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X-WR-CALDESC:Events for Art in America Guide
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20260404T063608
DTEND;TZID=America/Halifax:20230107T180000
DTSTAMP:20260404T063608
CREATED:20230109T180703Z
LAST-MODIFIED:20230109T180703Z
UID:101329-0-1673114400@artinamericaguide.com
SUMMARY:Joanne Freeman: New York Conversation
DESCRIPTION:Kathryn Markel Fine Arts is thrilled to announce New York Conversation\, an upcoming exhibition of new work by Joanne Freeman. New York Conversation is Freeman’s third solo exhibition with the gallery. The show will be accompanied by a group show curated by Freeman titled Betty and Veronica. They will run concurrently from January 5th – February 11th\, 2023. \n  \n“New York Conversation references my studio process\, and metaphorically describes the random thoughts\, snippets of conversation\, lyrics and memories that ebb and flow over the course of a painting. Visual signs\, nostalgia and the emotional residue of color\, guide my aesthetic choices\,” Freeman says. While intuitive\, Freeman’s stencil-like forms and irregular hard-edge curves harken Modernism and minimalist sensibilities. This is heightened by a palette of saturated primary colors\, or monochromatic works.   “My paintings reference forms found in architecture and design\,” she says.  “I create compositions based on loose geometry and layered saturated colors. The hard edge process of cutting shapes and layering color onto treated raw linen\, recalls qualities of mid-century low-tech graphics\, color field painting and collage\,” she continues.  \n  \nThe forms are hard-edged while still breathy and organic.  The subtle transparencies at the edges of the forms and the contrast of the brushstrokes across the tooth of linen reveal the artist’s hand. “When applying oil paint to linen I try to accentuate the inherent qualities of both mediums\,” she says. “ I consider both the transparency and opacity of the colors\, how they abut and overlap\, and how they respond to the textured tooth of the linen.” She is mindful of each medium’s materiality when painting.  Her saturated colors in either gouache or oil paint are absorbed by the handmade paper or linen\, enhancing the modernist flatness of her forms and use of space. “My reductive abstract paintings are about the beauty of singular color\, the impact of pure abstract forms and the quiet order that cuts through the noise\,” Freeman says.  \n  \nJoanne Freeman has had solo exhibitions in galleries around the United States\, and shown at The Queens Museum\, Zillman Art Museum University of Maine\, The Painting Center\, and the Cape Cod Museum of Art. She’s a 2021 recipient of the Pollock-Krasner Foundation Grant\, and the Vice President of the American Abstract Artists organization. She has her M.A in Studio Art from New York University\, and lives and works in New York City. \n  Save  
URL:https://artinamericaguide.com/event/joanne-freeman-new-york-conversation/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/01/install5-scaled.jpg
ORGANIZER;CN="Kathryn Markel Fine Arts":MAILTO:markel@markelfinearts.com
GEO:40.9365358;-72.3040792
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Kathryn Markel Fine Arts 529 West 20th Suite 6W New York NY 10011 United States;X-APPLE-RADIUS=500;X-TITLE=529 West 20th\, Suite 6W:geo:-72.3040792,40.9365358
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20260404T063608
DTEND;TZID=America/Halifax:20230128T180000
DTSTAMP:20260404T063608
CREATED:20230109T180750Z
LAST-MODIFIED:20230109T180750Z
UID:101313-0-1674928800@artinamericaguide.com
SUMMARY:2023 Winter Juried Exhibitions
DESCRIPTION:BLUE MOUNTAIN GALLERY is pleased to present the work of 47 artists\, 51 pieces of artwork\, selected by Eric Holzman for this year’s winter juried exhibition. The artists\, drawn from over two hundred applicants from across the country\, work in a wide range of media\, including oil\, acrylic\, pastel\, gouache\, photography and mixed media.  \n​Heidi Alamanda \, Marilyn Allen\, Hilary Houston Bachelder\, James Baker\, Nina Kardon Baran\, Bob Barnett\, Raymond Berry\, Leslie Blackmon\, Pam Bowers\, Nancy Breakstone\, Karina Cavat\, Audrey Cohn-Ganz\, Elizabeth Courtney\, Anne Delaney\, Stephanie DeManuelle\, Kiran K Dhaliwal\, Janine Dunn Wade\, Melanie Essex\, Tom Fitzharris\, Meghan Fleming\, Nancy Granda\, Theresa Heidig Rooney\, Teresa Jade Jarzynski\, Moishe Kampin\, Sam Kelly\, Michele King\, Laura Levine\, Pattie Lipman\, Aaron Lubrick\, Manuel Alejandro Macarrulla\, James McKenna\, Elizabeth Meyersohn\, Mark. Milroy\, Blake Morgan\, Arnaldo J Rivera Rivera\, Gail Rodney\, Rebecca Gray Rolke\, Roxy Rubell\, Alyssa Schmidt\, Abbey Stace\, Leslie Ross Stephens\, Yuri Tayshete\, Preston Trombly\, Laura Vahlberg\, Ekaterina Vanovskaya\, Aidan White and Lenore Wolf. \n​Juror ERIC HOLZMAN has been painting and searching for connection in nature and other representational genres all his life. He is a romantic and a classicist who looks into the inner nature of things and tries to walk “The Beauty Way.” He was educated at Tyler School of Art\, Yale\, Skowhegan and the New York Studio School. Eric has taught at Pratt\, the New York Studio School\, and Bard College among others. He is a National Academician and has exhibited twice at the American Academy\, winning awards from both institutions.  Eric has also shown work at Lori Bookstein\, Tibor de Nagy\, Sideshow and Artist Equity\, all in NYC\, and at Gremillion Fine Art and Ellio Fine Art in Houston\, Texas. He has received many honors\, including grants and fellowships from the Guggenheim Foundation\, the NEA\, the Pollock Krasner Foundation\, the Gottlieb Foundation and the Louis Comfort Tiffany Foundation. Website: www.ericholzman.com \n\n  Save  
URL:https://artinamericaguide.com/event/2023-winter-juried-exhibitions/
LOCATION:Blue Mountain Gallery\, 547 W 27th St\, Suite 200\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/01/2023-artists-rectangle.jpg
ORGANIZER;CN="Blue Mountan Gallery":MAILTO:info@bluemountaingallery.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260404T063608
DTEND;TZID=America/New_York:20250920T170000
DTSTAMP:20260404T063608
CREATED:20250722T184747Z
LAST-MODIFIED:20250722T184747Z
UID:114023-0-1758387600@artinamericaguide.com
SUMMARY:August-September @ Art Works!
DESCRIPTION:Throughout August Art Works is open to the public\, offering a variety of engaging exhibits. Adam and Anita Bradley present life-size figurative sculptures and paintings capturing a chaotic world. Mike Bily’s exhibit investigates ecosystems; Sharon Denmark captures light flowing through glass. Rachel Rowden exhibit is a portal of mysteries and Rebecca Visger provides a view from behind the wheel. Blake Bottoms exhibit is featured in the Community Bridge Project. \n  \nJoin us for a fun-filled scavenger hunt with prizes\, perfect for both the young and the young at heart. The activity culminates with prizes for all who participate. We also offer figure drawing sessions on the 1st and 3rd Sundays and Queer Life Drawing at Gold Lion Community Café on August 20th.  \n  \nBradley + Bradley: The Weight of Vanishing Shadows \nAdam and Anita Bradley explore the human condition through their unique mediums. Adam presents life-sized figurative sculptures in wood\, steel\, ceramics\, and smaller bronze pieces\, reflecting themes of anxiety\, loss\, and grief. Anita complements this with layered paintings and mixed media collages\, capturing the struggle for order in a chaotic world. Their intertwined approaches invite contemplation of deep human experiences. \n  \nThe exhibition will be in the Jane Sandelin Gallery at Art Works and will continue through September 20\, 2025. \n  \n  \nArtifacts by Anne Chamblin \nAnne Chamblin’s work is about merging sight and feeling. For her\, painting is a way to process what she experiences. She brings spaces\, places\, and faces to life on canvas\, turning bodies into landscapes and using layers to hint at the passage of time. Anne constantly reworks her paintings\, always keeping a bit of the past to shape the present. Her journey is grounded in everyday experiences\, resulting in unique\, relatable art. \n  \nThe exhibit will be in the Centre Gallery at Art Works through September 20\, 2025. \n  \n  \n  \n  \n  \nBetween Worlds by Hannah Anderson \n  \nAmerican abstract artist Hannah Anderson (b. 1953)\, raised in the simplicity of a Quaker household\, rediscovered her love for painting in 1990 with a Crayon watercolor set. Self-taught and inspired by contemporary artists\, her work reflects the light and dark periods of her life\, blending elements of nature and archetypal symbols from healing traditions. Her debut exhibit\, Between Worlds\, explores the liminal space between worlds and relationships. Hannah resides in Richmond\, Virginia\, and finds inspiration in Taos\, New Mexico. \n  \nThe exhibit will be in the Corner Gallery at Art Works through September 20\, 2025. \n  \n\nMental Health Matters: Celebrating Resilience Through Art All Media Show\nThis exhibit is a focal point of all Art Works’ openings. It is a juried show with cash prizes for 1st\, 2nd and 3rd place. The show is open to all artists and all mediums. \n  \nIn August the theme is Mental Health Matters: Celebrating Resilience Through Art. The community has donated terrific items that we will be auctioning to benefit NAMI\, and Art Works will donate the sales from the All Media Show to NAMI. \nWonJung Choi an international artist and educator\, will be the juror for the exhibit. Wonjung Choi is a Korean-born\, Virginia-based artist whose multidisciplinary work delves into the complexities of identity formation in a globalized world. See more on WonJung’s website: Click here. \n  \nCall for entries is July 15  – August 10\, 2025\, and may be submitted through the online form. The exhibit will be in the Port Gallery at Art Works through September 18\, 2025. Check our website for details on submitting artwork:  Call for Entries \n  Save  
URL:https://artinamericaguide.com/event/august-september-art-works-2/
LOCATION:Art Works\, 320 Hull Street\, Richmond\, VA\, 23224\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/07/PR-2025.08-Anne-Chamblin-scaled.jpg
ORGANIZER;CN="Art Works":MAILTO:glenda@artworksrichmond.com
GEO:37.524914;-77.437258
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Art Works 320 Hull Street Richmond VA 23224 United States;X-APPLE-RADIUS=500;X-TITLE=320 Hull Street:geo:-77.437258,37.524914
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260404T063608
DTEND;TZID=America/New_York:20250926T200000
DTSTAMP:20260404T063608
CREATED:20250903T144946Z
LAST-MODIFIED:20250903T144946Z
UID:114439-0-1758916800@artinamericaguide.com
SUMMARY:4th Friday Art Shows and Opening Reception @ Art Works!
