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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260403T162058
DTEND;TZID=America/New_York:20250920T170000
DTSTAMP:20260403T162058
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:20260403T162058
DTEND;TZID=America/New_York:20250926T200000
DTSTAMP:20260403T162058
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:20260403T162058
DTEND;TZID=America/New_York:20250927T180000
DTSTAMP:20260403T162058
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
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260403T162058
DTEND;TZID=America/New_York:20251018T170000
DTSTAMP:20260403T162058
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:20260403T162058
DTEND;TZID=America/New_York:20251122T170000
DTSTAMP:20260403T162058
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:20260403T162058
DTEND;TZID=America/New_York:20260221T180000
DTSTAMP:20260403T162058
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
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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;TZID=America/New_York:20220722T110000
DTEND;TZID=America/New_York:20240804T180000
DTSTAMP:20260403T162058
CREATED:20220622T153511Z
LAST-MODIFIED:20240229T212126Z
UID:94138-1658487600-1722794400@artinamericaguide.com
SUMMARY:Evergreen: Art from the Collection
DESCRIPTION:Evergreen: Art from the Collection celebrates SJMA’s collection as both a gift to and a product of its community. This dedicated gallery space\, which provides long-term access to the Museum’s collection\, honors the community members who rallied together to establish the Museum; the artists who trust us to care for their visions; the generous donors who helped to build the collection; the generations of students who have visited; the volunteers and staff who have contributed; and the breadth of community experiences that give ongoing meaning to the works. \nLocated in the Museum’s historic building—formerly the city’s post office and library—Evergreen highlights the Museum’s growing collection and the numerous San José stories it tells. The gallery features such works as rafa esparza’s Yosi con Abuela (2021)\, a recently acquired portrait on adobe of the East San José poet and activist Yosimar Reyes with his grandmother. Also on view are Resident Alien (1988) by Hung Liu\, the beloved Bay Area artist and longtime friend of SJMA\, and Louise Nevelson’s monumental Sky Cathedral (1957–58)\, a centerpiece of the Museum’s collection. The gallery also includes access points to the free digital collection catalog 50×50: Stories of Visionary Artists from the Collection\, which highlights the stories and impact of artists in the Museum’s collection. \n  Save  
URL:https://artinamericaguide.com/event/evergreen-art-from-the-collection/
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;TZID=America/Halifax:20221104T110000
DTEND;TZID=America/Halifax:20230709T180000
DTSTAMP:20260403T162058
CREATED:20220928T173425Z
LAST-MODIFIED:20220928T173425Z
UID:99160-1667559600-1688925600@artinamericaguide.com
SUMMARY:A Point Stretched: Views on Time
DESCRIPTION:A Point Stretched: Views on Time presents artworks that stretch\, warp\, and compact the viewer’s sense of time. By highlighting works that endeavor to conceive of time in unusual\, mutable\, and unfixed ways\, the exhibition challenges the histories we tell and the expectations we hold for the future. From Chitra Ganesh’s work blending truth and fantasy to depict the full range of a woman’s life to Maia Cruz Palileo’s kaleidoscopic representation of Filipino history and Ala Ebtekar’s epic print-based work inspired by the moon\, artists in the exhibition propose timelines without hierarchies of past\, present\, and future. \nMemories\, dreams\, and reality blend in these galleries\, as mold creeps across TV screens\, apple orchards grow among discarded solar panels\, and melting wax measures time. Generational\, ecological\, and cosmic time vibrate concurrently as long-ago ecologies and distant possible futures intertwine. Embracing scales of time from the microbiological to the interstellar\, these artworks position our human existence within broader timescales to challenge our assumptions about human history\, agency\, and possibility in relation to the world—and universe—around us. Drawing from the Museum’s permanent collection and beyond\, the exhibition also includes works by Diana Al-Hadid\, Harold Edgerton\, David Huffman\, Kahlil Robert Irving\, Ranu Mukherjee\, Patrick Nagatani\, Sam Richardson\, and Gail Wight\, among others. \n  Save  
URL:https://artinamericaguide.com/event/a-point-stretched-views-on-time/
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;TZID=America/Halifax:20221104T110000
DTEND;TZID=America/Halifax:20230709T180000
DTSTAMP:20260403T162058
CREATED:20221103T194011Z
LAST-MODIFIED:20230612T205936Z
UID:100238-1667559600-1688925600@artinamericaguide.com
SUMMARY:Sky Hopinka: Seeing and Seen
DESCRIPTION:The artworks of Sky Hopinka\, a member of the Ho-Chunk Nation and a descendant of the Pechanga Band of Luiseño Indians\, traverse the legacies of colonial oppression and Native resistance through meditations on the continuities between past and present. A new film by Hopinka was commissioned as part of Visualizing Abolition\, an art initiative of the Institute of the Arts and Sciences at University of California\, Santa Cruz and San José Museum of Art. \n  Save  
URL:https://artinamericaguide.com/event/sky-hopinka-seeing-and-seen/
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:20230128
DTEND;VALUE=DATE:20231002
DTSTAMP:20260403T162058
CREATED:20230123T193027Z
LAST-MODIFIED:20230123T193027Z
UID:101496-1674864000-1696204799@artinamericaguide.com
SUMMARY:Andrea Chung: if they put an iron circle around your neck I will bite it away
DESCRIPTION:In a new multiroom installation\, artist Andrea Chung confronts the legacy and trauma of slavery from the perspective of an Afrofuturist utopia. \nFor this work\, Chung activates the possibility of a new world\, a “Black Atlantis” called Drexciya\, to subvert the horrors of the transatlantic slave trade. Drexciya is an underwater world populated by the amphibious offspring of women thrown from slave ships during the Middle Passage. It was conceived by the eponymous and enigmatic electronic music duo active in Detroit in the 1990s and early 2000s. \nChung’s installation is a meditation on the laws of Black physics. It highlights the ways Black people relate and respond to time and space in order to navigate a world full of dangerous and harmful systems. Within her evocation of this watery realm we can inhabit imagined pasts\, presents\, and futures to craft alternative realities forged by liberation\, adaptation\, resilience\, defiance\, and survival. \nImage: Andrea Chung\, Filthy Water Cannot Be Washed\, 2017; cyanotype and watercolor; 88 x 240 in. Courtesy of the artist. \n  Save  
