafing Germany “Punctuated Equilibrium” Oct 19 2002 – Jan 12 2003\nFelix Ringel Galerie Düsseldorf “Punctuated Equilibrium” Jun 21 – Jul 27 2002 Rosenberg + Kaufman Fine Art New York “suspension” Oct 16– Dec 1 2001 Rosenberg + Kaufman Fine Art NY “Clearing” Nov 16 1999 – Jan 8 2000 Rosenberg + Kaufman Fine Art New York “Still” Jan. 13- Feb. 14 1998\nKunstkiosk Zurich Switzerland “New Works” Nov. 2 – Dec. 6\, 1996 \nSELECTED GROUP EXHIBITIONS\nHammond Museum with Kit White in North Salem\, NY May 8 – June 15\, 2019\nFelix Ringel Galerie “gallery artists – work on paper” Spring 2017 CloudGallery“ArtforRefugees”A msterdamNLFeb12–Feb232016 Sideshow Williamsburg “Life on Mars” Jan Feb 2016\nFlowers NY Small is Beautiful Dec 2015 Jan 2016\nShow Room Gowanus farewell exhibition January 2015\nFlowers London “Small is Beautiful” Dec 3 2013 – Jan 5 2014\nFelix Ringel Galerie\, Düsseldorf\, gallery artists\, Winter 2013\, Spring 2014 Show Room New York “Summer Ceylon” July 17 – July 28 2013\nLoving is Repeating Artist collaboration book International Print Center of NY􏰀 Masque Libros II Feria Internacional Libro de Artista de Madrid Spain 2013 Triangle Workshop Dumbo NY collaboration: with Salwa Aleryani 29 Sep 2012 National Academy Museum NY “Annual 2012” January 24 – April 29 2012 Felix Ringel Galerie Düsseldorf Germany Spring 2011\nFlowers NY\, gallery artists July – Aug 2010\nGalerie Der Moderne\, Münich\, Germany winter 2009\nFlowers NY small works Dec 2007\, 2009\nSchafler Gallery\, Pratt Institute\, Brooklyn “Crossing Disciplines Drawing” faculty selection Feb 15 – April 15 2005 \nAWARDS\nMarble House Projects\, residency Dorset VT June 2014\nVermont Studio Center\, visiting artist/teacher January 2013\nVilla Waldberta\, stipendium\, International Residency Münich May June 2008 YADDO artist residency 2007 March 2019\nTriangle Artists Workshop 30th Anniversary Invitational 2012\nGlasgow Educational Trust Award to study Degas drawings: Fogg Museum Harvard Sep 1978 \nBIBLIOGRAPHY\nMnemosyne Atlas Freya Powell collective social memory 2012\, 2014\, 2016\, 2018\nPratt Journal of Architecture Re: Making Full Circle with Annie Wang publication 2016\nLoving is Repeating artist book collaboration with Freya Powell Nov 2013\nHyperallergic Sarah Walko Collaboration Across Borders in Artist Workshops Jan 22 2013\nLex Braes works 1986 – 2009 monograph published by Michael Langen\, Roland Angst design Berlin 2010\nKaren Wilkin: catalogue essay “recent work” Nov 2009\nThomas Kuhn: catalogue essay “holding pattern” Dec 2009\nNatasha Prevost: “Lex Braes’ red line” Inflexions Issue 2 Jan 2009 (Journal of Philosophy) Montreal Canada\nAlison Leigh Defrees: “Art in the Balance” Profile Janera 2008\nAngela Bachmair: “Mysterious Traces” Augsburger Allgemeine Jan10 2004 Karen Wilkin: “At the Galleries” in Partisan Review Winter 2002 Winter 2000 Ken Johnson “suspension” Fine Arts & Leisure\, review New York Times Nov 16\, 2001\nDonald Kuspit: “Clearing” essay for Exhibition Catalogue November 1999 – Jan 2000\nKit White: “Lex Braes at Rosenberg + Kaufman Fine Art” Review\, Dec 15\, 1999\nRoland Legiardi-Laura “Lex Braes at Rosenberg + Kaufman” BOMB Spring 1998\nEileen Daspin: “Trends” Wall Street Journal\, March 6\, 1998\nMark Staff Brandl: Zurich “Lex Braes at Kunstkiosk”\, in Art in America\, Jan 1997\nSue Scott: “Invitational” Elizabeth Harris Gallery” in ARTnews Jan 1994\nJanet Koplos: “Lex Braes at Stephen Rosenberg” in Art in America July 1992
URL:https://crsny.org/event/exhibition-archetype-hidden-memory-paintings-by-lex-braes/2019-04-06/
LOCATION:CRS (Center for Remembering & Sharing)\, 41 E 11th St 11th Fl\, New York\, NY\, 10003\, United States
CATEGORIES:CRS Presents,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://crsny.org/wp-content/uploads/2019/02/mourning_studies_2017.jpg
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