Events. list: API endpoint that allows events to be viewed. retrieve: API endpoint that allows single event to be viewed. create: API endpoint that allows event to be created. update: API endpoint that allows events to be updated. partial_update: API endpoint that allows events to be partially updated. delete: API endpoint that allows events to be deleted.

GET /api/v1/events/?format=api&offset=2718&ordering=start_time
HTTP 200 OK
Allow: GET, POST, HEAD, OPTIONS
Content-Type: application/json
Vary: Accept

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                "alt_text": "FR:20, Part I, The Environment in Contemporary Photography",
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                "name": "Front Room Gallery",
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                "created_at": "2020-06-02T15:33:40.525202Z",
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            "slug": "fr20-part-i-the-environment-in-contemporary-photography",
            "created_at": "2019-09-20T20:56:12.000000Z",
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            "summary": "FR:20, Part I, The Environment in Contemporary Photography is an Gallery Shows event starting on 04/09/2019, 00:00 and ending on 13/10/2019, 00:00. Event is in Front Room Gallery with address 48 Hester Street\r\nNYC, NY 10002.",
            "title": "FR:20, Part I, The Environment in Contemporary Photography",
            "content": "“FR:20, Part I, The Environment in Contemporary Photography” celebrates the twentieth anniversary of the opening of Front Room Gallery in NYC. The first show of this two-part exhibition focuses on the environment and features the photographers: Sasha Bezzubov, Phillip Buehler, Jade Doskow, Sean Hemmerle, Stephen Mallon, Júlia Pontés, Ken Ragsdale, Paul Raphaelson, Ashok Sinha, Zoe Wetherall, and Edie Winograde. The diverse group of photographs from Front Room’s stable of photographers featured in this exhibition look at man’s affects on the earth in its many facets. The show features photos from 5 continents and both hemispheres.<br />\r\n <br />\r\nThey are not all doomsday and gloom but some acknowledge that we, as a species, might be making irrevocable changes to the environment.<br />\r\n <br />\r\nWe chose the environment as the topic of our anniversary exhibition as it has often been a running theme through the programming in the gallery. Aside from particular group shows, like the recent “Pattern in Landscape” exhibition curated by Kathleen Vance, many of our artists work along themes that directly or indirectly address environmental issues over the past two decades.<br />\r\n <br />\r\nAt first glance Zoe Wetherall’s arid aerial Australian landscape would appear to have been seen through a microscope, and not as it were, shot from a hot air balloon. On further observation the rays radiating from the center have been worn through the scrub brush by erosion and the feet of what becomes apparent—livestock at a watering trough.<br />\r\n <br />\r\nSean Hemmerle’s photographs of the Fall Kill Creek in Duchess County, New York show a little-known natural feature that passes right through the city of Poughkeepsie that is all but hidden from the population. The photograph “Fall Kill Falls at Davies Street, Poughkeepsie,”depicts a waterfall cascading in small falls running just past an stone bridge arch; a juxtaposition of urban and natural elements.<br />\r\n <br />\r\nStephen Mallon’s series, \"Next Stop Atlantic,\" captures the retirement of hundreds of New York City Subway cars to the depths of the Atlantic Ocean. In this stunning photograph, a New York Subway train car is lifted into the sky. The clear light blue sky creates a beautiful field of sky that the train seems to float into.<br />\r\n <br />\r\nJúlia Pontés’s aerial photographs capture the intense beauty and the environmentally devastating impact of mining in Brazil. In the photograph “Mineral Veins | Transitory Landscapes #100” Pontés shows us, from above, a slate quarry and dam at Papagaio, Brazil. The large expansion of slate production, associated with the small recovery of degraded areas and the use of tailings, has led to technical and environmental problems that may make this activity unfeasible if short-term measures are not taken.<br />\r\n <br />\r\n <br />\r\n“Gates of Lodore, dawn\" and \"Green River, raft\" from Edie Winograde’s series “Sight Seen” observes the experience of iconic yet somewhat obscure American landscapes. Human nature, nature and history all collide or coincide in these places and moments.<br />\r\n <br />\r\n <br />\r\nIn his series “South of the Convergence” Ashok Sinha photographs icebergs and ice floes from the deck of an icebreaker ship, observeing the fast-changing shapes and textures on the ocean surface entering Antarctic waters.  