URL:https://artinamericaguide.com/event/andrea-chung-if-they-put-an-iron-circle-around-your-neck-i-will-bite-it-away/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230131T110000
DTEND;TZID=America/New_York:20230728T170000
DTSTAMP:20260403T162058
CREATED:20230110T165222Z
LAST-MODIFIED:20230110T165222Z
UID:101392-1675162800-1690563600@artinamericaguide.com
SUMMARY:When We All Stand
DESCRIPTION:The exhibition\, When We All Stand\, focuses on the collective power of the arts to address complex issues in society and demonstrates the ability of art and artists to chart a path for social change.  Artists often lead the charge and expose truths that may otherwise be ignored. The artists in this exhibition take a stand and call out injustices through their art and activism on issues such as immigration\, gender\, reproductive rights\, mass incarceration\, voting rights\, racial bias\, gun violence and promises unfulfilled. They take action by creating national campaigns for justice\, organizing public art protests\, connecting with their local community\, or joining forces with national organizations. Some make demands on government\, politicians\, policies\, or institutions while others make demands on society and individuals to join them in the fight for justice; still others focus on cultural development as a process that cultivates democracy and unity. They all combine the making of art with public service that has a grassroots approach in the hope of mobilizing their communities and the nation to ignite movement\, create awareness\, and inspire others to stand with them.  Artists included in the exhibition are Emma Amos\, Molly Crabapple and the Equal Justice Initiative\, For Freedoms\, Miguel Luciano\, Michele Pred\, Hank Willis Thomas\, and Sophia Victor. \nThe Hofstra University Museum of Art’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. \nAdmission is free. \nGallery Hours: \nEmily Lowe Gallery\nBehind Emily Lowe Hall\, South Campus \nTuesday-Friday\, 11 a.m.-4 p.m. • Saturday and Sunday\, noon-4 p.m. \n  Save  
URL:https://artinamericaguide.com/event/when-we-all-stand/
LOCATION:Emily Lowe Gallery at Hofstra University\, 112 Hofstra University\, Hempstead\, NY\, 11549\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Hofstra University Museum of Art":MAILTO:museum@hofstra.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230211T100000
DTEND;TZID=America/Halifax:20230707T170000
DTSTAMP:20260403T162058
CREATED:20230302T190315Z
LAST-MODIFIED:20230302T190315Z
UID:102027-1676109600-1688749200@artinamericaguide.com
SUMMARY:Otis Houston Jr.: My Name is My Word (in response to Jesse Howard)
DESCRIPTION:Otis Houston Jr. (born 1954) is best known for his public performances and installation work on FDR Drive by New York’s East River\, where he has been working since 1997. His site-specific installations and performances include writing\, poetry\, singing\, found objects\, and fruit\, which are used as both props and materials. A series of spray-painted towels and canvases succinctly express Houston’s beliefs and protests. His work often addresses racism\, poverty\, and addiction\, while promoting messages of health\, love\, and self-acceptance. \n  \nClose to a half century prior\, in the 1950s\, a landowner in Fulton\, Missouri\, Jesse Howard (1885–1983)\, began filling twenty acres with hand-painted signs and objects that communicated his views. The signs\, often whitewashed\, present meticulously ruled\, lettered\, and composed biblical verse\, religious and patriotic decrees\, and social commentary. This accumulation of text-based sculptures came to be called Sorehead Hill. Over time\, countless drivers passed the site\, and it became a destination for visitors worldwide. \n  \nDespite the geographic and cultural separations\, both men prioritized free speech\, using signs to communicate their worldviews and concerns. \n  \nHouston’s life in Harlem prompts viewers to understand that their spiritual\, physical\, and emotional health is indivisible from their broader community. In stark contrast\, Howard’s mid-century rural Missouri community led him to a more individualized relationship to religion and politics. The sites chosen and methods of communication implanted by each artist demonstrate a desire to provoke the passerby. \n  \nFrom October 3–7\, 2022\, Houston was at the John Michael Kohler Arts Center\, making new work for his two-part exhibition Otis Houston Jr.: My Name is My Word. While in Sheboygan\, he spent time with Howard’s work. Houston produced several signs in direct response to the encounter\, which are on view in this second iteration of the exhibition. The first iteration of the show was presented at the Arts Center from October 3\, 2022–January 14\, 2023. \nImage: Otis Houston Jr.: My Name is My Word installation view at the Art Preserve\, 2023. \n  Save  
URL:https://artinamericaguide.com/event/otis-houston-jr-my-name-is-my-word-in-response-to-jesse-howard/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2023/03/ap.hou_.2023.0004.png
ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230217T080000
DTEND;TZID=America/Halifax:20230723T170000
DTSTAMP:20260403T162058
CREATED:20230109T180809Z
LAST-MODIFIED:20230109T180809Z
UID:101311-1676620800-1690131600@artinamericaguide.com
SUMMARY:Thinking Small: Dutch Art to Scale
DESCRIPTION:Thinking Small: Dutch Art to Scale explores an intriguing selection of objects from the 17th-century Netherlands that were designed to elicit slow\, intimate\, and contemplative engagement on the part of their original audiences. This student-curated exhibition features small-scale works in various media drawn from the rich holdings of the Yale University Art Gallery and other collections across campus\, as well as the Center for Netherlandish Art at the Museum of Fine Arts\, Boston\, and a private collection. Amid the global expansion of Dutch commerce in this period\, diagrams and maps miniaturized large geographic areas\, and botanical books bore witness to their makers’ meticulous study of the natural world. Paintings filled with minute details enticed viewers to move close and scrutinize the image\, while medals that were meant to be held in the hand served as cherished commemorative tokens. In their size or intricacy\, the objects in Thinking Small compel viewers to reconsider their relationship to the world around them. \n  Save  
URL:https://artinamericaguide.com/event/thinking-small-dutch-art-to-scale/
