Before embarking on the behemoth project of documenting the reconstruction of the World Trade Center, artist Marcus Robinson was an architectural photographer living in London.  Now working from ground zero in New York for the past 10 years, he has been fully immersed and devoted to expressing the landscape on-site through painting, drawing and video.  On September 11, 2014, Robinson’s labor of love will come full-circle with the U.S. television premiere of “Rebuilding The World Trade Center” on The History Channel, which in this second iteration includes an ever-evolving series of images, footage and artwork.

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The Cage is the site of badass installations that greet visitors at the entrance of Alexander Wang’s flagship store in Soho, New York.  True to its name, the 10 x 12 x 14-foot metal grid is a structural enclosure, which, capturing the creative essence of Wang’s ready-to-wear collections, presents rotating abstract and contemporary art.  This edition, a series of marble print surfboards exclusively created by Australia’s Haydenshapes take shelter in the Cage.  A raw juxtaposition of material, control and shape make perfect sense in the face of Wang’s aesthetic.

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Autumn Ahn will tell you about her technical training in oils and printmaking at Boston University; the religious references that inform her composition; and the time she waited two years for black clay to dry on canvas to apply a new layer of paint.  Precise, methodical and an alchemist of sorts, Ahn’s process – much like her content – involves storytelling.  In a studio visit cum retrospective, the breadth of her portfolio is a grand narrative that is still very much in flux.

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If you buy something at IKEA, return fare on the ferry from Red Hook to Manhattan is free. Not so remote, but not so easy to access, the area inhabited by the furniture behemoth offers this incentive to encourage visitors from the city.  Yet following in the footsteps of former artist enclaves Lower East Side, SoHo and soon, Bushwick, Red Hook has much more to offer as a sanctuary for artists.  Namely, Jérôme Lagarrigue.

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Since 1977, the Drawing Center’s Viewing Program has been a curated artist registry that reflects the organization’s mission to present “drawing as an evolving and responsive medium.”  Now in its final iteration, artists Heather Hart, Steffani Jemison and Jina Valentine were asked to organize a showcase celebrating the culmination of the Viewing Program, while also opening new dialogue for contemporary artists, technology and the compartmentalization of information. 

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