Antarctica is fully protected from mining and development thanks to The Antarctic Treaty.  However, in 2048 this treaty comes up for global discussion and there are strong fears that it could be dismantled, thus opening up the fragile environment of the last frontier to the development and exploitation by global corporations.<br />\r\n <br />\r\nSasha Bezzubov's photographs from the series “Republic of Dust” capture the beauty of the landscape and the massive upheaval caused by the extraction industries (such as timber, rubber, manganese, among other national resources gathered from the forest and the land) on the tropical forests in the Republic of Gabon, considered one of the worlds most precious ecosystems.<br />\r\n <br />\r\nKen Ragsdale’s magical photographs as are achieved through the artist's composition of fabricated paper structures, which depict memories and landscapes of middle to north-west United States. Ragsdale considers the landscape, terrain and weather, filtered through his personal memories and experiences. <br />\r\n <br />\r\nFresh Kills, from 1948 - 2001, was New York City’s largest landfill, and at one time the largest landfill on the planet, visible from space. In the 1990’s the decision was made to close the site and transform it into a centerpiece New York City Park, one of the city’s largest at 2200 acres (almost three times the size of Central Park). The environmental scientists, engineers, and landscape architects of New York City Parks and New York City Sanitation have been painstakingly cleaning, planting, and restructuring this immense site, and reintegrate native plant and animal life back to the land. Through Jade Doskow’s large-format, full-color images of the site, the transformations — natural and unnatural, dynamic and incremental, seasonal and yearly — become visible.<br />\r\n <br />\r\nPhil Buehler’s interest in modern Ruins started in 1973 when he rowed out to then abandoned Ellis Island and he has continued to document 20th -Century ruins around the world seeking to rescue the past one step ahead of the wrecking ball. Buehler’s \"Ore Condenser, Bisbee, Arizona” is a massive machine used to separate the copper ore from everything else; the photo itself is appears to be in some southwest ground zero test site, or totemic burial ground—spiritual, yet ambiguous.<br />\r\n <br />\r\nPaul Raphaelson’s “Untitled: Lost Spaces, Found Gardens,” is a landscape within a landscape, a repurposed painting found in Bushwick that has joined into a new type of urban landscape. Raphaelson looks closely through chinks in fences or at the pavement to see the spontaneous gardens that form in the cracks.",
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                "username": "Mirko",
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                "last_name": "Nikolic",
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                "name": "Brussels Gallery Weekend",
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                "created_at": "2020-06-02T15:33:40.541093Z",
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                "name": "Festivals",
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            "published_at": "2019-08-07T23:04:01.000000Z",
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            "slug": "brussels-gallery-weekend",
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            "summary": "Brussels Gallery Weekend is an Festivals event starting on 05/09/2019, 00:00 and ending on 09/09/2019, 00:00. Event is in Brussels Gallery Weekend with address Brussels, Belgium.",
            "title": "Brussels Gallery Weekend",
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            "start_time": "2019-09-05T00:00:00.000000Z",
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                "name": "Hollis Taggart",
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                "slug": "gallery-shows",
                "created_at": "2020-06-02T15:33:40.525202Z",
                "updated_at": "2021-03-29T12:19:01.299372Z",
                "name": "Gallery Shows",
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            "slug": "alex-kanevsky-liberation-and-disorientation",
            "created_at": "2019-08-08T19:33:01.000000Z",
            "updated_at": "2020-09-14T16:23:47.234581Z",
            "summary": "Alex Kanevsky: Liberation and Disorientation is an Museum Exhibitions event starting on 05/09/2019, 00:00 and ending on 28/09/2019, 00:00. Event is in Hollis Taggart with address 521 West 26th St, 1st Floor\r\nNew York, New York 10001.",
            "title": "Alex Kanevsky: Liberation and Disorientation",