LOCATION:Yale University Art Gallery\, 1111 Chapel St\, New Haven\, CT\, 06510\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/01/ag-obj-9892-0001-pub.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/Chicago:20230217T100000
DTEND;TZID=America/Chicago:20230910T170000
DTSTAMP:20260403T162058
CREATED:20220708T163336Z
LAST-MODIFIED:20220708T163336Z
UID:94620-1676628000-1694365200@artinamericaguide.com
SUMMARY:Awful Bigness
DESCRIPTION:Clyfford Still spent his childhood and adolescence in the West and saw how the boundless plains could offer generous bounty in times of plenty or pitilessly starve in dust and wind. In an interview\, he referred to that experience as one that taught him to respect the “awful bigness of the land\, the men and the machines.” In subsequent years\, he worked on an enormous scale\, and each time\, he had to confront the awful bigness of the vast expanse of blank canvas. \nOrganized by the Clyfford Still Museum’s associate curator\, Bailey Placzek\, in collaboration with CSM’s director\, Joyce Tsai\, Awful Bigness fills the Museum’s largest\, skylit galleries and celebrates Still’s biggest\, most ambitious works. This installation follows a chronological display of Still’s works in CSM’s first four rooms\, which overviews Still’s groundbreaking path to abstraction. \n  Save  
URL:https://artinamericaguide.com/event/awful-bigness/
LOCATION:Clyfford Still Museum\, 1250 Bannock St.\, Denver\, CO\, 80204\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/07/1956PH-1077_1_Regester2013_MR-scaled.jpg
ORGANIZER;CN="Clyfford Still Museum":MAILTO:press@clyffordstillmuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230223
DTEND;VALUE=DATE:20230710
DTSTAMP:20260403T162058
CREATED:20221208T214311Z
LAST-MODIFIED:20221208T214311Z
UID:100860-1677110400-1688947199@artinamericaguide.com
SUMMARY:The Metropol Drama
DESCRIPTION:The things we call art can\, at their best\, provide a way to peek a sideways glance at the emotions behind someone else’s human experience. In this relating to others—be they friends\, family\, strangers\, or the citizens of a different time and place—facts and truth go only so far. \nThe Metropol Drama proposes another way of looking at our aesthetic\, economic\, and emotional history—one that it rooted in the contradictions of interaction that produce peoples and states that are smudged and complex\, hybrid and tragic. Having gone by many names\, today we call this social and economic amalgam “cosmopolitanism.” The term can best be thought of as a kind of shorthand for a sensibility where the exchange of capital\, ideas\, and people have provided fertile ground and vulnerabilities for ways of feeling and living. \nThis exhibition is a case study in how the things we call art speak to and embody values. It presents a terrain comprised of traditionally-defined works of art and artifacts\, as well as objects such as legal documents and currencies—forms of negotiation between peoples. The diversity of objects within the exhibition space reflects the ways in which we form the complex subjectivities of selfhood across cultures since the time of the ancients up until the present moment within ourselves. \n  Save  
URL:https://artinamericaguide.com/event/the-metropol-drama/
LOCATION:Smart Museum of Art\, 5550 S. Greenwood Avenue\, Chicago\, IL\, 60637\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/12/Metropol-web-2.jpg
GEO:41.7934642;-87.6002004
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Smart Museum of Art 5550 S. Greenwood Avenue Chicago IL 60637 United States;X-APPLE-RADIUS=500;X-TITLE=5550 S. Greenwood Avenue:geo:-87.6002004,41.7934642
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230303T100000
DTEND;TZID=America/Halifax:20230730T170000
DTSTAMP:20260403T162058
CREATED:20230302T214349Z
LAST-MODIFIED:20230302T214349Z
UID:102046-1677837600-1690736400@artinamericaguide.com
SUMMARY:From the Andes to the Caribbean: American Art from the Spanish Empire
DESCRIPTION:Visit our galleries for FREE on Sundays. Check the visit page for all free admission opportunities at the Harvard Art Museums. \nDiscover a more complete story of art from the Spanish Empire—and a broader definition of American art—through an unparalleled collection of Spanish colonial paintings. \nThe Spanish empire and its patent mercantile companies were the dominant colonial force in America from 1492 to 1832. Five years before Portugal established American settlements and nearly a century before Britain and France claimed land in the hemisphere\, wealth from America’s colonial territories (viceroyalties) of New Spain and Peru made Spain the richest nation on Earth. Though Spain is no longer an empire\, its colonial past continues to inform the art and culture of the Americas. \nFrom the Andes to the Caribbean presents 26 paintings from the Carl & Marilynn Thoma Foundation—the premier U.S. private collection of Spanish colonial paintings from South America and the Caribbean—together with works from the Harvard Art Museums. The exhibition emphasizes three key themes related to culture and empire: the political and spiritual work of Catholic icons\, the ways in which empire begets hybrid cultural identities\, and the relationship between labor\, wealth\, and luxury. Oil paintings from present-day Bolivia\, Ecuador\, Peru\, Puerto Rico\, and Venezuela are presented alongside works on paper and design objects made with Cuban and Honduran mahogany\, Mexican cochineal\, and Peruvian silver\, underlining the great diversity of works of art broadly referred to as either “Viceregal\,” “Spanish colonial\,” or simply “American.” \n  Save  
URL:https://artinamericaguide.com/event/from-the-andes-to-the-caribbean-american-art-from-the-spanish-empire-2/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2023/03/Andes-Hero_1200_1200.png
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230303T100000
DTEND;TZID=America/Halifax:20230730T170000
DTSTAMP:20260403T162058
CREATED:20230302T214349Z
LAST-MODIFIED:20230302T214349Z
UID:102048-1677837600-1690736400@artinamericaguide.com
SUMMARY:From the Andes to the Caribbean: American Art from the Spanish Empire
