Many art fairs feel like overwhelming malls, filled with too many people and not enough interesting art.  Which is why Scope stands out as being a different kind of experience all together.  The SCOPE Art Show is one of the art world's most monumental fair experiences in that it hosts special programming that is outside of the mainstream.

"Marcel Broodthaers. L'espace de l'écriture" introduces a wide selection of approximately fifty works coming from prestigious international institutions that document the main themes of the artist's poetics: the relationship between art and language, the status of the artwork, and criticism of the museum as device and idea.

Next to the Sea surveys the impact of the sea - from voyage and an ache for adventure to nostalgia and a sense of belonging. Faced with a rhythmic vastness and an expanse of shores, the sea reminds us how close we are to the next adventure and how far we have traveled from where we began.

The exhibition brings together works of three artists, Pierre Botardo, David Hochbaum and Jacob Dahlstrup Jensen.

Amanda Selwyn Dance Theatre and Notes in Motion Outreach Dance Theatre are proud to present, White Night II – a Movable Performance Soiree on Saturday, February 25, 2012. Tickets will grant entry in 15-minute intervals between 7pm and 9:15pm. Upon admission, guests will be guided from room to room through the three leveled space, discovering live music, ongoing dance performance previewing Amanda Selwyn’s developing new work, video installation, a silent auction, gambling, a slice of Notes in Motion arts-in-education programs, flowing cocktails, costume exhibits, and give-aways.

Ms. Carter recently published “Accelerating on the Curves: The Artist’s Roadmap to Success,” designed to assist artists with career management through practical information on effective marketing strategies tailored to individual levels of accomplishment and lifestyle.

Mary Hrbacek: How did your background influence your desire to manage a company that promotes art?

For as long as I can remember, the camera has enticed me to explore the world through its lens. As a result, I have employed the camera to express my conscious or subconscious imaginings.  Sometimes it is to share with others.  At other times, it is to engage in a solitary and personal revelry in the moment, with work that might only be discovered upon my passing.  An artist shows his strength and bravery the moment he allows an honest representation of his deepest impulses to emerge onto the medium.  My honest expression tends to generate work which is subtle, and allows space for viewers to fill with their imaginations.

Drawing with images of architecture and landscape, I make pieces that survey peripheral and everyday spaces. Sometimes these spaces, and the things in them, are overlooked, or literally stepped over, such as weeds in the sidewalk. Sometimes, like sale banners or fast-food signs, they are ignored because of their ubiquity. Through a process that starts with gathering source images and taking photographs, I translate these images into drawings, multiples and objects in order to activate the obvious but overlooked parts of the landscape.

Gary Snyder Gallery: At first glance, one would be hard pressed to find a clear and common theme linking the artists that we are representing at Gary Snyder Gallery, especially if you were to look for the common theme in the actual work of the artist. But I do believe that the artists have things in common.  For example, I feel that our artists are "artists’ artists"-a funny phrase that means the artist is very highly regarded among other artists, and also suggests that for various reasons they are not as highly regarded outside of that artists’ world as they deserve to be.

An erstwhile acquaintance of mine once asserted that if art doesn't concern itself with presenting something beautiful to the world then artists have fallen to the level of bad philosophers.  Does this suggest then, I wondered, that an artist producing beautiful work is automatically a good philosopher?  Or does it imply that the only real tool for the presentation of philosophical ideas is the written word?

Scotsman Charles Avery has embarked upon the creation of a universe parallel to our own.

When Sigmund Freud published “Little Hans,” the first-ever psychoanalysis of a child, he elicited both worldwide accolades and condemnation for revealing the sexual lives of children. His 1909 case study branded Freud’s iconic reputation and laid the foundation for child psychoanalysis.

In September 2011, writer/director David Pilot brought the historic case to the stage at New York’s West End Theater. “The HANS Project” developed over a four-month collaboration with actors, musicians, artists, and Freudian scholars. The ensemble explored the hidden dimensions of the case in an improvisational environment, creating an expressionistic, dreamlike play that conjured the imaginary and real world of little Hans.

It is often said of pictures that they open a window to another world. The images created by Japanese artist Wataru Matsumura construct their own worlds. Leon Battista Alberti made the window metaphor famous in the 15th century in relation to the use of perspective, but Matsumura’s drawings make no use of this device. They open the window, so to speak, through their unique vocabulary, which I started to decipher at the artist’s first American solo show, at the Onishi Gallery in New York City.

The gallery allows for enough space to move from one piece to the other, and from up close to farther away; from each angle, the perception of the work changes. Not too remote from Op Art, Matsumura’s magnetic images play in a sophisticated way with optical illusion.