            "content": "On September 5, Hollis Taggart will open its second solo exhibition of works by contemporary painter Alex Kanevsky. The exhibition, titled Liberation and Disorientation, will feature a selection of Kanevsky’s vibrant oil paintings, exploring a wide range of subjects, from land and seascapes to nudes to floral still lifes. Produced between 2018 and 2019—and most on view for the first time—the works highlight Kanevsky’s singular ability to capture the fluidity of time, through a blending of figurative and abstract approaches and rich use of color. Kanevsky’s paintings are imbued with emotional potency and the possibility of a narrative left untold.",
            "start_time": "2019-09-05T00:00:00.000000Z",
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            "summary": "Artist Spotlight – Richard Serra is an Gallery Shows event starting on 06/09/2019, 00:00 and ending on 06/10/2019, 00:00. Event is in ArtWise with address 135 Plymouth St #412, Brooklyn, NY 11201.",
            "title": "Artist Spotlight – Richard Serra",
            "content": "Being born to a father who worked in steel mills and as a pipe-fitter in a San Francisco shipyard sheds much light on the nature of the work of Richard Serra, the most famous living sculptor in America. Says Serra of that influence, “All the raw material that I needed is contained in the reserve of this memory which has become a recurring dream.” His monumental scale abstract sculptures, often public installations, are indeed dreamlike — their austerity nearly violently throwing the observer into a labyrinth of existential questions and intangible navigations of the psyche. His concepts and their manifestations are however inarguably tangible, seeing as to how weighty they are, whether it be in some number of tons of raw steel, or in the depth and simplicity of the black he uses in two-dimensional works. Without attempting to put words to such fundamental themes, it begs to mention a staggering intuitive resonance, something which has the power to delight the one discovering the hidden corners of his twisting, curving forms — whether they be through material interaction or by simply viewing a process-driven exposé.<br />\r\n<br />\r\nEven at 80 years old, Serra is working hard and celebrating a trio of shows opening in mid-September with New York’s Gagosian Gallery, at three different locations around Manhattan. A recent New York Times article about these shows describes some of the work as “like taking a lion for a walk.” Nobody, it seems, does understated maximalism quite like Serra.<br />\r\n<br />\r\nAn excellent example of his trademark voice, this original print run exhibition poster Blindspot features a characteristic large sculpture designed to present a delineated space in which a viewer can interact— and experience the work with their own presence rather than merely through the filter of the intellect. This piece from a Gagosian Gallery show in 2003 is signed by Serra.<br />\r\n<br />\r\nAnd for another signed original exhibition poster, this 1996 work Measurements of Time - Seeing is Believing references possibly cross-sections of earth layers, advancement achieved through steps, or perhaps mathematical evolutions, all without saying any of those things explicitly. The interpretation is largely left up to the viewer, Serra acting as a mere conduit for some unutterable universality.<br />\r\n<br />\r\nIn this engaging large scale limited edition poster from a show at Switzerland’s Beyeler Foundation, a Black Sun dominates the field of view, throwing out into the collective conversation questions of the nature of light, the symbolism of the sun and the qualities of the color black. In color theory, black is not the absence of information but rather the combination of all the colors together— a metaphor for the earth and the prime matter from which all life springs. Serra is maybe content to just pose the unspoken question, or rather to allow us to do it to our own discretion.<br />\r\n<br />\r\nWith Steelmill At Castelli's, a collection of photographs from inside a steel mill shows a brutalist yet highly dynamic industrialism, an unpolished view documenting labor and machinery that is a glimpse into the kind of inspiration Serra is tapping. This first edition exhibition poster even references a style of typography famous in the history of graphic design, coming straight from influences like Constructivism, the Bauhaus era and a particular well-known 1960 poster titled Weniger Lärm, a fitting theme for this type of topic.<br />\r\n<br />\r\nIn another signed original exhibition poster In His Studio (1968), we get to see the man at work, with his posture and mental engagement just as compelling as the massive sheet metal laid out in front of him mid-process. On the wall to his left lounges a motley crew of either half-finished ideas or past completed projects, a blissful vision of the potential contents of his mind— and glowing, surrounded as they are by an ultra-hip warehouse-style workspace that he clearly has under his complete sway.<br />\r\n<br />\r\nAnd lastly, Slice: Plans for Future Leo Castelli brings an element of color into the fray, if only as a classic blueprint for architectural construction. This is a first edition exhibition poster published by Leo Castelli for an event held from February 28th to April 4th in 1981. The sketch represents plans for the future Castelli Gallery which would be at 142 Greene Street in SoHo. Here we get to appreciate not only his strict and mathematical mind but also his affinity for organic forms, adhering loyally as he does to the beauty of the curve.",