DESCRIPTION:Visit our galleries for FREE on Sundays. Check the visit page for all free admission opportunities at the Harvard Art Museums. \nDiscover a more complete story of art from the Spanish Empire—and a broader definition of American art—through an unparalleled collection of Spanish colonial paintings. \nThe Spanish empire and its patent mercantile companies were the dominant colonial force in America from 1492 to 1832. Five years before Portugal established American settlements and nearly a century before Britain and France claimed land in the hemisphere\, wealth from America’s colonial territories (viceroyalties) of New Spain and Peru made Spain the richest nation on Earth. Though Spain is no longer an empire\, its colonial past continues to inform the art and culture of the Americas. \nFrom the Andes to the Caribbean presents 26 paintings from the Carl & Marilynn Thoma Foundation—the premier U.S. private collection of Spanish colonial paintings from South America and the Caribbean—together with works from the Harvard Art Museums. The exhibition emphasizes three key themes related to culture and empire: the political and spiritual work of Catholic icons\, the ways in which empire begets hybrid cultural identities\, and the relationship between labor\, wealth\, and luxury. Oil paintings from present-day Bolivia\, Ecuador\, Peru\, Puerto Rico\, and Venezuela are presented alongside works on paper and design objects made with Cuban and Honduran mahogany\, Mexican cochineal\, and Peruvian silver\, underlining the great diversity of works of art broadly referred to as either “Viceregal\,” “Spanish colonial\,” or simply “American.” \n  Save  
URL:https://artinamericaguide.com/event/from-the-andes-to-the-caribbean-american-art-from-the-spanish-empire/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2023/03/Andes-Hero_1200_1200-1.png
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230303T100000
DTEND;TZID=America/Halifax:20230730T170000
DTSTAMP:20260403T162058
CREATED:20230302T214350Z
LAST-MODIFIED:20230823T152227Z
UID:102035-1677837600-1690736400@artinamericaguide.com
SUMMARY:From the Andes to the Caribbean: American Art from the Spanish Empire
DESCRIPTION:Visit our galleries for FREE on Sundays. Check the visit page for all free admission opportunities at the Harvard Art Museums. \nDiscover a more complete story of art from the Spanish Empire—and a broader definition of American art—through an unparalleled collection of Spanish colonial paintings. \nThe Spanish empire and its patent mercantile companies were the dominant colonial force in America from 1492 to 1832. Five years before Portugal established American settlements and nearly a century before Britain and France claimed land in the hemisphere\, wealth from America’s colonial territories (viceroyalties) of New Spain and Peru made Spain the richest nation on Earth. Though Spain is no longer an empire\, its colonial past continues to inform the art and culture of the Americas. \nFrom the Andes to the Caribbean presents 26 paintings from the Carl & Marilynn Thoma Foundation—the premier U.S. private collection of Spanish colonial paintings from South America and the Caribbean—together with works from the Harvard Art Museums. The exhibition emphasizes three key themes related to culture and empire: the political and spiritual work of Catholic icons\, the ways in which empire begets hybrid cultural identities\, and the relationship between labor\, wealth\, and luxury. Oil paintings from present-day Bolivia\, Ecuador\, Peru\, Puerto Rico\, and Venezuela are presented alongside works on paper and design objects made with Cuban and Honduran mahogany\, Mexican cochineal\, and Peruvian silver\, underlining the great diversity of works of art broadly referred to as either “Viceregal\,” “Spanish colonial\,” or simply “American.” \n  Save  
URL:https://artinamericaguide.com/event/from-the-andes-to-the-caribbean-american-art-from-the-spanish-empire-3/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230307T080000
DTEND;TZID=America/Halifax:20230716T160000
DTSTAMP:20260403T162058
CREATED:20230302T190315Z
LAST-MODIFIED:20230302T190315Z
UID:102031-1678176000-1689523200@artinamericaguide.com
SUMMARY:Morehshin Allahyari: ماه طلعت Moon-faced
DESCRIPTION:In ancient Persian literature\, the adjective ماه طلعت (moon-faced) was used to describe the beauty of an individual\, regardless of their gender identity. Today\, the word refers to the beauty of women only. \nA similar shift in gender representation occurred in Persian visual culture—as evidenced in portrait paintings of Iran’s Qajar dynasty (1786–1925)—when Western modernization\, European realistic painting\, and camera technology were introduced. These elements overshadowed and ended the queer representation of genders that historically characterized these paintings\, largely known for their fluid depiction of gender. \nIn her video work\, ماه طلعت Moon-faced\, artist Morehshin Allahyari collaborated with an artificial intelligence program to repair such cultural and artistic changes that brought an end to the queer representation in Iranian portraiture. Using a carefully researched set of keywords and digital images of Qajar dynasty portrait paintings\, a series of videos was generated featuring new genderless portraits. In doing so\, the machine program and Allahyari intervene within the history of Westernization to undo conditions that ended nonbinary gender representation in Persian visual culture. \nA musical score by Iranian designer and musician Mani Nilchiani\, whom Allahyari commissioned\, accompanies this video work. His work combines Iranian classical music with glitch-like interludes to establish an immersive and contemplative viewing experience. \nImage: Morehshin Allahyari\, ماه طلعت Moon-faced\, 2021–present; video\, color\, and sound; 2 minutes 5 seconds. Courtesy of the artist. \n  Save  
URL:https://artinamericaguide.com/event/morehshin-allahyari-%d9%85%d8%a7%d9%87-%d8%b7%d9%84%d8%b9%d8%aa-moon-faced/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2023/03/ex.all_.2023.5003.png
ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230310T110000
DTEND;TZID=America/New_York:20231015T180000
DTSTAMP:20260403T162058
CREATED:20230612T205617Z
LAST-MODIFIED:20230612T211124Z
UID:103918-1678446000-1697392800@artinamericaguide.com
SUMMARY:Sadie Barnette: Family Business
DESCRIPTION:Sadie Barnette’s multimedia practice explores her own family history as it mirrors a collective history of repression and resistance in the United States. In a new commission for the ongoing Visualizing Abolition collaboration with the Institute of the Arts and Sciences at University of California\, Santa Cruz\, Barnette proposes an alternate history of Black America\, one shaped by state-sanctioned terror but also by love\, support\, celebration\, and the fullness of human relationships. \n  Save  
URL:https://artinamericaguide.com/event/sadie-barnette-family-business/
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/2023/06/SJMA_SBarnette_Glen-Cheriton-Impart-Photography_20.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;TZID=America/Halifax:20230310T180000