DESCRIPTION:4th Friday September 26th at Art Works \n  \nJoin us on September 26\, 2025 from 6 p.m. to 8 p.m. for an exciting opening reception of our new exhibits at Art Works. Meet the talented artists\, and enjoy live music\, refreshments\, and libations sponsored by RVA Thriving Artists.  The featured artists are Adam Reinhart\, Jen Cook-Asaro\, Sarah Miller\, Tatiana Grace\, Kenneth Lee\, and experiment with interactive art by RVA Game Jams. \n  \nThis event is free and open to the public. Convenient and free parking is available. The exhibits will continue through October 18\, 2025. \n  Save  
URL:https://artinamericaguide.com/event/4th-friday-art-shows-and-opening-reception-art-works-56/
LOCATION:Art Works\, 320 Hull Street\, Richmond\, VA\, 23224\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/08/PR-2025.09-Game-Jam-scaled.jpg
ORGANIZER;CN="Art Works":MAILTO:glenda@artworksrichmond.com
GEO:37.524914;-77.437258
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Art Works 320 Hull Street Richmond VA 23224 United States;X-APPLE-RADIUS=500;X-TITLE=320 Hull Street:geo:-77.437258,37.524914
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260404T063608
DTEND;TZID=America/New_York:20250927T180000
DTSTAMP:20260404T063608
CREATED:20250811T200044Z
LAST-MODIFIED:20250811T200044Z
UID:114212-0-1758996000@artinamericaguide.com
SUMMARY:Heather Stivison\, “Ebb & Flow”\, a Solo Exhibition
DESCRIPTION:In this her third New York City solo exhibition\, Heather Stivison explores the intersection of environmental science and visual art with a series of immersive paintings of the ocean. \nStivison paintings capture the essence of water—something clear and colorless\, with its shape formed entirely by the external forces of objects\, land\, wind\, gravity. Searching for water’s most primary qualities\, she uses light\, color\, form\, shape\, line\, to engender a sense of water. Fluidity\, reflections\, rhythms are evident in her ocean surface paintings. Stivison is fascinated by the reflections and patterns created by the coastal ocean surface. She paints variations on patterns\, exploring how much she can change them and still maintain the sense that the subject is surface water. \nCurator and director of Manhattan Arts International Renee Phillips writes: \n“Stivison ventures beyond nature’s physical boundaries into abstraction with the profusion of free-flowing biomorphic patterns and tonal ranges. In her paintings the innate attributes of water evolve into metaphors\, symbolism and visual poetry.” \nThe exhibition includes a massive 110-inch quadriptych that explores the sense of weightlessness and mystery that she finds in the imagining unknown ocean depths. Other paintings explore surface water patterns as abstract design. \nIndependent curator Kathy Imlay writes: \n“Stivison’s paintings have a luminous glow—accomplished by the artist building up layer upon layer of viscous paint\, which she pours\, smears\, scrapes and otherwise manipulates to create fields of color that conjure the watery depths of the ocean or intergalactic space\, depending on the palette.” \nSome of the paintings on view are the result of her multi-year\, grant funded collaboration with Noah Germolus\, a scientist at Woods Hole Oceanographic Institute who was researching ocean chemistry. Stivison created two paintings about him and his work\, and four five-foot paintings that interpret his research data in paint. \nThe collaboration led to a unique special feature of this exhibition. After Stivison interpreted his data in paint\, he in turn\, interpreted four of her paintings in music. The exhibition includes an on-demand sound installation of original jazz music composed and performed by Germolus. \n  Save  
URL:https://artinamericaguide.com/event/heather-stivison-ebb-flow-a-solo-exhibition/
LOCATION:Pleiades Gallery\, 547 W 27th St. Suite 304\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/08/stivison-heather_Coastal-Surface-Community_48x60_Oil-over-Acrylic-on-Canvas.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260404T063608
DTEND;TZID=America/New_York:20251018T170000
DTSTAMP:20260404T063608
CREATED:20250903T144946Z
LAST-MODIFIED:20250903T144946Z
UID:114443-0-1760806800@artinamericaguide.com
SUMMARY:September - October Exhibits @ Art Works!
DESCRIPTION:Now showing six new exhibits. The featured artists are Adam Reinhart\, Jen Cook-Asaro\, Sarah Miller\, Tatiana Grace\, Kenneth Lee\, and experiment with interactive art by RVA Game Jams. Also see 80+ working artist studios. \nVisit us Tuesdays through Sundays 11am- 5pm. Admission is free and open to the public. Convenient and free parking is available. The exhibits will continue through October 18\, 2025. \n  Save  
URL:https://artinamericaguide.com/event/september-october-exhibits-art-works-4/
LOCATION:Art Works\, 320 Hull Street\, Richmond\, VA\, 23224\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/08/PR-2025.09-Game-Jam-1-scaled.jpg
ORGANIZER;CN="Art Works":MAILTO:glenda@artworksrichmond.com
GEO:37.524914;-77.437258
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Art Works 320 Hull Street Richmond VA 23224 United States;X-APPLE-RADIUS=500;X-TITLE=320 Hull Street:geo:-77.437258,37.524914
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260404T063608
DTEND;TZID=America/New_York:20251122T170000
DTSTAMP:20260404T063608
CREATED:20250908T192551Z
LAST-MODIFIED:20250908T192551Z
UID:114572-0-1763830800@artinamericaguide.com
SUMMARY:October - November Exhibits @ Art Works!
DESCRIPTION:Now showing six new exhibits. The featured artists are Blake Seals\, Felicia L. Reed\, Adam Reinhard\, Sorvino\, and Tobi Holtslag. Also see 80+ working artist studios. \nVisit us Tuesdays through Sundays 11am- 5pm. Admission is free and open to the public. Convenient and free parking is available. The exhibits will continue through November 22nd 2025. \n  Save  
URL:https://artinamericaguide.com/event/october-november-exhibits-art-works-5/
LOCATION:Art Works\, 320 Hull Street\, Richmond\, VA\, 23224\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/09/PR-2025.10-Chris-Semtner-3-scaled.jpg
ORGANIZER;CN="Art Works":MAILTO:jessie@artworksrva.com
GEO:37.524914;-77.437258
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Art Works 320 Hull Street Richmond VA 23224 United States;X-APPLE-RADIUS=500;X-TITLE=320 Hull Street:geo:-77.437258,37.524914
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260404T063608
DTEND;TZID=America/New_York:20260221T180000
DTSTAMP:20260404T063608
CREATED:20260120T172859Z
LAST-MODIFIED:20260120T172859Z
UID:115685-0-1771696800@artinamericaguide.com
SUMMARY:Robert Braczyk: Cardinal Directions
DESCRIPTION:Exhibition Dates: January 27 – February 21\, 2026\nOpening Reception: Thurs.\, January 29\, 2026\, 5PM-8PM\nArtist Talk: Saturday\, February 14\, 2026\, 3PM-4PM\nGallery Hours: Tuesday – Saturday\, 11AM-6PM \nBowery Gallery is pleased to present “Cardinal Directions\,” an exhibition of new sculpture by Robert Braczyk.  \nFor many years a prize-winning figurative sculptor\, in recent years Braczyk has turned to abstraction. In his new work—most about 24 inches high—he assembles various tree elements into vertical compositions that echo figural forms\, but whose abstract vocabulary of open volumes and discontinuous contours suggests the possibility of multiple allusions. Each work evinces a powerful spatial tension between the cardinal point from which it is begun and the complex three-dimensional image that Braczyk builds with primary thrust\, axis\, and meridian.  \nBraczyk’s trajectory from figure to abstract figure may be seen as a temporal through line connecting the events of a life. The artist’s comment that he brings all his life’s experiences into the studio reminds us that in the long arc of his career\, the spatial and temporal are never far apart. \nView the exhibition website. \n  \nBowery Gallery\n547 W. 27th Street\, Suite 508\nNew York\, NY 10001 \n  Save  
URL:https://artinamericaguide.com/event/robert-braczyk-cardinal-directions/
LOCATION:Bowery Gallery\, 547 W 27TH ST Suite 508\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/01/Braczyk_Reel_for_eVite-and_Web_landing-page-scaled.jpg
ORGANIZER;CN="Bowery Gallery":MAILTO:info@bowerygallery.org
GEO:40.7493621;-74.0047021
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Bowery Gallery 547 W 27TH ST Suite 508 New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=547 W 27TH ST Suite 508:geo:-74.0047021,40.7493621
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20121022
DTEND;VALUE=DATE:20220101
DTSTAMP:20260404T063608
CREATED:20210527T152347Z
LAST-MODIFIED:20210527T152507Z
UID:81363-1350864000-1640995199@artinamericaguide.com
SUMMARY:LEO VILLAREAL: COSMOS
DESCRIPTION:An homage to the late Cornell astronomy professor Carl Sagan\, Cosmos is a site-specific installation by New York–based artist Leo Villareal (born 1967)\, a pioneer in the use of light-emitting diodes (LEDs) and computer-driven imagery. His signature pieces explore complex movement and dazzling patterns created by points of light using his own computer software. \n \nVillareal – Cosmos – Johnson Museum – Cornell final from Walter Patrick Smith\, AIA LEED A on Vimeo. \nPlanning for Cosmos began in November 2010\, when Villareal—along with the project architect\, Walter Smith\, and donors Lisa and Richard Baker—worked with Johnson Museum staff to determine the optimal location for the installation. The ceiling of the Sherry and Joel Mallin Sculpture Court was chosen for its high visibility not only on campus but also from the city of Ithaca. After studying the Museum’s architectural plans and considering structural and aesthetic aspects of the installation\, the artist’s team returned to Cornell in April 2012 to install a nine-foot-square mock-up. Installation of the final piece took several weeks\, with twelve thousand energy-efficient LEDs on a gridded framework attached to the ceiling of the sculpture court. A zero gravity bench was designed by the artist for viewers to fully immerse themselves in the viewing experience and to foster a more communal involvement with his installation. Villareal gave a public lecture to mark the opening of the installation. \nVillareal’s works reinterpret fundamental components of such twentieth-century art movements as pop\, minimalism\, conceptual\, and post-painterly abstraction while responding to the ingenuity and imagination that defines technology in the twenty-first century. Among his most notable site-specific works are the illumination of the exterior of the Brooklyn Academy of Music (2006)\, Multiverse in the Concourse walkway between the East and West Buildings at the National Gallery of Art (2008)\, and Sky at the Tampa Museum of Art (2009). His largest installation to date is The Bay Lights\, illuminating the West Span of the San Francisco Bay Bridge for its 75th anniversary in 2013. \nAndrea Inselmann\nCurator of Modern and Contemporary Art \n\nImage:\nLeo Villareal\nCosmos\, 2012\nWhite LED Lights\, custom software\, and electrical hardware; site-specific installation.\nAcquired through the generosity of Richard Baker\, Class of 1988\, and Lisa Baker.\n2012.056\nPhoto: James Ewing \n\n  Save  