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            "summary": "Ji Eun Lee &amp; Lionel Sabatté is an Gallery Shows event starting on 06/09/2019, 18:00 and ending on 02/11/2019, 16:00. Event is in Galerie Biesenbach with address Sankt Apern Strasse 44-46, 50667 Köln, Germany.",
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            "content": "Eröffnung in Anwesenheit der KünstlerInnen<br />\r\nFreitag, den 6. September 2019, von 18 bis 22 Uhr<br />\r\nreversed und Île stellen in parallelen Einzelausstellungen die Arbeiten der koreanischen Künstlerin Ji Eun Lee und des französischen Künstlers Lionel Sabatté gegenüber. Gezeigt werden Wandobjekte, Gemälde und Skulpturen. Sowohl Lee als auch Sabatté arbeiten vorwiegend mit außergewöhnlichen Materialien und nutzen verschiedene Techniken. Abstraktion trifft auf Figuration.<br />\r\nMidissage am 5. Oktober 2019, Ausstellung bis  2. November 2019",
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            "summary": "Who Writes? curated by Jo Ying Peng is an Gallery Shows event starting on 06/09/2019, 19:00 and ending on 02/11/2019, 16:00. Event is in OMR with address Córdoba 100\r\nRoma Norte\r\nCP 06700\r\nMexico City, Mexico.",
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            "content": "The self and the word.<br />\r\n‘Who writes? For whom is the writing being done? In what circumstances?’ was firstly posed by Edward Said to form a debate on the politics of interpretation. Departing from these questions, the exhibition Who Writes? brings together artists from different regions whose works are charged with both political and poetic sensibilities in response to their own environments. Yet, in this multilingual encounter, dialogues between self and other, individual and collective, and memories and narratives manifest new, liberating horizons through their art.<br />\r\n<br />\r\nBased on Jorge Méndez Blake’s idea that ‘writing is itself a kind of construction and reading is a way of creation’, he transforms literature into architecture and performs the act of reading. His site-specfic piece I Took my Power in my Hand (and a Typewriter) is built around Emily Dickinson’s poem, sculpting a poetic voice into a manifesto – a fist to fight, a pencil to draw or a pen to write. Maria Taniguchi’s untitled paintings depicting patterns of bricks are dedicated to labor-intensive processes in the face of external global mechanization. Her Runaways – sculptural circles and rods made from Java Plum, a hardwood native to Southeast Asia – speaks to the recurring theme of entanglement between human workers and ‘earth stuff’. Michael Lin’s wall painting Forever Shanghai borrows from the Chinese bicycle brand founded in 1940. As the name suggests, the product was intended to last at least a lifetime. Lin’s piece illustrates a symbolic temporality where Maoist China’s national ideology of ‘a better life’ is projected by this product. Shilpa Gupta is drawn to how objects, places, and people are defined, and asks how these definitions are played out through the classification, restriction, and censorship. Untitled (There is No Border Here) is a pattern poem that shines a light on the abstract nature of territorial boundaries through both its content and form. Ariel Schlesinger’s art turns negative events into positive ones by reflecting on everyday beauty, on the poetry that we fail to see, and on our wavering attention. At Arm’s Length IV performs a sculpture’s freedom into a flaming dance to break the ordinariness. Adriana Lara playfully turns her artistic models into situations for the viewers to engage with. Driven by her ongoing research on noise, El Ambiente consists of painting, sculpture and sound, and utilizes the syntactical structures of sign systems and modes of visualizing quantitative data as its aesthetics.<br />\r\n<br />\r\nWritten from and for the rhetoric of emancipation, Who Writes? rethinks the everyday subversion through a questioning of what exists after artistic liberation. In a moment of planetary crisis, freedom and oppression, violence and discrimination, and commingling of truth and fiction, how can the circumstances in which one writes be changed?",