DTEND;TZID=America/Halifax:20230813T170000
DTSTAMP:20260403T162058
CREATED:20220823T191418Z
LAST-MODIFIED:20220823T191418Z
UID:97002-1678471200-1691946000@artinamericaguide.com
SUMMARY:Jacolby Satterwhite: Spirits Roaming on the Earth
DESCRIPTION:This exhibition maps conceptual artist Jacolby Satterwhite’s extraordinary creative trajectory across multiple materials\, genres\, and modes of thinking. Drawing on a broad set of real and fantastical references and diverse influences that include modernism\, video gaming\, queer theory\, mythology\, and Black culture\, Satterwhite creates digital worlds of resilience\, reinvention\, and celebration. His intricately detailed animations and live action films of real and imagined worlds—populated by the avatars of Satterwhite and his friends—serve as the stage for the artist’s surreal and poetic world-building. \nIn the first major survey of his work\, CAM will present a wide range of Satterwhite’s media in the form of 3D-animated films\, immersive audio and video installations\, sculptures\, and new media works. The exhibition will be accompanied by the published monograph Jacolby Satterwhite: How lovly is me being as I am\, edited by Elizabeth Chodos and Andrew Durbin with narration by Sasha Bonét; essays by Malik Gaines\, Jane Ursula Harris\, and Legacy Russell; an interview with the artist by Kimberly Drew; and book design by Sonia Yoon. \nJacolby Satterwhite (b. 1986\, Columbia\, South Carolina; lives and works in Brooklyn) received his BFA from the Maryland Institute College of Arts\, Baltimore\, and his MFA from the University of Pennsylvania\, Philadelphia. Satterwhite’s work has been presented in numerous exhibitions and festivals internationally\, including most recently at the Miller Institute for Contemporary Art at Carnegie Mellon University (2021); Haus der Kunst\, Munich (2021); the Gwangju Biennale\, Gwangju (2021); the Wexner Center for the Arts\, Columbus\, Ohio (2021); The Fabric Workshop and Museum\, Philadelphia (2019); Pioneer Works\, New York (2019); the Whitechapel Gallery\, London (2019); the Museum of Modern Art\, New York (2019); the Minneapolis Institute of Art (2019); the Museum of Contemporary Art\, Chicago (2018); La Fondation Louis Vuitton\, Paris (2018); the New Museum\, New York (2017); the Public Art Fund\, New York (2017); the San Francisco Museum of Art (2017); and the Institute of Contemporary Art\, Philadelphia (2017). He was awarded the United States Artist Francie Bishop Good & David Horvitz Fellowship in 2016. His work is included in the collections of the Museum of Contemporary Art Kiasma\, Helsinki; the Museum of Modern Art\, New York; the Studio Museum in Harlem\, New York; and the Whitney Museum of American Art\, New York\, among others. In 2019\, Satterwhite collaborated with Solange Knowles on her visual album\, When I Get Home. \nJacolby Satterwhite: Spirits Roaming on the Earth is organized by the Miller Institute for Contemporary Art at Carnegie Mellon University and curated by Elizabeth Chodos\, Director. The Contemporary Art Museum St. Louis exhibition is organized by Wassan Al-Khudhairi\, Chief Curator. \nThe exhibition is generously supported in part by the Whitaker Foundation. \nImage: Jacolby Satterwhite\, We Are In Hell When We Hurt Each Other\, 2020. Video still from HD digital video. Courtesy the artist and Mitchell-Innes & Nash\, New York. \n  Save  
URL:https://artinamericaguide.com/event/jacolby-satterwhite-spirits-roaming-on-the-earth/
LOCATION:Contemporary Art Museum St. Louis\, 3750 Washington Boulevard\, St. Louis\, MO\, 63108\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/08/Jacolby-Satterwhite_We-Are-In-Hell-When-We-Hurt-Each-Other_2020_1-scaled.jpg
ORGANIZER;CN="Contemporary Art Museum St. Louis":MAILTO:info@camstl.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230311T100000
DTEND;TZID=America/Halifax:20230917T160000
DTSTAMP:20260403T162058
CREATED:20230302T190314Z
LAST-MODIFIED:20230302T190314Z
UID:102033-1678528800-1694966400@artinamericaguide.com
SUMMARY:Moisés Salazar Tlatenchi:  A Quién le Importa
DESCRIPTION:A nonbinary artist and first-generation Mexican American raised by undocumented parents\, Moisés Salazar Tlatenchi infuses their work with their lived experience. \n  \nSalazar’s art frequently addresses the lack of agency and freedom the marginalized face in physical and theoretical spaces\, and the trauma and barriers specific to queer and immigrant bodies. They create works using materials and techniques—such as faux fur\, glitter\, and sequins\, crochet\, and tufting—that honor Salazar’s familial cultural heritage and speak to the legacy of queer craft. \n  \nFor A Quién le Importa\, Salazar reimagines the gallery as a sanctuary of inclusivity and acceptance\, filling it with mixed-media paintings and soft sculptures exploring alternative forms of identity\, belonging\, and community through the lens of queer kinship. The exhibition’s title is taken from a pop anthem beloved by the world’s Spanish-speaking LGBTQ community that celebrates self-affirmation and openness about one’s sexuality. Drawing from the song’s fierce spirit of pride\, self-respect\, and liberation\, Salazar’s glittering\, jewel-like portraits of their queer kin extol the joy that comes from the mutual support and love provided by friends and chosen family. \n\nImage: Moises Salazar\, Angel\, 2022; faux fur\, glitter on board\, and sequin applique; 36 x 24 in. Courtesy of the artist and Mindy Solomon Gallery. \n  Save  
URL:https://artinamericaguide.com/event/moises-salazar-tlatenchi-a-quien-le-importa/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2023/03/ex.sal_.2023.5002.png
ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230318T100000
DTEND;TZID=America/Halifax:20240609T170000
DTSTAMP:20260403T162058
CREATED:20230316T154058Z
LAST-MODIFIED:20230316T154058Z
UID:102487-1679133600-1717952400@artinamericaguide.com
SUMMARY:Bosco Sodi: Origen
DESCRIPTION:Visit our galleries for FREE on Sundays. Check the visit page for all free admission opportunities at the Harvard Art Museums. \nA new installation of sculptures by Mexican-born artist Bosco Sodi (b. 1970) places 14 of the artist’s handmade clay spheres at the Harvard Art Museums and marks the first-ever presentation of art on the museums’ outdoor Broadway terrace. Sodi’s practice explores the earth’s elements\, marrying age-old traditions of sculpting clay with a contemporary vision of creating simple universal forms that prompt reflection. Drawing on centuries-old techniques passed through the Zapotec culture\, Sodi works with Oaxacan artisans\, using local clay to sculpt each sphere\, drying it outside for up to eight months\, and then firing it in a kiln built upon a beach. The resulting terracotta forms reveal the effects of nature’s forces—the sun\, sea air\, and fire—as demonstrated by the cracks\, chips\, and blackened and crusty patches that distinguish each sphere. In a first for a U.S. installation of the artist’s work\, Sodi will also unveil three gold-glazed spheres as part of his site-specific arrangement. Moving from outside to inside the museums\, these gold spheres connect to and engage with the meditative atmosphere evoked by the installation of Buddhist figures in Gallery 1610. \n  Save  