URL:https://artinamericaguide.com/event/leo-villareal-cosmos/
LOCATION:Herbert F. Johnson Museum of Art\, Cornell University\, 114 Central Avenue\, Cornell University\, Ithaca\, NY\, 14853\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/05/cosmos-ewing-2169.jpeg
GEO:42.4507153;-76.4862114
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Herbert F. Johnson Museum of Art Cornell University 114 Central Avenue Cornell University Ithaca NY 14853 United States;X-APPLE-RADIUS=500;X-TITLE=114 Central Avenue\, Cornell University:geo:-76.4862114,42.4507153
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190329T100000
DTEND;TZID=America/Halifax:20190929T170000
DTSTAMP:20260404T063608
CREATED:20190418T204953Z
LAST-MODIFIED:20190509T150353Z
UID:51723-1553853600-1569776400@artinamericaguide.com
SUMMARY:A Nation Reflected: Stories in American Glass
DESCRIPTION:Featuring more than 100 objects drawn from the Yale University Art Gallery’s collection with select loans from the Yale Peabody Museum of Natural History\, A Nation Reflected: Stories in American Glass explores the myriad ways in which glass expresses the cultural\, technological\, and artistic aspirations of those who live and work in the United States. \nhttps://artgallery.yale.edu/exhibitions/exhibition/nation-reflected-stories-american-glass \n  Save  
URL:https://artinamericaguide.com/event/a-nation-reflected-stories-in-american-glass/
LOCATION:Yale University Art Gallery\, 1111 Chapel St\, New Haven\, CT\, 06510\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/04/turtle-americanglass.jpg
ORGANIZER;CN="Yale University Art Gallery":MAILTO:artgalleryinfo@yale.edu
GEO:41.30839;-72.930958
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Yale University Art Gallery 1111 Chapel St New Haven CT 06510 United States;X-APPLE-RADIUS=500;X-TITLE=1111 Chapel St:geo:-72.930958,41.30839
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190405
DTEND;VALUE=DATE:20191013
DTSTAMP:20260404T063608
CREATED:20190623T154048Z
LAST-MODIFIED:20190927T192809Z
UID:57561-1554422400-1570924799@artinamericaguide.com
SUMMARY:Project Wall: Stanley Whitney
DESCRIPTION:Representing his first commissioned public art project\, internationally recognized artist Stanley Whitney and Kansas City Art Institute alumnus will utilize the H&R Block Artspace Project Wall to deliver an emphatic message. \nKnown for his painterly\, abstract compositions of organic grids with vertical and horizontal bands and blocks in vibrant hues\, Whitney’s characteristic approach to painting is as an architect and builder of pictorial color. Parallel to this deep\, lifelong study\, however\, is a smaller and lesser known series of drawings by the artist with words and phrases that explore relationships between text and image and their attendant meanings. \nIn No to Prison Life\, Whitney worked with Guest Curator Larry Ossei-Mensah\, Museum of Contemporary Art Detroit (MOCAD) Susanne Feld Hilberry Senior Curator\, to create and contextualize a new work of art for his alma mater. Whitney’s Project Wall intentionally combines painting and drawing to register an urgent public protest against a U.S. judicial system that promotes arrest\, incarceration\, and other forms of imprisonment that often further damages lives. \nWhitney recently introduced the public to the phrase “No to Prison Life” as the title for a painting created for the international Documenta 14 exhibition in Athens\, Greece and Kassel\, Germany\, in 2017.  In this new context\, however\, the artist uses his agency to create a work that merges his stylistic painting with a provocative message and in so doing broadcasts an alert regarding the disproportionate number of African Americans in U.S. prisons. \n  Save  
URL:https://artinamericaguide.com/event/project-wall-stanley-whitney/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/06/No_to_Prison_Life_Billboard_lowres.jpg
ORGANIZER;CN="H&amp%3BR Block Artspace":MAILTO:mdcain@kcai.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190413
DTEND;VALUE=DATE:20190930
DTSTAMP:20260404T063608
CREATED:20190325T163941Z
LAST-MODIFIED:20190531T142938Z
UID:49545-1555113600-1569801599@artinamericaguide.com
SUMMARY:Sheila Hicks: Campo Abierto (Open Field)
DESCRIPTION:Grouping works of art from various periods\, Campo Abierto (Open Field) explores the formal\, social and environmental aspects of landscape that have been present\, yet rarely examined\, throughout Sheila Hicks’ expansive career. Prompting contemplations on collaboration\, dialogue and discussion\, the exhibition is rooted in the reconfiguration of Escalade Beyond Chromatic Lands (2016-2017)\, the artist’s vast installation produced for the Arsenale at the Venice Biennale in 2017. The exhibition brings together several large-format installations\, as well as more intimately-scaled works\, that utilize and transform the architecture of The Bass’ upstairs galleries. The selection of works in Campo Abierto (Open Field) foreground the museum’s context in South Florida\, a multilingual locus traversed by complex immigration waves and patterns\, alongside environmental concerns. \nSheila Hicks (b. 1934\, Hastings\, Nebraska) received her BFA and MFA degrees from Yale University. She received a Fulbright scholarship in 1957-58 to paint in Chile. While in South America\, she developed her interest in working with fibers. After founding workshops in Mexico\, Chile and South Africa\, and working in Morocco and India\, she now divides her time between her Paris studio and New York. Hicks has exhibited internationally in both solo and group exhibitions. Her work was included in the 57th Venice Biennale (2017)\, 77th Whitney Biennial (2014)\, and 30th São Paulo Biennial (2012). Recent solo presentations include: Lignes de Vie\, Centre Pompidou\, Paris (2018); Free Threads 1954-2017\, Museo Amparo\, Mexico (2017). In 2010 a major retrospective of her work\, Sheila Hicks: 50 Years\, debuted at the Addison Gallery of American Art and traveled to the Institute of Contemporary Art\, Philadelphia and the Mint Museum\, Charlotte\, North Carolina. Hicks’ work is in the collections of the Metropolitan Museum of Art and the Museum of Modern Art\, New York City; Museum of Fine Arts\, Boston; The Art Institute of Chicago; the Victoria & Albert Museum\, London; Stedelijk Museum\, Amsterdam; Centre Pompidou\, Paris; the Museum of Modern Art\, Tokyo; Museo de Bellas Artes\, Santiago; solo exhibitions at the Seoul Art Center\, Korea; Israel Museum\, Jerusalem. \n  Save  
URL:https://artinamericaguide.com/event/sheila-hicks-campo-abierto-open-field/
LOCATION:The Bass\, 2100 Collins Avenue\, Miami Beach\, FL\, 33139\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="The Bass":MAILTO:info@thebass.org
GEO:25.7971165;-80.1291596
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190427
DTEND;VALUE=DATE:20191028
DTSTAMP:20260404T063608
CREATED:20190702T205121Z
LAST-MODIFIED:20190702T205121Z
UID:57918-1556323200-1572220799@artinamericaguide.com
SUMMARY:Recent Acquisition: Nicole Eisenman\, Sketch for a Fountain
DESCRIPTION:The Nasher Sculpture Center proudly unveils its recent acquisition\, Sketch for a Fountain\, a group of five sculptures by Nicole Eisenman.  Conceived for the 2017 Münster Sculpture Projects in Münster\, Germany\, the work is an ambitious\, contemporary reimagining of the timeless subject of fountain statuary. \n\n\nSketch for a Fountain was inspired by the long history of fountains\, one of the oldest forms of public art. Eisenman’s figures—larger-than-life\, of indeterminate gender\, and almost cartoonishly fleshy—exemplify the appeal of her humorous and humane aesthetic. Lounging and dozing\, they could be lingering in an arcadian reverie or sleeping off a bacchanal\, their torpor disturbed only by the gentle sprinkles of water spewing from different parts of their bodies\, which in places sprout elements that seem to be drawn to the dampness\, such as mushrooms and slugs. Eisenman’s figures evoke associations with a range of art historical precedents\, including Greco-Roman representations of hermaphrodites\, Paul Cézanne’s Bathers\, George Segal’s introspective figures\, and the whimsical public sculptures of Tom Otterness. \nKnown initially for her work in painting\, Eisenman made sculpture as a student at the Rhode Island School of Design and has recently begun to make a mark for herself in the medium.  An important precedent for her Münster project was the 2013 Carnegie International\, where\, along with a selection of her paintings\, she exhibited a group of sculptures in the museum’s sculpture court\, alongside Greco-Roman sculptures from the permanent collection\, and described her figures as “scruffy\, bohemian great-great-grandchildren of those gods.” Working largely in plaster\, with occasional items of assemblage\, Eisenman has focused primarily on figures and heads. \nInstalled in and around the pond in Nasher Garden\, Sketch for a Fountain expands the consideration of the figure and sculptural ensembles also on view there\, such as Segal’s Rush Hour and Magdalena Abakanowicz’s Bronze Crowd.  Three of the figures (those with water elements) were purchased through the Kaleta A. Doolin Acquisition Fund for Women Artists\, while two sculptures (those without water elements) come to the Nasher as a promised gift from the Green Family Collection. \n\n  Save  
URL:https://artinamericaguide.com/event/recent-acquisition-nicole-eisenman-sketch-for-a-fountain/
LOCATION:Nasher Sculpture Center\, 2001 Flora Street\, Dallas\, TX\, 75201\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190427
DTEND;VALUE=DATE:20190930
DTSTAMP:20260404T063608
CREATED:20190919T160236Z
LAST-MODIFIED:20190926T161810Z
UID:59820-1556323200-1569801599@artinamericaguide.com
SUMMARY:Charles Capps: Prairie Print Maker
DESCRIPTION:This exhibition celebrates the work of Wichitan Charles “Chili” Capps\, one of eleven original members of the Prairie Print Makers. The Prairie Print Makers–founded in 1930 by many of our region’s best artists–worked to make fine art accessible to everyday Kansans and joined with other print societies to create a broad culture of print collecting throughout America. \n  \nImage: Charles M. Capps\, Mission at Trampas\, 1949. Etching and aquatint. 11 1/16 x 16 7/8 inches. Wichita Art Museum\, Bequest of Elizabeth T. Forter in memory of her mother\, Elizabeth Tusten Forter \n  Save  
URL:https://artinamericaguide.com/event/charles-capps-prairie-print-maker/
LOCATION:Wichita Art Museum\, 1400 West Museum Boulevard\, Wichita\, KS\, 67203\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/09/capps_mission.jpg
ORGANIZER;CN="Wichita Art Museum":MAILTO:pr@wichitaartmuseum.org
GEO:37.6949375;-97.3561859
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Wichita Art Museum 1400 West Museum Boulevard Wichita KS 67203 United States;X-APPLE-RADIUS=500;X-TITLE=1400 West Museum Boulevard:geo:-97.3561859,37.6949375
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190501
DTEND;VALUE=DATE:20200302
DTSTAMP:20260404T063608
CREATED:20200221T151638Z
LAST-MODIFIED:20200221T162417Z