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            "slug": "arna-miller-solo-pop-up-stop-pouring-gasoline-on-the-fire-and-other-stories-about-cats",
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            "summary": "Arna Miller Solo Pop-Up: \"Stop Pouring Gasoline on the Fire, And Other Stories About Cats\" is an Gallery Shows event starting on 07/09/2019, 00:00 and ending on 28/09/2019, 00:00. Event is in Spoke Art Gallery with address 816 Sutter Street\r\nSan Francisco, CA 94109.",
            "title": "Arna Miller Solo Pop-Up: \"Stop Pouring Gasoline on the Fire, And Other Stories About Cats\"",
            "content": "“Stop Pouring Gasoline on the Fire, and Other Stories About Cats”<br />\r\nA solo exhibition by Arna Miller<br />\r\nOpening Reception: September 7th, 6 - 9pm<br />\r\nOn view: September 7th - 28th, 2019<br />\r\n<br />\r\nSpoke Art is pleased to present Stop Pouring Gasoline on the Fire, and Other Stories About Cats, a solo pop-up exhibition by Denver-based artist Arna Miller. The artist returns to Spoke Art with a new collection of screen prints featuring her trademark animal characters paired with humorous text.<br />\r\n<br />\r\nBy utilizing animals as her main characters, Miller is able to transform narrative scenes from sensible to comically absurd. These animals - squirrels, frogs, monkeys - are thrown out of their natural elements and humanized within domestic scenarios. What was once commonplace and respectable becomes charmingly ludicrous. <br />\r\n<br />\r\nHer most notable character - the cat - lends itself to a particular absurdity and relatability. Miscreants in their own right, their stubborn autonomy and disregard for consequence resonate with her human audience; by using cats to explore the humor and accidental charm in everyday moments, Miller convincingly proposes to us all that mistakes are just a part of life. <br />\r\n<br />\r\nInspired by Victorian-era postcards and ephemera, the soft color palette and illustrative style of this new collection evoke nostalgia and familiarity. This gentle aesthetic is contrasted with comical narrative text, further humanizing her absurd animal characters. Drawing on humor as a participatory tool, these moral narratives serve to minimize the apparent gravity of self-inflicted human suffering. Miller’s audience cannot help but personally resonate with these strong-willed cats who deliberately disregard the potential consequences of their actions and rebound from their mistakes with lovable absurdity and charming resolve.<br />\r\n <br />\r\nPlease join us Saturday, September 7th from 6 - 9pm for the opening reception of the Stop Pouring Gasoline on the Fire, and Other Stories About Cats. For more information, or additional images, please email us at sf@spoke-art.com.  <br />\r\n<br />\r\nWHAT : Stop Pouring Gasoline On The Fire, And Other Stories About Cats<br />\r\n<br />\r\nWHEN : Opening Reception: September 7th, 6 - 9pm I On View: September 7th - 28th, 2019 <br />\r\n<br />\r\nWHERE : Spoke Art Gallery I 816 Sutter Street, San Francisco, CA 94109<br />\r\n<br />\r\nABOUT THE GALLERY:<br />\r\nSpoke Art is an art space specializing in new contemporary painting, sculpture and illustration with an emphasis in accessible programming. Started in 2010, the gallery has a permanent space in San Francisco’s Lower Nob Hill neighborhood in addition to popup exhibitions, art fairs and conventions around the country and internationally.<br />\r\n<br />\r\nARNA MILLER : https://arnamiller.com<br />\r\n\u2028FACEBOOK EVENT PAGE : https://www.facebook.com/events/347549796129663/<br />\r\nSPOKE ART : http://www.spoke-art.com",
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                "alt_text": "Evergreen: A Solo Exhibition by Kim Cogan",
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            "summary": "Evergreen: A Solo Exhibition by Kim Cogan is an Gallery Shows event starting on 07/09/2019, 00:00 and ending on 28/09/2019, 00:00. Event is in HASHIMOTO CONTEMPORARY with address 804 Sutter St.\r\nSan Francisco, CA 94109.",
            "title": "Evergreen: A Solo Exhibition by Kim Cogan",