URL:https://artinamericaguide.com/event/bosco-sodi-origen/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/03/Bosco-Sodi.jpg
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230318T100000
DTEND;TZID=America/Halifax:20240609T170000
DTSTAMP:20260403T162058
CREATED:20230320T150548Z
LAST-MODIFIED:20230320T150548Z
UID:102492-1679133600-1717952400@artinamericaguide.com
SUMMARY:Bosco Sodi: Origen
DESCRIPTION:Visit our galleries for FREE on Sundays. Check the visit page for all free admission opportunities at the Harvard Art Museums. \nA new installation of sculptures by Mexican-born artist Bosco Sodi (b. 1970) places 14 of the artist’s handmade clay spheres at the Harvard Art Museums and marks the first-ever presentation of art on the museums’ outdoor Broadway terrace. Sodi’s practice explores the earth’s elements\, marrying age-old traditions of sculpting clay with a contemporary vision of creating simple universal forms that prompt reflection. Drawing on centuries-old techniques passed through the Zapotec culture\, Sodi works with Oaxacan artisans\, using local clay to sculpt each sphere\, drying it outside for up to eight months\, and then firing it in a kiln built upon a beach. The resulting terracotta forms reveal the effects of nature’s forces—the sun\, sea air\, and fire—as demonstrated by the cracks\, chips\, and blackened and crusty patches that distinguish each sphere. In a first for a U.S. installation of the artist’s work\, Sodi will also unveil three gold-glazed spheres as part of his site-specific arrangement. Moving from outside to inside the museums\, these gold spheres connect to and engage with the meditative atmosphere evoked by the installation of Buddhist figures in Gallery 1610. \n  Save  
URL:https://artinamericaguide.com/event/bosco-sodi-origen-2/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/03/Bosco-Sodi-1.jpg
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230321
DTEND;VALUE=DATE:20240205
DTSTAMP:20260403T162058
CREATED:20221208T214310Z
LAST-MODIFIED:20221208T214310Z
UID:100862-1679356800-1707091199@artinamericaguide.com
SUMMARY:Calling on the Past: Selections from the Collection
DESCRIPTION:Calling on the Past invites visitors to experience the Smart Museum’s collection anew\, through a sensory exploration of color\, texture\, and form. \nIn lieu of customary chronological or geographical divisions\, such as those that have often guided the display of the collection in the past\, this installation draws on the breadth and depth of the Museum’s holdings to situate key works side by side across centuries. From antiquities to contemporary painting and sculpture\, the cross-historical selection of objects speaks to the varied materials\, ideas\, and questions artists continue to explore\, while emphasizing the editing of history. \nCalling on the Past is inspired in part by art historian George Kubler’s seminal text The Shape of Time: Remarks on the History of Things (1962)\, which argues the art of the past is in constant conversation with the present. Kubler replaces the notion of art historical styles with the understanding that time is both linear and looped\, and artists have been revisiting the same sets of questions across the ages. Rather than emphasizing objects’ original context\, this exhibition inserts them into imaginative groupings\, unraveling historical hierarchies and encouraging us to see the collection with fresh eyes. \n  Save  
URL:https://artinamericaguide.com/event/calling-on-the-past-selections-from-the-collection/
LOCATION:Smart Museum of Art\, 5550 S. Greenwood Avenue\, Chicago\, IL\, 60637\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230324
DTEND;VALUE=DATE:20231204
DTSTAMP:20260403T162058
CREATED:20230109T180703Z
LAST-MODIFIED:20230213T154532Z
UID:101317-1679616000-1701647999@artinamericaguide.com
SUMMARY:In a New Light: Paintings from the Yale Center for British Art
DESCRIPTION:In a New Light: Paintings from the Yale Center for British Art presents a selection of YCBA artworks in the Yale University Art Gallery’s Louis Kahn building while the YCBA’s own iconic Kahn building is closed for its next phase of conservation. The nearly sixty works on view span four centuries of British landscape and portraiture traditions. Highlights include Joseph Mallord William Turner’s Dort or Dordrecht: The Dort Packet-Boat from Rotterdam Becalmed (1818); several of John Constable’s atmospheric Cloud Studies (1821–25); James McNeill Whistler’s Nocturne in Blue and Silver (1872–78); and Francis Bacon’s Study of a Head (1952). The exhibition offers a rare opportunity to see these and other artworks from the YCBA’s collection in a new setting\, yet one that—like the YCBA itself—displays the notable elements of Kahn’s simple but elegant museum architecture: basic geometric forms\, natural materials in muted palettes\, and galler­ies filled with diffuse daylight. \n  Save  
URL:https://artinamericaguide.com/event/crafting-worldviews-art-and-science-in-europe-1500-1800/
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
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20230325
DTEND;VALUE=DATE:20230821
DTSTAMP:20260403T162058
CREATED:20230323T210804Z
LAST-MODIFIED:20230327T175724Z
UID:102670-1679702400-1692575999@artinamericaguide.com
SUMMARY:Strange Weather: From the Collections of Jordan D. Schnitzer and His Family Foundation