UID:65494-1556668800-1583107199@artinamericaguide.com
SUMMARY:Harold Ancart | Subliminal Standard
DESCRIPTION:Brooklyn-based artist Harold Ancart (b. 1980\, Brussels\, Belgium) has created this painted concrete sculpture as an homage to the accidental abstract compositions that appear on New York City’s ubiquitous freestanding handball walls. The artist sees the mismatched repainting and partial repairs that mask graffiti and other wear on these courts as “subliminal\,” inadvertent masterpieces. He relishes their fortuitous connection to the canon of abstract art. \nHandball is an urban sport that was popularized by immigrants in the early 20th century\, but Subliminal Standard is not a typical handball court. It is Ancart’s most ambitious artwork to date – a newly-built structure with nuanced and compelling painted surfaces inspired by his fascination with seemingly quotidian found forms and patterns. Here\, the artist’s distinctive painting style extends beyond the frame of the canvas and outside the museum’s walls to interact with its setting in subtle ways. Ancart invites us to immerse ourselves in this extraordinary environment and to become part of its composition as we engage with our surroundings\, each other\, and art in a new way. In the game of handball\, all you need is a ball and a wall to play. Subliminal Standard proposes that we only need our imagination to perceive the unseen beauty that surrounds us every day. \nSubliminal Standard is curated by Associate Curator Daniel S. Palmer \n\nImage:\nHarold Ancart\nSubliminal Standard\nCadman Park Plaza\nPublic Art Fund\, 2019 \n\n  Save  
URL:https://artinamericaguide.com/event/harold-ancart-subliminal-standard/
LOCATION:Cadman Park Plaza\, Cadman Park Plaza E\, Brooklyn\, NY\, 11201
CATEGORIES:Exhibition
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ORGANIZER;CN="Public Art Fund":MAILTO:info@publicartfund.org
GEO:40.6976723;-73.9906433
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190516T080000
DTEND;TZID=America/Halifax:20191006T170000
DTSTAMP:20260404T063608
CREATED:20190626T130344Z
LAST-MODIFIED:20190626T130344Z
UID:57731-1557993600-1570381200@artinamericaguide.com
SUMMARY:Rina Banerjee: Make Me a Summary of the World
DESCRIPTION:Rina Banerjee: Make Me a Summary of the World is the first mid-career retrospective of the artist’s work. Co-organized by the Pennsylvania Academy of the Fine Arts\, Philadelphia\, and San José Museum of Art\, the exhibition presents almost twenty years of Banerjee’s large-scale installations\, sculptures\, and paintings—including a re-creation of her work from the 2000 Whitney Biennial; sculptures featured in the 2017 Venice Biennale; and recent work for the Prospect 4 New Orleans biennial. \nBanerjee creates vivid sculptures and installations made from materials sourced throughout the world. She is a voracious gatherer of objects—in a single sculpture one can find African tribal jewelry\, colorful feathers\, light bulbs\, Murano glass\, and South Asian antiques in conflict and conversation with one another. These sensuous assemblages reverberate with bright colors and surprising textures present simultaneously as familiar and unfamiliar. \nRina Banerjee: Make Me a Summary of the World focuses on four interdependent themes in Banerjee’s work that coincide with important issues of our time: immigration and identity; the lasting effects of colonialism and its relationship to globalization; feminism; and climate change. \n  Save  
URL:https://artinamericaguide.com/event/rina-banerjee-make-me-a-summary-of-the-world/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190614
DTEND;VALUE=DATE:20191118
DTSTAMP:20260404T063608
CREATED:20190919T160206Z
LAST-MODIFIED:20190926T161836Z
UID:59824-1560470400-1574035199@artinamericaguide.com
SUMMARY:Will Barnet: Timeless Visions
DESCRIPTION:Will Barnet: Timeless Visions features seven works by one of America’s most evocative and haunting artists. Drawn from Barnet’s home life and often featuring his wife and daughter as models\, Barnet’s prints and paintings are quiet and personal but also powerfully transcendent. In each\, Barnet depicts what he knows intimately–his wife\, his daughter\, family pets\, the woods and coast of Maine–and uses it to explore such timeless themes as love\, intimacy\, solitude\, and death. \n  \nImage: Will Barnet\, Chess Game\, 1973. Oil on canvas\, 43 1/4 x 33 inches. Wichita Art Museum\, Museum purchase\, Friends of the Wichita Art Museum \n  Save  
URL:https://artinamericaguide.com/event/will-barnet-timeless-visions/
LOCATION:Wichita Art Museum\, 1400 West Museum Boulevard\, Wichita\, KS\, 67203\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Wichita Art Museum":MAILTO:pr@wichitaartmuseum.org
GEO:37.6949375;-97.3561859
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Wichita Art Museum 1400 West Museum Boulevard Wichita KS 67203 United States;X-APPLE-RADIUS=500;X-TITLE=1400 West Museum Boulevard:geo:-97.3561859,37.6949375
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190711T100000
DTEND;TZID=America/Halifax:20200105T170000
DTSTAMP:20260404T063608
CREATED:20190708T103257Z
LAST-MODIFIED:20190926T162359Z
UID:57963-1562839200-1578243600@artinamericaguide.com
SUMMARY:Hamilton and Burr: Who Wrote Their Stories?
DESCRIPTION:July 11\, 2019–January 5\, 2020\, Center Gallery\n\n\nThe hit Broadway musical Hamilton sparked renewed interest in the Founding Father and his relationship with Aaron Burr\, whom he infamously dueled with on July 11\, 1804. Opening on the 215th anniversary of the duel\, our exhibit picks up where Lin-Manuel Miranda’s musical left off and examines how Alexander Hamilton’s and Burr’s legacies were shaped by other Founding Fathers\, a wife\, a daughter\, historical documents\, and yes\, even an enormously successful\, modern-day musical. \nThe continuously interwoven fates and legacies of these two seemingly divisive figures\, provides an exciting opportunity to explore what stories get written\, which get remembered\, and why. \nOur story begins in the immediate aftermath of the shots in Weehawken\, New Jersey\, with original correspondence between Burr and Dr. David Hosack regarding Hamilton’s condition. An up-close look at Dr. Hosack\, Rev. Benjamin Moore\, and the events following the duel will begin to complicate our perceptions of Burr. \nThe exhibit then dives into the printed material and imagery surrounding these two figures to consider the ways in which Burr’s daughter\, Theodosia Burr Alston\, and Hamilton’s widow\, Elizabeth Schuyler Hamilton\, helped shape the print culture to craft legacies of both men. \nSetting the scene is an 18th-century velvet coat\, similar to the one that inspired Miranda’s vision for the musical—which serves as a reminder that historical narratives can always be re-explored\, reconsidered\, and rewritten. \nPhoto Credit: Courtesy of Winterthur \n\n  Save  
URL:https://artinamericaguide.com/event/hamilton-and-burr-who-wrote-their-stories/
LOCATION:Winterthur Museum\, Garden & Library\, 5105 Kennett Pike\, Wilmington\, DE\, 19807\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Winterthur Museum%2C Garden &amp%3B Library":MAILTO:pressroom@winterthur.org
GEO:39.8087941;-75.6037258
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Winterthur Museum Garden & Library 5105 Kennett Pike Wilmington DE 19807 United States;X-APPLE-RADIUS=500;X-TITLE=5105 Kennett Pike:geo:-75.6037258,39.8087941
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190718T170000
DTEND;TZID=America/Halifax:20200119T170000
DTSTAMP:20260404T063608
CREATED:20190626T130416Z
LAST-MODIFIED:20190626T130416Z
UID:57728-1563469200-1579453200@artinamericaguide.com
SUMMARY:Beta Space: Pae White
DESCRIPTION:The work of internationally renowned artist Pae White transcends nearly all traditional boundaries—between art and design\, craft and fine art\, architecture and installation\, theory and practice. Her probing curiosity with the world manifests in her transformation of ordinary objects and phenomena—chandeliers\, clocks\, popcorn\, tapestries\, birdsongs\, fog\, smoke—into exhilarating experiences that defy logic yet remain oddly familiar. Always kinaesthetic—as much a bodily as visual experience that plays with the senses—her work is as alluring as it is ambiguous\, suggesting that things may not be as they may seem. The handmade nature of her work\, combined with sophisticated technologies and inventive processes\, allow for a high degree of improvisation. \nIn celebration of SJMA’s 50th anniversary\, White presents a compendium of new works and recent installations for the sixth iteration of the Museum’s exhibition series “Beta Space.” White’s peripatetic practice across various media and disciplines captures the spirit of this series: her work brims with artistic risk-taking and experimentation\, reflecting the wildly creative and innovative ethos of Silicon Valley. \nBeta Space: Pae White features newly made artworks that further White’s interest in shifting our associations and perceptions of everyday objects\, materials\, and phenomena. In addition\, the exhibition features two monumental installations that upend traditional ideas regarding architecture\, museum display practices\, fine art\, and craft. foreverago (2017) is the artist’s largest tapestry to date\, at 127 feet long. Shown in the United States for the first time\, it will meander through the gallery\, creating a sinuous wall-like structure that presents both the front and back of the weaving. Revolutionizing the genre of tapestry for the 21st century\, White relied on the help of skilled artisans while employing advanced digital imaging techniques to weave together colorful cotton\, cashmere\, and metallic threads\, and used custom software that randomizes distribution patterns to produce her seemingly chaotic scene. Part of the artist’s ongoing series “Bugz + Drugs\,” foreveragoexplodes with a cacophony of insects—ladybugs\, dragonflies\, grasshoppers\, and crickets—descending on plants known for their psychoactive\, calming effects: mushrooms\, poppies\, and cannabis. Renderings of antique Japanese kimono fabric samples and Byzantine icons further enhances an already rich and visually abundant composition. \nIn her intuitive approach to materials and images\, White maintains a critical eye on popular manifestations and wildly kitsch derivatives of high modernist ideals. In AGAMEMNOMICS (2013)\, she presents a massive assemblage of chess pieces of her own device. While scouring the design collections of the MAK Museum of Applied Arts in Vienna\, the artist encountered a trove of forgotten toys made by an unknown Viennese designer in the 1920s. From this group she fashioned a chess set and sent images of nine objects to artisans and fabricators in China\, Ethiopia\, Germany\, Lithuania\, and Mexico\, as well as to artists working in the Los Angeles area. Each workshop rendered interpretations of these objects in materials of their own specialty: glass\, wood\, clay\, porcelain\, plastic\, and rubber. Leaving her project to chance and spontaneity\, White rescued these toys from the confines of the design archive and cast them back into realms of the imagination and play. \n\n\n\n\n\n\n\nSponsored by the Richard A. Karp Charitable Foundation\, Doris and Alan Burgess\, Theres and Dennis Rohan\, Tad Freese and Brook Hartzell\, and Mary Mocas and Marv Tseu. Additional support provided by Hildy Shandell Beville and Ross Harwood Beville\, and from 1301PE\, Los Angeles.  \nSupported\, in part\, by a Cultural Affairs grant from the City of San José.\n\n\n\n\n\n\n\n  Save  