            "content": "Kim Cogan<br />\r\nEvergreen <br />\r\nSeptember 7 - 28, 2019<br />\r\n\u2028<br />\r\nSAN FRANCISCO - Hashimoto Contemporary is pleased to present Evergreen, a solo exhibition by San Francisco-based painter Kim Cogan. Returning for his second solo exhibition with the gallery, the new body of oil paintings explore time and memories of a city in flux.  <br />\r\n\u2028<br />\r\nKim Cogan’s masterfully balanced oil paintings occupy a space between the familiar and foreign, nostalgic and contemporary, detailed and abstracted. Much like the ubiquitous fog blanketing San Francisco, Cogan’s subjects emerge from misty memories occupying a timeless space. Emotive marks commingle with precise renderings, grounding the viewer in hazy, cinematic scenes of the city. <br />\r\n\u2028<br />\r\nEach piece “explores the passage of time, integrating both present and remembered subjects.” An ode to San Francisco’s disappearing landscapes, Evergreen preserves pieces of the artist’s memory while acknowledging the most enduring quality of the city is change. <br />\r\n\u2028<br />\r\nPlease join us for Evergreen, opening September 7th with an evening reception from 6pm - 9pm, the artist will be in attendance. The exhibition will be on view through September 28th. For more information, additional images, or exclusive content, please email us at sf@hashimotocontemporary.com<br />\r\n\u2028<br />\r\nWHAT: <br />\r\nEvergreen - a solo exhibition by Kim Cogan<br />\r\n\u2028<br />\r\nWHERE:<br />\r\nHashimoto Contemporary<br />\r\n804 Sutter Street<br />\r\nSan Francisco, CA 94109<br />\r\n\u2028<br />\r\nWHEN:<br />\r\nOpening night reception: Saturday, September 7th, 6pm - 9pm<br />\r\nShow on view through Saturday, September 28th<br />\r\n\u2028<br />\r\nRELEVANT LINKS:<br />\r\nFacebook event page: https://www.facebook.com/events/358677275084778/<br />\r\nHashimoto Contemporary: www.hashimotocontemporary.com<br />\r\n\u2028<br />\r\nABOUT THE ARTIST:<br />\r\nKim Cogan is a San Francisco based painter and professor. His work has been exhibited nationally, and has appeared in ARTnews Magazine, the San Francisco Chronicle, American Arts Quarterly, Harper’s Magazine, Playboy and American Art Collector Magazine.<br />\r\n\u2028<br />\r\nABOUT THE GALLERY:<br />\r\nHashimoto Contemporary has locations in San Francisco and New York. Our roster consists of an eclectic blend of new contemporary artists. With monthly rotating exhibitions, our programming focuses on a range of painting, sculpture and installation-based work. You can also visit us at a variety of international art fairs and traveling exhibitions in Miami, New York, San Francisco and Los Angeles.",
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            "summary": "\"Tangle\" Jeffrey Cheung is an Gallery Shows event starting on 07/09/2019, 00:00 and ending on 28/09/2019, 00:00. Event is in HASHIMOTO CONTEMPORARY with address 210 Rivington Street\r\nNew York, NY 10002.",
            "title": "\"Tangle\" Jeffrey Cheung",
            "content": "Hashimoto Contemporary is pleased to present Tangle, a solo exhibition by Oakland, CA based artist Jeffrey Cheung. Tangle will be Cheung’s third solo exhibition at Hashimoto Contemporary, in which he utilizes a bold color palette and intertwining nude figures to explore themes of queerness, identity and intersectionality. <br />\r\n<br />\r\nFor his latest body of work, Cheung is continuing his exploration and celebration of themes of queer love and identity as well as body positive imagery. The figures represented in the artists work refuse to adhere to gender norms and expectations, re-examining and re-contextualizing normative notions of gender.<br />\r\n<br />\r\nMany of the works in Tangle were made during the artists time at the Bed Stuy Art Residency in Bedford Stuyvesant, Brooklyn, NYC. While at the residency, Cheung focused primarily on oil pastels and drawings, exploring techniques of line making and abstraction. The figures represented in these work overlap and intertwine, creating organic shapes which tangle into one another. Contorted repetitive figures merge into fluid shapes, serving as a visual reminder that we are all one and create powerful messages of positivity and acceptance. The semi-abstracted, simplistically rendered figures are exuberant and playful, full of movement and life. By doing so, Cheung illustrates a positive and empowering representation of what it means to be connected as humans.<br />\r\n<br />\r\nPlease join us Saturday, September 7th from 6pm - 8pm for the opening reception of  Tangle. The artist will be in attendance. The gallery will be releasing a new limited edition print of Tangle II (pictured) with the artist in conjunction with the opening of the exhibition. The print will first be available exclusively in person at the opening, with remaining copies of the edition to be released online at hashimotocontemporary.com the week following the opening.  <br />\r\n<br />\r\nIn addition, Hashimoto Contemporary will be hosting a Unity pop-up for the duration of Tangle, selling skateboard decks, apparel and additional merchandise. Unity is a project co-founded by Jeffrey Cheung, which aims to represent, support and create a safe place for queer skaters. <br />\r\n<br />\r\nThe exhibition will be on view through Saturday, September 28th. For more information, additional images, or exclusive content, please email us at nyc@hashimotocontemporary.com",
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