DESCRIPTION:Strange Weather: From the Collections of Jordan D. Schnitzer and His Family Foundation features 89 exceptional artworks spanning five decades\, from 1977 to 2021\, that have been drawn together for how they creatively call attention to the impact and history of forced migrations\, industrialization\, global capitalism\, and trauma on humans and the contemporary landscape. This intergenerational exhibition brings some of the most influential contemporary artists together for the first time\, resulting in a show that should not be missed! \nThe artists in the exhibition utilize a range of aesthetic strategies\, including abstraction\, portraiture\, figurative painting\, landscape\, and installation\, to explore the current atmospheric strangeness. Exhibition highlights include a large-scale painting by world renowned Kehinde Wiley that monumentalizes issues of identity and nature\, a suite of three prints by Julie Mehretu that were created in 2005 in response to the aftermath of Hurricane Katrina\, a large-scale installation by Nicola López that show startlingly dystopian urban landscapes\, and a photographic series by Wendy Red Star that link weather patterns to the consumption and commodification of Native American culture. Additional highlights include important paintings and prints by Terry Winters and a massive 40-foot sculpture by Leonardo Drew that uses abstraction to explore a visual erosion of time and the cyclical nature of life. Together\, these and other works make the body and the land legible as paired sites of contestation\, offering profound insights about the connections between aesthetics\, history\, and our tempestuous climate. \n  Save  
URL:https://artinamericaguide.com/event/strange-weather-from-the-collections-of-jordan-d-schnitzer-and-his-family-foundation/
LOCATION:Bellevue Arts Museum\, 510 Bellevue Way NE\, Bellevue\, WA\, 98004\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230401
DTEND;VALUE=DATE:20230708
DTSTAMP:20260403T162058
CREATED:20230405T193939Z
LAST-MODIFIED:20230626T184428Z
UID:102726-1680307200-1688774399@artinamericaguide.com
SUMMARY:Bob Thompson: Agony & Ecstasy
DESCRIPTION:Thompson realized that vitality was the only answer to the mystery of being… The mystery of vitality beyond analysis is the central achievement of art because it has always proved that humanity is capable of creating living works that do not lose force when their maker meets the big darkness of death. […] Thompson was an artist of big and foreboding passion\, a man whose involvement with his era could be humorous but was never about trying to elevate himself above the human shortcomings and frailties inherent in life [1]\n—Stanley Crouch \n[In] a twisted sort of way I am doomed to be buried alive in cadmium orange\, red\, yellow light with flowers on my grave of magenta violet\, and my casket being the canvas for forcefully having to wrap\, walk and slide into it every day like the wan Prussian blue shore…[2]\n—Bob Thompson \nMichael Rosenfeld Gallery is pleased to announce Bob Thompson: Agony & Ecstasy\, a solo exhibition and career survey. Presenting major works from each year of the artist’s mature practice\, 1958–1966\, the exhibition demonstrates the extreme polarities of Thompson’s oeuvre\, in which a broad range of art historical references converge through his portrayal of subjects both deeply personal and heroically universal. In addition to over fifteen paintings and a selection of works on paper\, Bob Thompson: Agony & Ecstasy includes a special installation of archival photographs and sketchbooks\, offering an in-depth look at Thompson’s artistic process. \nIn a tragically brief life\, Bob Thompson (1937–1966) created a complex body of work structured by his own symbolic lexicon\, fauvist palettes\, and compositional devices drawn from the European Old Master tradition. As inspired by the improvisational riffs of jazz as he was by the formal devices of Fra Angelico\, Poussin\, and Tintoretto\, Thompson’s viscerally executed paintings conjure a psychedelic allegory of his own experience. During the years he lived in New York\, the artist was deeply immersed in the avant-garde scene of Manhattan’s Lower East Side\, participating in Fluxus happenings\, befriending poets Allen Ginsberg and LeRoi Jones (Amiri Baraka)\, and frequenting legendary jazz clubs\, especially the Five Spot and Slugs’ Saloon. \nTitled after Irving Stone’s 1961 biographical novel of Michelangelo Buonarotti\, Bob Thompson: Agony & Ecstasy demonstrates the impassioned fervor with which Thompson pursued his vision in defiance of prevailing social limitations; where the Renaissance sculptor saw an angel in a slab of marble and carved until he set him free\, Thompson saw himself in the canon of Western painting and revised\, collaged\, and electrified its components until the spark of life manifested on his canvas. Put in modern terms\, Thompson was a quintessential Beat[3]\, as Thelma Golden submits in her text for the artist’s 1998 retrospective at the Whitney Museum of American Art\, especially as it was defined by Lisa Philips’ exhibition on the movement mounted at the museum three years earlier\, which included Thompson’s 1965 portrait of Ginsberg: \nThe search for alternative consciousness\, the mystical side of the Beats\, goes hand in hand with their gritty realism and rebellion. These two sides—the ecstatic and the horrific\, the beatific and the beaten\, define the poles of the Beat experience.[4] \nBy turns volcanically hot and fluorescently cool\, the kaleidoscopic palettes of Thompson’s paintings embody the hallucinatory ethos of his moment while the formal schema drawn from the historical masterworks he obsessively studied ground his subjects in familiar narratives of tragedy\, adoration\, and rebellion. Often set in a pastoral countryside or dense woodlands\, Thompson’s scenes are populated by Madonnas and saints\, monstrous birds\, anthropomorphic donkeys\, shadowy men in fedoras\, and more. “Thompson’s distortion of natural form and his transgressions of category\, such as human and animal\,” writes curator Slade Stumbo\, “destabilize notions of the real and evoke a sense of a dream state which is furthered by the fantastic setting that is absent of any reference to any actual place. Thompson’s overarching theme in this work becomes the movement between realms\, metamorphosis.”[5] \nHighlights of Bob Thompson: Agony & Ecstasy include five large-scale paintings dating to a landmark year in the artist’s practice\, 1963\, which exemplify his radical approach and constitute a culmination of his travels in Europe from the spring of 1961 to the fall of 1963—his first journey to the continent. Dramatic tableaux of enigmatic interactions and sparse\, set-like environs that focus attention on the figures of such works as Untitled (The Proofing of the Cross) and The Nativity revise the central action of their 15th-century referents to compose a scene that embodies the artist’s own desires and fears. Thompson’s extensive engagement with the works of Spanish Romanticist Francisco Goya reaches its pinnacle in The Struggle\, The Dentist\, and Tribute to An American Indian\, which appropriate select forms from Goya’s Los Caprichos (1799)\, a set of eighty prints composed as an allegory for the follies of Spanish society; executed during an inflection point in the Civil Rights Movement\, many of Thompson’s