In his new exhibition at the Tibor de Nagy Gallery on Fifth Avenue, the distinguished American poet John Ashbery again succeeds in revealing his visual sensibilities through new collages. It was as recent as 2008 that the poet made his debut as a visual artist at the gallery. Now with collages with names like Promontory, Family, Corona, Confederate Money, and Motor Court, the poet deepens his art beyond that exhibited in his earlier show, "They Knew What They Wanted."

ArtPalmBeach promises its best fair yet for its 15th anniversary showing, running January 19 through 23 at the Palm Beach Convention Center. In celebration, more than 70 international galleries will present works and the fair will debut an extensive program of premiere events, special exhibitions, topical lectures, museum tours, art performances, and exclusive VIP programs. All forms of contemporary art will be on display, including painting, sculpture, photography, design, fine art glass, video, and installations from modern and cutting-edge artists.

Among the highlights at ArtPalmBeach 2012, attendees can expect a special Beth Lipman installation...

Faga’s work bridges the gap between performance, photography, installation, and design. In this new series, On the Way to Chroma Green, Faga explores the increasing influence of globalization on seemingly disconnected rural Indian villages. As part of an artist residency program funded by the Kaman Art Foundation, Faga traveled to the small village of Andore in the northwestern part of India, where he found that the most immediate form of understanding the co-mingling of technology and environment was through performance.

By creating a large chroma green fabric with the collective help of the community, Faga thus explores the idea of art as historically effective—a means of analyzing societal structures through the practice of their own traditions.

Viewers expect photography to portray the outer world, and with greater accuracy than other media. But the best fine art photography expresses the photographer’s inner mind.

In Berlin this summer, the photo-text-music-video installation Seelenbilder und Landschaften (Landscapes as Artist's Metaphor) at Galerie Christian Glass, presented three international fine-arts photographers who portray real, recognizable imagery in ways that define themselves more than the subject matter.

Pieces, scraps, traces, curious clues, strange evidence left behind…
In the last few months I have been painting a series of investigative works on paper. The focus of these images being just that: investigating what remains, be it actual physical refuse or simply my own remembrances.

The Kaohsiung International Container Arts Festival has been held once every two years since 2001, and has become a distinctive Kaohsiung event. The 2011 Container Arts Festival has a theme of "Artbitat." The artists have created visions of the home transcending time and space using very mundane cargo containers.

Jim Lee: Has your work always been occupied by the "good life"? Because craft seems to be an important element as well...did you grow up building things or did a family member get you started using tools and materials? 

David Kramer: My dad used to hand me things and say "fix this." There were lamps and broken chairs. I guess he knew deep down I wasn't good for much else. When I was in art school I started to pick up work painting houses and building things.

31 KINDS OF WONDERFUL is an art project comprising of thirty-one creative objects constructed by artist, Dawn Ng, over a period of thirty-one days / a month in Paris and sent to the Curious Teepee Gallery in Singapore. Each object is an entirely bespoke, handcrafted, one-of-one edition, made from unexpected but commonly gathered materials such as paper, yarn, confetti, cotton, tissue, rock, wool, glass and Parisian flea market finds. This show is ongoing at the Curious Teepee gallery for the month of October, after which it has been acquired by the Singapore Art Museum to be exhibited in January 2012 for their Asian Contemporary Artists show.

In These Tides Hide Times and Lost Lives, David Alexander Flinn employs symbolism and metaphor to explore a number of complex themes. Embodying part of a shipwreck, a 15-foot mast, installed as if washed ashore on a desert island, refers to lost nostalgic notions of pride and desperation.
Throughout the work, concepts of religion, ignorance and dependency are examined as the artist speculates upon our beliefs and our place in the universe.

This exhibition of Cindy Sherman will bring together more than 170 key photographs from a variety of the artist’s acclaimed bodies of work, for which she created myriad constructed characters and tableaus. The first comprehensive museum survey of Sherman’s career in the United States since 1997, it will draw widely from public and private collections, including the collection of The Museum of Modern Art. Sherman (American, b. 1954) is widely recognized as amongst the most important contemporary artists of the last 40 years, and arguably the most influential artist working exclusively with photography. Today her work is the unchallenged cornerstone of Post-Modern photography.

Within New York there is a plethora of creative outlets for the artist of any medium or genre. But with so many options becomes the burden of organization. This was so with the subject of documentary. A place was needed in which the New York audience could be exposed to documentary filmmaking on an intimate level, give filmmakers an outlet in which to embrace their genre, and of those in different artistic disciplines to be able to see the cross-section between themselves and documentary. And with that the DocNYC Festival came to be.