URL:https://artinamericaguide.com/event/beta-space-pae-white/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/06/40927607733_9a0dc4d92b_o-1.jpg
GEO:37.3327419;-121.8905201
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=San Jose Museum of Art 110 S. Market Street San Jose CA 95113 United States;X-APPLE-RADIUS=500;X-TITLE=110 S. Market Street:geo:-121.8905201,37.3327419
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190803
DTEND;VALUE=DATE:20200106
DTSTAMP:20260404T063608
CREATED:20190919T160343Z
LAST-MODIFIED:20191120T213519Z
UID:59816-1564790400-1578268799@artinamericaguide.com
SUMMARY:Light & Shadow: Alyson Shotz and Kumi Yamashita
DESCRIPTION:Light & Shadow: Alyson Shotz and Kumi Yamashita features the work of two sculptors who create work of ethereal beauty. Alyson Shotz strings silvered glass beads on steel thread and hangs her nets and skeins in floor-to-ceiling installations. A critic remarked that her work “approaches invisibility.” In it\, the solid materials of most sculptures are replaced by air and light. Kumi Yamashita presents ordinary objects that cast extraordinary shadows. Under raking light\, a wall with a seemingly random scattering of wooden numbers yields a child’s monumental profile. A carved exclamation point casts a shadow of a question mark. A chair casts a shadow of a seated woman. Remove the light\, and the art disappears. \nBoth artists create sculptures through labor-intensive handwork and trial and error experimentation. They are each concerned with expanding bits of matter into large installations\, the space-occupying potential of virtually weightless materials\, and the variability and mystery of experience. In Light and Shadow\, the Wichita Art Museum is delighted to present Shotz and Yamashita’s awe-inspiring environments to Wichita and the region. \nThe exhibition is guest curated by Vicki Halper\, former curator of the Seattle Art Museum. Halper also curated Australian Glass Art\, American Links\, and Cameo Glass in Context: Charlotte Potter and April Surgent. \n  \nImage: Kumi Yamashita\, 0 to 9\, 2011. Carved wood\, single light source\, and shadow\, 72 x 72 x 4 inches. Collection of the artist \n  Save  
URL:https://artinamericaguide.com/event/light-shadow-alyson-shotz-and-kumi-yamashita/
LOCATION:Wichita Art Museum\, 1400 West Museum Boulevard\, Wichita\, KS\, 67203\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/09/KYS-_-0-To-9.jpg
ORGANIZER;CN="Wichita Art Museum":MAILTO:pr@wichitaartmuseum.org
GEO:37.6949375;-97.3561859
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Wichita Art Museum 1400 West Museum Boulevard Wichita KS 67203 United States;X-APPLE-RADIUS=500;X-TITLE=1400 West Museum Boulevard:geo:-97.3561859,37.6949375
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190812
DTEND;VALUE=DATE:20191027
DTSTAMP:20260404T063608
CREATED:20190812T162703Z
LAST-MODIFIED:20190820T200604Z
UID:58903-1565568000-1572134399@artinamericaguide.com
SUMMARY:Albert Oehlen | New Paintings
DESCRIPTION:ALBERT OEHLEN\nNew Paintings \nSeptember 12–October 26\, 2019\nOpening reception: Thursday\, September 12\, 6–8pm \n“These paintings are made in such a way that they accept order only very reluctantly. Eventually there is some form of order\, but they strive against it.”\n
—Albert Oehlen \nGagosian is pleased to present a series of new paintings in watercolor on canvas by Albert Oehlen\, his first exhibition in Asia. \nOehlen approaches painting as a perceptual challenge\, a puzzle set within the unpredictable arena of the picture plane. He often imposes specific rules or limitations on his work—keeping to a certain palette or beginning with a straight line—as a way to interrogate the infinite possibilities that the act of painting presents. By continuously flipping between chaos and control\, he opens up new relationships between pictorial space\, color\, and gesture. \nIn these new paintings\, Oehlen emphasizes the importance of spontaneity within his artistic method. Diverging from his recent works created with oil or lacquer on aluminum or the aluminum composite Dibond\, Oehlen’s decision to use watercolor in this series marks a stylistic return to his hazy\, blended\, almost impressionistic oil paintings dating from 2016 and earlier. \nOehlen begins with a chalky white ground\, across which he flicks and stains splashes of fluid color. Hues dart between canvases: the same intense shade of magenta—a color he previously referred to as “hysterical” in the context of his Tree Paintings (2013–16)—meanders snakelike from painting to painting\, puncturing through the murky veil of watercolors in a vivid streak before resurfacing elsewhere as a series of dots peppered down the canvas. Oehlen revels in the dynamism of his lines\, allowing them to come to life and dictate each twist of his ever-shifting compositions. \nNevertheless\, Oehlen’s frenzied brushstrokes are tempered by moments of painterly control. Interspersed between splotches and swipes of color are lines\, curves\, and gradients\, all delineated with satisfying uniformity. While his paintings initially appear to lack geometric regularity\, they are in fact filled with clean-cut right angles—including a recurring L-shaped motif\, which recalls the artist’s yellow-and-black paintings from his 2018 exhibition SEXE\, RELIGION\, POLITIQUE. These forceful right angles—along with rectangular window-like apertures and eerie humanoid forms—are enshrouded deep within the canvas\, their watery facture only adding to their frustrating\, tantalizing ephemerality. Swallowed up by the slashes of pigment surrounding them\, these loose strands of figuration ultimately dissipate within a churning whirlwind of colors. \nThe exhibition will be accompanied by a fully illustrated catalogue with a text by art historian Christian Malycha. \n\nImage credit: \nALBERT OEHLEN\nUntitled\, 2019\nWatercolour on canvas\n84 1/4 x 72 1/4 x 1 1/8 inches\n214 x 183.5 x 2.9 cm\n© Albert Oehlen.\nCourtesy Gagosian.\nPhotographer: Jeff McLane. \n  Save  
URL:https://artinamericaguide.com/event/albert-oehlen-new-paintings/
LOCATION:Gagosian Hong Kong\, 12 Pedder Street\,\, Central Hong Kong\, Hong Kong Island\, Hong Kong
CATEGORIES:Exhibition
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GEO:22.2818636;114.1570102
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Gagosian Hong Kong 12 Pedder Street Central Hong Kong Hong Kong Island Hong Kong;X-APPLE-RADIUS=500;X-TITLE=12 Pedder Street\,:geo:114.1570102,22.2818636
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190813T000000
DTEND;TZID=America/Halifax:20200313T000000
DTSTAMP:20260404T063608
CREATED:20200226T170058Z
LAST-MODIFIED:20200304T202036Z
UID:65652-1565654400-1584057600@artinamericaguide.com
SUMMARY:Other People’s Parties
DESCRIPTION:In today’s hyperconnected social world\, images of others have become a ubiquitous part of everyday life\, but what is it about other people’s parties that intrigues us so much? Is it idle curiosity or something more? This exhibition\, featuring photography from artists such as Henri Cartier-Bresson\, Larry Fink\, Danny Lyon\, Mary Ellen Mark\, and Andy Warhol\, calls attention to the highs and lows of our most social occasions\, investigating the human impulse to capture party moments through photography and our desire to live vicariously through images of others. \n  \n\n\n\nAndy Warhol\, Andy\, Meeting at the Stoplight\, Cicero\, Illinois\, 1965\, 14 x 11 in. (To be matted: 20 x 16 in.)\n\n\n\n  \n  Save  
URL:https://artinamericaguide.com/event/other-peoples-parties/
LOCATION:David Filderman Gallery at Hofstra University\, 112 Hofstra University\, Hempstead\, New York
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2020/02/2008_2_119HIRES.jpg
GEO:40.7133721;-73.6015642
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=David Filderman Gallery at Hofstra University 112 Hofstra University Hempstead New York;X-APPLE-RADIUS=500;X-TITLE=112 Hofstra University:geo:-73.6015642,40.7133721
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190816T110000
DTEND;TZID=America/Halifax:20191006T160000
DTSTAMP:20260404T063608
CREATED:20190918T155103Z
LAST-MODIFIED:20190918T155428Z
UID:59646-1565953200-1570377600@artinamericaguide.com
SUMMARY:Michael Hower: Graffiti Scapes
DESCRIPTION:Michael Hower’s digital photographs are founded upon a fascination with abandoned buildings and landscapes. He photographs ghost towns and spaces consumed by graffiti such as Centralia\, Pennsylvania. This  ghost town sits atop a burning mine fire\, and the main road leading into town is covered with colorful tags and philosophical tidbits for three quarters of a mile: the infamous ‘Graffiti Highway.’ \nHower travels around the Mid-Atlantic to ghost towns\, skate parks\, train graveyards\, city alleys and wherever else graffiti dominates the landscape. Included in the exhibition will be a new photographic installation\, Concrete City\, which was inspired by the Pennsylvania ghost town which was abandoned in 1924. \n  Save  
URL:https://artinamericaguide.com/event/michael-hower-graffiti-scapes/
LOCATION:The Gallery at Penn College\, 1 College Avenue\, Williamsport\, PA\, 17701\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="The Gallery at Penn College":MAILTO:gallery@pct.edu
GEO:41.2349031;-77.0268503
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=The Gallery at Penn College 1 College Avenue Williamsport PA 17701 United States;X-APPLE-RADIUS=500;X-TITLE=1 College Avenue:geo:-77.0268503,41.2349031
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190831
DTEND;VALUE=DATE:20191230
DTSTAMP:20260404T063608
CREATED:20190927T193959Z
LAST-MODIFIED:20191126T180908Z
UID:60377-1567209600-1577663999@artinamericaguide.com
SUMMARY:Coffee and Cocktails
DESCRIPTION:Coffee and Cocktails brings together vintage furniture\, designer clothes\, and elegant decorative arts objects to explore the fashionable worlds of teatime and cocktail hour in the 19th and 20th centuries. \n\nThe first part of the exhibition centers on tea and coffee—two hot beverages that went from exotic imports to everyday necessities over the course of the 1800s\, inspiring specialized tableware\, furniture\, and clothing. The second half of the exhibition takes the viewer from day to evening\, and features the barware\, furniture\, and clothing necessary for an elegant night of drinks and conversation. \nCoffee and Cocktails draws from the collections of the Wichita Art Museum and the Wichita-Sedgwick County Historical Museum to explore this fascinating moment in design history. Come\, join the party at the Wichita Art Museum. What are you drinking? \n\nImage: Maker unknown\, Demitasse Spoons\, set of 12\, 1908–1917. Silver gilt and plique-a-jour enamel\, each 1/2 x 4 1/16 x 7/8 inches. Wichita Art Museum\, Bequest of George E. Vollmer \n  Save  
