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        <td></b><i>&nbsp;<p align="center"><strong><font face="Arial" size="4">Vertical Painting: Arturo
        Herrera<br>
        </font><font face="Arial" size="3">Party for Tom</font></strong></i></p>
        <p align="center"><font face="Arial" size="2"><strong>November 19, 2000 for long-term
        installation</strong></font></p>
        <p><font face="Arial" size="2">&nbsp;</font></p>
        <p><font face="Arial" size="2">(November 17, 2000) -- On November 19, 2000, P.S.1
        Contemporary Art Center presents <i><b>Party for Tom </b></i>by Venezuelan-born artist <b>Arturo
        Herrera</b> (b.1959). This work, located in P.S.1&#146;s stairwell A on the 3<sup>rd</sup>
        floor, is the latest addition to the <i>Vertical Paintings</i> series initiated with
        P.S.1&#146;s reopening in 1997. Herrera&#146;s project continues the tradition of
        installing art in unconventional spaces throughout the building that has characterized
        P.S.1 since its first exhibition in 1976.</font></p>
        <p><font face="Arial" size="2">While <i>Vertical Paintings</i> at P.S.1 have until now
        been created for the walls of P.S.1&#146;s stairwells, Herrera chooses instead to create a
        work for the ceiling of the third floor. <i>Party for Tom </i>will suggest something
        specific to the viewer &#151; an image from a movie or a cartoon character, yet this
        painting remains visually ambivalent and without a defined reference. A playful and
        colorful shape that recalls the paw of an animal appears to penetrate the old school
        staircase from outside and to be held suspended by ropes. The work is fleetingly
        experienced in the passageway by viewers in motion as they ascend or descend the stairs. </font></p>
        <i><p><font face="Arial" size="2">Party for Tom<b> </b></i>relates to the wall paintings
        that Herrera has made since his first billboard project in Chicago, IL in 1994. A critical
        relationship to the ways in which people move through different architectural spaces is
        the basis for his colorful semi-abstract and rhythmic works. They also bring a digital
        sensibility into real space combined with an interest in morphing and hybrid shapes.
        Herrera&#146;s wall paintings develop out of small collages of fragments from coloring
        books, cartoons, images from popular culture, and painting, which have been realized in
        on-going series since the early 1990s. In 1998, Herrera exhibited these collages and other
        related works at the Art Institute of Chicago and the Renaissance Society of the
        University of Chicago. </font></p>
        <p><font face="Arial" size="2">Herrera has created felt pieces since 1998 and they share
        the large scale of his wall paintings and suggest a liquid, tactile and sensual
        development beyond modernist abstraction. They were first shown in 1999 at Brent
        Sikkema/Wooster Gardens Gallery in New York, Stephen Friedman Gallery in London, and the
        Istanbul Biennial. Earlier this year, his felt painting was shown in <i>Greater New York </i>at
        P.S.1. Herrera has recently participated in ArtPace artists&#146; residency program.</font></p>
        <p><font face="Arial" size="2">Organized by P.S.1 Senior Curator, Carolyn
        Christov-Bakargiev, this wall painting continues P.S.1's series of large-scale
        &quot;Vertical&quot; works set in the many stairwells of P.S.1 Contemporary Art Center.
        This series of works called <i>Vertical Paintings</i> was initiated by P.S.1 Director
        Alanna Heiss in 1997. Currently on view in other stairwells are <i>Vertical Paintings</i>
        by William Kentridge, Cecily Brown, and Alexis Rockman, among others.</font></p>
        <p><font face="Arial" size="2">This Special Project is made possible in part by the Jerome
        Foundation and the New York City Department of Cultural Affairs. </font></td>
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