works suggest a parable of racial identity shaped by the blood-soaked history of his home nation. \nA child of the Jim Crow South and husband in an interracial marriage\, Thompson felt the sociopolitical upheavals of his moment with heightened intensity. Structured by his own deeply personal symbolic vocabulary\, Thompson’s rhapsodic compositions offer dramatic narratives centered on the extreme emotional states of his lived experience. Encapsulating the overarching trajectory of his career while providing a primer on his complex set of references and symbols\, Bob Thompson: Agony & Ecstasy celebrates this unparalleled artist’s oeuvre while deepening our understanding of his life and art. “I paint many paintings that tell me slowly that I have something inside of me that is just bursting\, twisting\, sticking\, spilling over to get out\,” Thompson once wrote in a letter to his sister. “Out into souls & mouths & eyes that have never seen before. The Monsters are present now on my canvas as in my dreams.”[6] \nBob Thompson: Agony & Ecstasy will be accompanied by a fully illustrated catalogue featuring new scholarship by Classicist Allannah Karas\, Assistant Professor at the University of Miami\, and Diana Tuite\, Visiting Senior Curator of Modern and Contemporary Art at the University of Iowa’s Stanley Museum of Art. Tuite is the curator of the critically acclaimed retrospective Bob Thompson: This House Is Mine at the Colby College Museum of Art in Waterville\, Maine\, which recently concluded its nationwide tour at the Hammer Museum in Los Angeles after stops at the Smart Museum in Chicago and the High Museum in Atlanta. \nBob Thompson: Agony & Ecstasy is Michael Rosenfeld Gallery’s sixth exhibition focused on Thompson and the first solo exhibition mounted since acquiring the estate in 2019. A concurrent exhibition featuring works from public and private collections\, Bob Thompson: So let us all be citizens\, will be on view at 52 Walker from April 20–July 8\, 2023. Michael Rosenfeld Gallery’s relationship with the work of Bob Thompson dates to 1996\, when the gallery took on representation of the estate and mounted Bob Thompson: Heroes\, Martyrs & Spectres. Three more solo exhibitions followed: Fantastic Visions (1999)\, Meteor in a Black Hat (2005)—which traveled to the Haggerty Museum of Art at Marquette University in Milwaukee—and Naked at the Edge. Following twenty-three years of representation\, Michael Rosenfeld Gallery acquired the Estate of Bob Thompson in 2019\, a tremendous procurement that included all remaining works in the family’s possession\, numerous artist sketchbooks and the artworks’ intellectual property rights. \n[1] Stanley Crouch\, “Still Ahead\,” Bob Thompson: Meteor in a Black Hat\, exh. cat. (New York: Michael Rosenfeld Gallery\, 2005) p. 6–7 \n2 Bob Thompson\, from a letter to his family quoted in Gylbert Coker\, The World of Bob Thompson\, exh. cat. (New York: The Studio Museum in Harlem\, 1978) p. 21 \n3 Thelma Golden\, Bob Thompson\, exh. cat. (New York: Whitney Museum of American Art\, 1998) p. 22 \n4 Lisa Philips\, “Beat Culture: America Revisioned” in Beat Culture and the New America\, 1950–1965\, exh. cat. (New York: Whitney Museum of American Art\, 1995) p. 33 \n5 Slade Stumbo\, “Seeking Bob Thompson: Chasing Seagulls\,” in Seeking Bob Thompson: Dialogue/Object\, exhibition catalogue (Louisville: Hite Art Institute\, University of Louisville\, 2012)\, 19–20. \n6 Bob Thompson\, from a letter to his sister quoted in Gylbert Coker\, The World of Bob Thompson\, exh. cat. (New York: The Studio Museum in Harlem\, 1978) p. 21–22 \n  Save  
URL:https://artinamericaguide.com/event/bob-thompson-agony-ecstasy/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230413T100000
DTEND;TZID=America/Halifax:20230820T160000
DTSTAMP:20260403T162058
CREATED:20230502T182133Z
LAST-MODIFIED:20230502T182133Z
UID:103156-1681380000-1692547200@artinamericaguide.com
SUMMARY:A/I Highlights
DESCRIPTION:In 1974\, Ruth DeYoung Kohler II founded the Arts/Industry residency in partnership with Kohler Co. Today\, the program annually hosts twelve artists who make new works of art in the company’s factory in Kohler\, Wisconsin. The artists work in studios located on the factory floor\, alongside Kohler Co. associates who offer support and information as the residents encounter industrial machines and materials that advance their artistic practice. \nArts/Industry Highlights presents handwritten letters\, postcards\, sketches\, and photos dating from the late 1970s to the late 1990s to contextualize the meaningful relationships Ruth and Kohler Co. associates developed with the artists-in-residence. These records reveal evidence of friendships that were built during and continued long after a resident’s time in Kohler\, and how those affinities contributed to the significance of the artworks created. \nNot only do these materials affirm community building within the history of the Arts/Industry program\, their presentation honors the kinds of interactions that give shape to kinship. \nImage: Casey O’Conner\, detail of untitled sketch for the Children’s Studio washroom\, 1998. \n  Save  
URL:https://artinamericaguide.com/event/a-i-highlights/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230421T110000
DTEND;TZID=America/Halifax:20230715T160000
DTSTAMP:20260403T162058
CREATED:20230322T184811Z
LAST-MODIFIED:20230322T184811Z
UID:102652-1682074800-1689436800@artinamericaguide.com
SUMMARY:“In Their Element(s): Women Artists Across Media”
DESCRIPTION:Bellarmine Hall Galleries \nApril 21-July 15\, 2023 \nThis exhibition — the first in the Museum’s history to have been fully developed and curated by an undergraduate student — features more than 50 contemporary artworks by women artists\, with an emphasis on works created with unusual techniques or media. \nAmong the works drawn from the Museum’s own collection are photographs by Laurie Simmons\, Bea Nettles\, and Donna Ferrato\, sculpture by Linda Stein and Elaine Cameron-Weir\, and prints by Althea-Murphy Price\, Maya Freelon\, and Sonya Clarke\, as well as select loans from the Westport Public Art Collections (WestPAC) including sculpture by Niki Ketchman and Nina Bentley. \nCurated by Phoebe Charpentier\, Fairfield University ’23. \nhttps://www.fairfield.edu/museum/in-their-elements/ \n  Save  
URL:https://artinamericaguide.com/event/in-their-elements-women-artists-across-media/
LOCATION:Bellarmine Hall Galleries\, 1073 North Benson Road\, Fairfield\, CT\, 06824\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Fairfield University Art Museum":MAILTO:museum@fairfield.edu
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END:VCALENDAR