URL:https://artinamericaguide.com/event/coffee-and-cocktails/
LOCATION:Wichita Art Museum\, 1400 West Museum Boulevard\, Wichita\, KS\, 67203\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Wichita Art Museum":MAILTO:pr@wichitaartmuseum.org
GEO:37.6949375;-97.3561859
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Wichita Art Museum 1400 West Museum Boulevard Wichita KS 67203 United States;X-APPLE-RADIUS=500;X-TITLE=1400 West Museum Boulevard:geo:-97.3561859,37.6949375
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190905T100000
DTEND;TZID=America/New_York:20191012T180000
DTSTAMP:20260404T063608
CREATED:20190807T173822Z
LAST-MODIFIED:20190807T173822Z
UID:58834-1567677600-1570903200@artinamericaguide.com
SUMMARY:Sangbin IM: AI/IM
DESCRIPTION:Sangbin IM \nAI/IM  \nSeptember 5- October 12\, 2019 \nOpening reception Thursday\, September 5\, 6-8pm \nRYAN LEE is pleased to announce AI/IM\, an exhibition of new work by Sangbin IM. IM is known for his dynamic composite photographs\, each meticulously composed from a combination of hundreds of IM’s own photographs and paintings. The resulting works are hyper-realistic utopian fantasies that reimagine well-known places for an increasingly technocratic future. IM’s photographic process has always relied on both the artist’s hand and digital tools\, but it is the relationship between the artist and technology that is at the center of this new body of work. As an artist constantly searching for ways to optimize his extremely labor-intensive process\, IM uses Photoshop’s Photomerge function to synthesize hundreds of images into a single composition. For the artist\, this task is painstaking\, exhausting\, and fraught with fear of failure. The computer\, free of such emotional baggage\, simply completes the task it is given. The work in this exhibition is the product of the partnership between artificial intelligence and human consciousness—in particular the subjective consciousness of the artist. The exhibition’s title\, AI/IM\, reiterates this: “AI” refers to machine learning and “IM” is both the artist’s last name and an abbreviation for “I am\,” the signifier of human subjectivity in the Cartesian sense. In this series IM combines hundred of photographs of well-known cities and landmarks taken during his travels—Athens\, Manhattan\, Notre Dame Cathedral\, the Shitennoji Temple—into panoramic scenes whose irregular edges push beyond the traditional rectangular picture plane. IM photographs his subjects from different angles\, over the course of hours or sometimes days; his photographs are not random\, but he begins without a vision of the finished product. Next he inputs the images into Photoshop and allows the program to auto-splice them together\, creating various compositions that IM then tweaks. In this series IM has also retained the jagged\, computer-generated borders of the images\, which give literal shape to the works’ mechanical-organic hybrid nature. IM considers the computer-generated image as a “draft\,” and views his role as “a director who actively improves them” IM finds “errors or weaknesses that are included in the draft and artistically modify them in an attempt to articulate the entire scene in the best way possible.” \nWhile IM—with the human capacity for consciousness coupled with extensive artistic training—maintains his role as “director\,” the inevitability of his own emotional response is a constant challenge. As he explains it\, his struggle is internal: “This is a situation where my intelligence could be likened to a computer operating system (OS)\, my consciousness is like a virus that has invaded that system.” For IM\, not only does this technology help to modulate his psyche\, it also helps to guard against the wear and tear on his fingers and eyes from years of such meticulous work. IM believes that humanity has always relied upon the technology of its time\, and these photographs reveal the multiple creative dimensions that produced them. IM’s stunning multiverses\, familiar yet fantastic\, are the product of the symbiosis between man and machine\, between AI and IM. \nSangbin IM (b. 1976 Seoul\, Korea) received his MFA in painting and printmaking at Yale University as a Fulbright scholar and currently teaches at Sungshin University in Seoul. His work has been the subject of notable group exhibitions\, including the Artrium Museum\, Vitoria-Gasteiz; Gyeonggi Museum of Modern Art\, Ansan City; Jule Collins Smith Museum of Fine Art\, Auburn; Museo Amalia Lacroze de Fortabat\, Buenos Aires; National Museum of Modern and Contemporary Art\, Seoul; Royal Academy of Arts\, London; Seoul Museum of Art\, Seoul; and Sungkok Art Museum\, Seoul. His work is also included in major public collections\, including the Artrium Museum\, Vitoria-Gasteiz; Gyeonggi Museum of Modern Art\, Ansan City; National Museum of Contemporary Art\, Gwacheon; North Carolina Museum of Art\, Raleigh; and Seoul Museum of Art\, Seoul. IM lives and works in New York\, NY and Seoul\, Korea. \nFor sales inquiries\, please contact Daisy Fornengo at daisy@ryanleegallery.com or 212-397-0742. For press inquiries\, please contact press@ryanleegallery.com. \n  Save  
URL:https://artinamericaguide.com/event/sangbin-im-ai-im/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="RYAN LEE":MAILTO:info@ryanleegallery.com
GEO:40.7500935;-74.0036112
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190905T100000
DTEND;TZID=America/Halifax:20191012T180000
DTSTAMP:20260404T063608
CREATED:20190807T174805Z
LAST-MODIFIED:20190807T174805Z
UID:58836-1567677600-1570903200@artinamericaguide.com
SUMMARY:Josh Dorman: Retrospective Futurology
DESCRIPTION:Josh Dorman \nRetrospective Futurology \nSeptember 5 – October 12\, 2019 \nOpening Reception: Thursday\, Sept. 5\, 6-8pm \nRYAN LEE is pleased to announce Retrospective Futurology\, an exhibition of new paintings by Josh Dorman. Known for the alternate realities and fantastical creatures he creates by combining antique found imagery with drawing and painting\, Dorman introduces an additional dimension into these new paintings through the use of poured resin. As the exhibition’s title suggests\, in this latest body of work Dorman continues his interrogation of human history\, weaving cautionary tales into his multivalent visions of a dystopian future. \nIn his new body of work\, Dorman cuts into the painting surface\, generating pockets and pools of space. Into these\, he layers collage and paint with multiple pours of liquid resin\, building reliquary-like time capsules and trapping imagery like insects in amber. His recurring emerald and crimson lagoons and sinkholes are seen simultaneously from above and below. Equal parts water and air\, they contain birds\, sea creatures and heaping piles of debris: defunct machines\, broken statuary\, gears\, cages\, cells\, and fungi. \nAllusions to issues like sea level rise\, species extinction\, war\, and human arrogance are ever-present and never heavy-handed. Form\, color and an Eastern-influenced landscape sensibility seize the eye first. The stories layer metaphorically and literally in ink\, acrylic\, resin and antique collage fragments: player piano scrolls\, topographic maps\, 1920’s patent pages\, dissected animals. With Dorman\, the closer you look\, the more you see. With panels ranging from 12 inches to 5 feet\, each painting contains worlds within worlds\, bringing to mind the twisted fantasies of Bosch and Breugel. \nThe iconic piece\, How this Will End\, is a speculative look into the future from deep in an imaginary past. Hybrid animals march up a vertical cliff side\, cuticle-sized fishermen haul in a colossal\, teeming net from a dark blue watery cavern\, a battle of buffoonish soldiers rages by an ancient city above; below\, symmetrically placed inch-deep black resin caves encase nightmarish visions. In the sky\, Turneresque clouds churn\, and a flock of birds swarms from the horizon. \nThough spurred by contemporaneous concerns\, Dorman’s paintings are temporal anomalies. They mine the past for some hint of future truth\, wary of human hubris while enticed by human ingenuity. Dorman’s amalgamations of whimsy and dread come together to produce a state he has referred to as ‘joyful apocalypse’\, and while Dorman is careful to avoid any overt or prescriptive morals or meaning\, his narratives are clear and always revelatory. As the novelist Michael Chabon described\, “each of Josh Dorman’s works\, like a dream\, is at once a window and a mirror\, opening onto a landscape of chimeras and strange juxtapositions\, never before seen yet instantly recognizable\, as familiar as the outlines of our own secret reflections.” \nJosh Dorman (b. 1966 Baltimore\, MD) is an American artist who recontextualizes antique images within fantastical drawn and painted worlds. Dorman sources collages\, engravings and diagrams culled from textbooks\, manuals and documents that were published prior to the widespread use of photography. He considers unfamiliar\, obsolete and cryptic systems to inform these choices and ultimately his process\, resulting in non-linear\, multi-layered narratives that explore the mythical landscape and notions of collapsed time\, altered boundaries and dream states. Dualities of chaos and order\, natural and manmade\, fluidity and restraint reoccur and create tension in his collaged universes. Essential to his oeuvre\, Dorman’s references to artists Paul Klee and Pieter Bruegel\, as well as to Sienese art and Chinese landscapes\, transcend history and time. \nDorman graduated Skidmore College in 1988 and received his MFA from Queens College in 1992. He has exhibited at Craft and Folk Art Museum\, CA; CUE Art Foundation\, NY; The Drawing Center\, NY; Katonah Museum\, NY; The National Academy Museum\, NY; Tang Museum\, NY; Trierenberg Corporate Kunsthalle\, AU; and Weatherspoon Art Museum\, NC. His work is included in permanent collections at the Butler Institute of American Art\, OH; International Collage Center\, PA; Minneapolis Institute of Art\, MN; Naples Museum\, FL; and Springfield Art Museum\, MO. Dorman is currently an artist in residence at the Skowhegan School of Painting & Sculpture\, ME. A solo exhibition of Dorman’s paintings from his series Portraits From the Memory Bridge will be on view at the Longview Museum of Fine Arts\, TX. He lives and works in New York\, NY. \nFor sales inquiries\, please contact Daisy Fornengo at daisy@ryanleegallery.com or 212-397-0742. For press inquiries\, please contact press@ryanleegallery.com. \n  Save  
URL:https://artinamericaguide.com/event/josh-dorman-retrospective-futurology/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="RYAN LEE":MAILTO:info@ryanleegallery.com
GEO:40.7500935;-74.0036112
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=RYAN LEE 515 W 26th St 3rd Fl New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=515 W 26th St\, 3rd Fl:geo:-74.0036112,40.7500935
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190906
DTEND;VALUE=DATE:20191117
DTSTAMP:20260404T063608
CREATED:20190702T201147Z
LAST-MODIFIED:20191106T153024Z
UID:57954-1567728000-1573948799@artinamericaguide.com
SUMMARY:William T. Williams: Recent Paintings
DESCRIPTION:Opening Reception\nThursday\, September 5\, 2019 / 6–8PM \nMichael Rosenfeld Gallery is pleased to present its fourth solo exhibition for William T. Williams (American\, b. 1942)\, showcasing a new body of paintings. Scheduled to be on view from September 6 to November 9\, 2019\, William T. Williams: Recent Paintings will feature 35 paintings from the 465 Series\, the first series of paintings completed by Williams in his rural Connecticut studio. A masterful colorist\, his new work continues to expand our understanding of abstraction and positions Williams as one of the great abstractionists of his generation. \nWilliam T. Williams: Recent Paintings will be accompanied by a fully-illustrated color catalogue with new scholarship by Jonathan P. Binstock\, Mary W. and Donald R. Clark Director of the Memorial Art Gallery (MAG)\, Rochester\, NY and an interview conducted by Hans Ulrich Obrist\, Artistic Director at Serpentine Galleries\, London. \nThe work of William T. Williams resonates with cultural history and personal memories of a childhood spent in the urban environments of New York as well as the southern landscapes of rural North Carolina\, where he was born. Returning to country life\, the artist’s recent relocation of his studio from New York City to the natural environment of Connecticut embodies a renewed vision toward painting. There\, he has reinvented his studio practice in a soaring\, light-filled\, renovated barn\, replete with large windows that overlook an ever-changing landscape. William T. Williams: Recent Paintings will be the first exhibition of the new body of work produced under the natural light and rhythms of Williams’ new studio. This environment\, immersed in nature\, has had a profound effect on the artist’s recent work\, whose richly-hued abstractions reflect the shifting dynamics of seasonal and atmospheric change. \nThe dynamism of these natural ebbs and flows permeates Williams’ paintings\, creating discernible shifts felt palpably through composition and color. The complex palettes of this life-long colorist will be showcased\, from the vibrant and bold to the muted and somber. Working at a smaller\, more intimate scale than ever before\, Williams has experimented with the combination of multiple canvases. The seriality of the paintings offers a meditative form of time-keeping\, a cyclical repetition that structures and documents his daily routine in the studio. Their multi-color grid compositions of layered paint recall the quilts that were prominent in the Williams’ household. This modular approach of “patch-working” individual panels together employs varying configurations of contrasting forms and colors to generate dialogues within each work. \nThe work of William T. Williams is deeply influenced and inspired by jazz\, and the artist has referred to his method of working through distinct series as that of a “theme and variations.” On the occasion of William T. Williams: Recent Paintings\, the artist has developed a jazz playlist of 30 favorites. The playlist includes iconic tracks that are in frequent rotation in the artist’s studio by jazz legends such as John Coltrane and Miles Davis and contemporary musicians and composers like Jason Moran\, Ron Carter\, Karen Patterson and Wynton Marsalis. Williams observed recently\, “I start out every day with Coleman Hawkins\, because that brings me back to a specific time\, and there’s a tone that he has in his music that I really love… When I’m working\, I listen to different musicians for different things… Each musician brings different nuances to the environment which affects my own thinking. Music is a constant in my studio.” \nThe 465 Series extends on the techniques and formats explored in the 111 ½ Series\, which Williams has described as a record of “place as a specific type of poetry.” Similarly bearing reference to the artist’s address\, this new series continues the artist’s consistent exploration of tactility\, gesture\, color and mark-making. The paintings’ titles include personal and autobiographical references that reflect on a composite of experiences and memories from throughout his life. Together\, they illuminate how abstraction became the mode through which Williams felt free to explore both representational and symbolic imagery in his work. \nAbout William T. Williams\nThe work of William T. Williams (b. 1942) ranges in style from his early geometric abstractions\, to almost-monochromatic explorations of texture\, to an abstraction that derives its force from productive tension among colors and forms. While he has consistently tested the limits of his earlier styles and developed new approaches\, his meticulous attention to the process of art making has remained constant. A master of brushwork and color\, Williams creates his paintings in series\, working through a labor-intensive process that often includes drawings\, watercolors and prints. \nFrom the outset of his career\, Williams’ art was characterized by bold color and daring compositions that paid homage to and challenged the abstraction that had come before it. He emerged at a time when abstract expressionism was in decline\, while pop art\, color field painting\, and minimalism were on the rise. Concurrent with this aesthetic transition were social and political transformations that saw artists\, intellectuals\, and activists challenging the exclusionary practices of New York’s white- and male-dominated art institutions. These critiques came in multiple forms\, including an approach to art that favored figural representation embedded in a politics of struggle and an assertion of identities misrepresented by or excluded from American culture. Such images were a necessary correction to a history of omission and caricature\, but they risked being received by the art establishment in a way that affirmed its tendency to ignore work by abstract artists who were also African American. \nLiving in an artist loft building on Broadway that over the years included neighbors Kenneth Noland\, Joel Shapiro\, Janet Fish\, and William Copley\, Williams believed that abstraction offered him greater creative and expressive freedom than figural representation\, but he was also wary of the potential cold\, impersonal aspect of painting that was merely about painting. Williams thus developed an approach that rendered the abstract representational\, not only through titles replete with autobiographical references\, but also in the shapes he incorporates. Jazz became an important site of convergence where memory\, history\, and a black American abstract tradition met\, and quilting was for Williams another manifestation of an African American tradition of abstraction. His artwork often incorporates the diamond shape as a visual motif that functioned “as a stabilizing force\, a form that interacts compositionally with what’s around it. But it goes back to the quilts of my childhood\, the patterns and forms I grew up with.” \nThe synthesis between personal/cultural narrative and abstraction that Williams developed early on in his career was met with deserved success. Born in rural North Carolina\, Williams moved to New York with his family as a youth. He attended the School of Industrial Art (now the High School of Art and Design) and received an associate degree at New York Community College\, before enrolling at Pratt Institute in 1962. At Pratt\, he studied with some of the foremost figurative painters of the day including Richard Lindner\, Philip Pearlstein and Alex Katz\, but it was painter Richard Bove who encouraged Williams to work from intuition and memory rather than from observation. The resulting abstract work found support amongst his professors whose encouragement led Williams to pursue graduate studies at Yale University. The graduate department at Yale provided a rigorous theoretical foundation and studio practice for the artist as the faculty included George Wardlaw\, Jack Tworkov\, Al Held\, Lester Johnson\, and others. \nWilliams completed his MFA at Yale in 1968 and moved to New York. In 1969\, the Museum of Modern Art (MoMA) purchased his Elbert Jackson\, L.A.M.F. Part II (1969). That same year\, he was included in the Whitney Biennial and he organized X to the Fourth Power at the newly opened Studio Museum in Harlem. In 1968\, Williams formed the muralist collective Smokehouse Associates along with Mel Edwards\, Guy Ciarcia\, and Billy Rose; they were active in Harlem from 1968 to 1970. Williams conceptualized the artist-in-residence program at The Studio Museum\, which remains to this day a core mission objective and functions in its original iteration according to the guidelines that Williams instituted. In 1971\, Reese Palley Gallery\, New York mounted Williams’ first solo exhibition and he began teaching at Brooklyn College of the City University of New York (CUNY)\, where he was on faculty for four decades\, inspiring hundreds of students including Nari Ward and Arthur Simms. In 1965\, he spent a summer in Maine as a student at the Skowhegan School of Painting and Sculpture\, returning as faculty in 1971\, 1974\, 1978\, and 1979; the latter year he served as Director Pro Tem. In 1975\, Bob Blackburn invited Williams to make a print at the Printmaking Workshop; over the next 22 years\, Williams collaborated with Blackburn to produce 19 editions\, as well as a number of unique print projects. In keeping with this ongoing interest in printmaking\, Williams has also collaborated on prints with the Brandywine Workshop and Lafayette College’s Experimental Printmaking Institute (EPI). In 1977\, he participated in the Second World Festival of Black Art and African Culture (Festac ’77)\, held in Lagos\, Nigeria\, which marked his first time in Africa. The trip\, especially the movements of patterned clothing he saw on the street\, had a profound effect on his art\, and Williams began a series of paintings inspired by this African tradition of abstraction. Williams has continued to revise\, adapt\, and transform his style\, and this dynamism combined with a consistent set of formal and thematic concerns has contributed to the longevity of his luminous career. \nWilliams has been the recipient of numerous awards and fellowships\, including: the Individual Artist Award in Painting from the National Endowment for the Arts (1970)\, a John Simon Guggenheim Fellowship (1986)\, The Studio Museum in Harlem Artist’s Award (1992)\, a National Endowment for the Arts Regional Fellowship (1994)\, a Joan Mitchell Foundation Grant (1996)\, the Brandywine Workshop’s James Van Der Zee Award for lifetime achievement in the arts (2005)\, the North Carolina Governors Award for the Fine Arts (2006)\, the Alain Locke International Award from the Detroit Institute of Arts (2011)\, and the Skowhegan Governors Award for Outstanding Service to Artists from the Skowhegan School of Painting & Sculpture (2017). Recently\, Williams was inducted into the newest class of National Academician members at the National Academy Museum & School in New York (2017) and he is the recipient of the 2018 Pratt Institute Legends Award and the 2019 Lifetime Achievement Award at the 30th Annual James A. Porter Colloquium\, Howard University\, Washington\, DC. Williams was also the first African American contemporary artist to have his work (Batman\, 1979) included in The History of Art by H.W. Janson. \nFor over forty years\, Williams’ work has consistently been shown at home and abroad. Representation in groundbreaking exhibitions includes L’Art Vivant Aux Etats-Unis (Fondation Maeght\, Saint-Paul-de-Vence\, France\, 1970); The Structure of Color (Whitney Museum of American Art\, 1971); To Conserve a Legacy: American Art from Historically Black Colleges and Universities (Addison Gallery of American Art\, 1999); What is Painting?  (MoMA\, 2007); Blues for Smoke (Museum of Contemporary Art\, LA\, 2012) and Witness: Art and Civil Rights in The Sixties (Brooklyn Museum\, 2014). In 2016\, he was featured in the inaugural exhibition at the Smithsonian Institution’s National Museum of African American Art and Culture (Washington\, DC) and in 2017\, his contributions as part of the mural collective Smokehouse Associates were examined in Smokehouse\, 1968-1970 at The Studio Museum in Harlem. \nRecent solo presentations of the artist’s work include William T. Williams: Theme and Variations at the Morris R. Williams Center for the Arts\, Lafayette College in Easton\, PA (2009) and William T. Williams: Variations on Themes at The David C. Driskell Center for the Study of the Visual Arts and Culture of African Americans and the African Diaspora\, University of Maryland in College Park (2010). In 2017\, Michael Rosenfeld Gallery presented its first solo exhibition for Williams\, William T. Williams: Things Unknown\, Paintings\, 1968-2017\, which celebrated five decades of work and featured an overview of the artist’s most major painting series. The exhibition was accompanied by a fully-illustrated catalogue with engaging conversations between the artist and Thelma Golden\, Director and Chief Curator of The Studio Museum in Harlem\, and Courtney J. Martin\, Deputy Director and Chief Curator at Dia Art Foundation. At Frieze New York this year\, Michael Rosenfeld Gallery presented William T. Williams: 1970\, an exhibition that focused on the pivotal year 1970 and highlighted a selection of seminal paintings and never-before-exhibited works on paper from the artist’s first mature series\, Diamond in a Box. \nWilliams is represented in over thirty public collections\, including the Detroit Institute of the Art (MI); Fogg Museum (Harvard Art Museums\, Cambridge\, MA); The Menil Collection (Houston\, TX); The Museum of Modern Art (New York\, NY); Nelson A. Rockefeller Empire State Collection (Albany\, NY);  North Carolina Museum of Art (Raleigh); Philadelphia Museum of Art (PA); Sheldon Museum of Art\, University of Nebraska (Lincoln); The Studio Museum in Harlem (New York\, NY); Whitney Museum of American Art (New York\, NY); and Yale University Art Gallery\, Yale University (New Haven\, CT). \nMore information on William T. Williams (b. 1942) \nThe work of William T. Williams can be seen in the following current and upcoming museum exhibitions: \nSoul of a Nation: Art in the Age of Black Power\, The Broad\, Los Angeles\, CA\, March 23–September 1\, 2019; de Young Museum\, Fine Arts Museums of San Francisco\, San Francisco\, CA\, November 9\, 2019–March 15\, 2020 \nBlack Refractions: Highlights from The Studio Museum in Harlem\, Kalamazoo Institute of Arts\, Kalamazoo\, MI\, September 13–December 8\, 2019 \nThe Shape of Abstraction: Selections from the Ollie Collection\, Saint Louis Art Museum\, St. Louis\, MO\, September 17\, 2019–March 8\, 2020 \nGenerations: A History of Black Abstract Art\, The Baltimore Museum of Art\, Baltimore\, MD\, September 29\, 2019–January 19\, 2020 \nWith Pleasure: Pattern and Decoration in American Art\, 1972-1985\, The Museum of Contemporary Art\, Los Angeles\, CA\, October 27\, 2019–May 11\, 2020 \nMichael Rosenfeld Gallery\nSince 2016\, Michael Rosenfeld Gallery has been the exclusive representative of William T. Williams. Michael Rosenfeld Gallery specializes in 20/21 century art. Established in 1989 by Michael Rosenfeld\, the gallery opened its doors to promote the breadth of American art and those artists—known or unknown—that contributed to the establishment of surrealism\, social realism\, abstract expressionism\, figurative expressionism and geometric abstraction. Michael Rosenfeld Gallery is located at 100 Eleventh Avenue\, New York\, NY\, 10011. Gallery hours are Tuesday through Saturday\, 10:00AM–6:00PM. \nPress Inquiries\nDan Munn\, Communications Associate\ndm@michaelrosenfeldart.com\, 212.247.0082 \n  Save  
URL:https://artinamericaguide.com/event/william-t-williams-new-work/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
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X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Michael Rosenfeld Gallery 100 11th Ave New York NY New York United States;X-APPLE-RADIUS=500;X-TITLE=100 11th Ave:geo:-74.0076191,40.7460874
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190906T100000
DTEND;TZID=America/Halifax:20200105T170000
DTSTAMP:20260404T063608
CREATED:20190604T130917Z
LAST-MODIFIED:20190604T130917Z
UID:55331-1567764000-1578243600@artinamericaguide.com
SUMMARY:William Bailey: Looking through Time
DESCRIPTION:September 6\, 2019–January 5\, 2020\n\n\n\n\n\n\nThis exhibition considers the career of William Bailey (B.F.A. 1955\, M.F.A. 1957)\, the Kingman Brewster Professor Emeritus of Art at Yale\, through a focused survey of the artist’s paintings\, drawings\, and prints. Special emphasis is given to Bailey’s still-life paintings in oil\, including the Yale University Art Gallery’s Still Life—Table with Ochre Wall (1972)\, an outstanding example of the artist’s signature style. Known for his meditative canvases depicting objects and figures painted from memory\, Bailey is one of the artists—including Audrey Flack\, Alex Katz\, and Philip Pearlstein—who defied the prevailing taste for abstraction at midcentury and instead committed themselves to representational painting. Bailey’s artistic inspirations span centuries\, from Raphael and Piero della Francesca to Giorgio de Chirico and Piet Mondrian\, with Jean-Auguste-Dominique Ingres and Paul Cézanne in between. \n\n\n\nExhibition made possible by the Friends of American Arts at Yale Exhibition Fund and the Jan and Warren Adelson Fund. Organized by Mark D. Mitchell\, the Holcombe T. Green Curator of American Paintings and Sculpture.\n\n\n  Save  
URL:https://artinamericaguide.com/event/william-bailey-looking-through-time/
LOCATION:Yale University Art Gallery\, 1111 Chapel St\, New Haven\, CT\, 06510\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Yale University Art Gallery":MAILTO:artgalleryinfo@yale.edu
GEO:41.30839;-72.930958
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Yale University Art Gallery 1111 Chapel St New Haven CT 06510 United States;X-APPLE-RADIUS=500;X-TITLE=1111 Chapel St:geo:-72.930958,41.30839
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190906T100000
DTEND;TZID=America/Halifax:20200105T170000
DTSTAMP:20260404T063608
CREATED:20190604T130941Z
LAST-MODIFIED:20190604T130941Z
UID:55329-1567764000-1578243600@artinamericaguide.com
SUMMARY:Ceremonial Dress from Southwest China: The Ann B. Goodman Collection
DESCRIPTION:September 6\, 2019–January 5\, 2020\n\n\n\n\n\n\nDrawn from a recent gift to the Yale University Art Gallery\, this exhibition showcases the technical knowledge\, artistic skill\, and visual imagination on display in the ceremonial clothing of those living in Guizhou\, Sichuan\, Hunan\, Yunnan\, and other provinces of southwestern China. While the Han people make up more than 90 percent of the inhabitants of China\, the individuals who created the textiles on display identify as some of the 55 other groups\, which are distinguished by lifestyle and language. Worn during life-cycle ceremonies such as births\, marriages\, harvest celebrations\, and deaths\, as well as at other significant events\, the clothing on view—including jackets\, skirts\, baby carriers\, hats\, and shoes—is made by the women of each community. They gather the cotton and indigo\, dye the cloth\, sew the garments\, and embellish them with batik\, embroidery\, appliqué\, and other techniques\, blending traditional motifs with personal taste to create unique works of art. In addition to over 15 ensembles\, the exhibition features silver headdress ornaments\, necklaces\, and bracelets produced by men in the same communities and worn as symbols of skill and wealth. \n\n\n\n\nExhibition made possible by the Wolfe Family Exhibition and Publication Fund. Organized by Denise Patry Leidy\, the Ruth and Bruce Dayton Curator of Asian Art\, and Ruth Barnes\, the Thomas Jaffe Curator of Indo-Pacific Art. \n\n\n\n  Save  
URL:https://artinamericaguide.com/event/ceremonial-dress-from-southwest-china-the-ann-b-goodman-collection/
LOCATION:Yale University Art Gallery\, 1111 Chapel St\, New Haven\, CT\, 06510\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/06/mainprimage_CeremonialDressSWChina.jpg
ORGANIZER;CN="Yale University Art Gallery":MAILTO:artgalleryinfo@yale.edu
GEO:41.30839;-72.930958
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Yale University Art Gallery 1111 Chapel St New Haven CT 06510 United States;X-APPLE-RADIUS=500;X-TITLE=1111 Chapel St:geo:-72.930958,41.30839
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190907T100000
DTEND;TZID=America/Halifax:20191208T170000
DTSTAMP:20260404T063608
CREATED:20190923T200558Z
LAST-MODIFIED:20190927T190636Z
UID:59948-1567850400-1575824400@artinamericaguide.com
SUMMARY:how the light gets in
DESCRIPTION:An exhibition of contemporary art about the movement of people across the globe and the welcome cracks that develop in our notions of borders and nation states. how the light gets in and its accompanying programs\, while impossible to be comprehensive\, are about hope at a time in which migration has become one of the most pressing issues for humanity. Artists can make the heavily mediated mass-migration crisis more tangible\, representing often difficult and controversial ideas\, and playing a critical role in helping people understand the complicated politics and emotions of the im/migrant experience. \n  Save  
URL:https://artinamericaguide.com/event/how-the-light-gets-in/
LOCATION:Herbert F. Johnson Museum of Art\, Cornell University\, 114 Central Avenue\, Cornell University\, Ithaca\, NY\, 14853\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/09/JMB-detail-Wheeler1200px.jpg
ORGANIZER;CN="Herbert F. Johnson Museum of Art%2C Cornell University":MAILTO:museum@cornell.edu
GEO:42.4507153;-76.4862114
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Herbert F. Johnson Museum of Art Cornell University 114 Central Avenue Cornell University Ithaca NY 14853 United States;X-APPLE-RADIUS=500;X-TITLE=114 Central Avenue\, Cornell University:geo:-76.4862114,42.4507153
END:VEVENT
END:VCALENDAR