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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260426T071127
DTEND;TZID=America/New_York:20250920T170000
DTSTAMP:20260426T071127
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:20260426T071127
DTEND;TZID=America/New_York:20250926T200000
DTSTAMP:20260426T071127
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:20260426T071127
DTEND;TZID=America/New_York:20250927T180000
DTSTAMP:20260426T071127
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:20260426T071127
DTEND;TZID=America/New_York:20251018T170000
DTSTAMP:20260426T071127
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:20260426T071127
DTEND;TZID=America/New_York:20251122T170000
DTSTAMP:20260426T071127
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:20260426T071127
DTEND;TZID=America/New_York:20260221T180000
DTSTAMP:20260426T071127
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;TZID=America/New_York:20220722T110000
DTEND;TZID=America/New_York:20240804T180000
DTSTAMP:20260426T071127
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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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:20230915
DTEND;VALUE=DATE:20240805
DTSTAMP:20260426T071127
CREATED:20240522T193730Z
LAST-MODIFIED:20240522T193730Z
UID:108579-1694736000-1722815999@artinamericaguide.com
SUMMARY:Composing Color: Paintings by Alma Thomas
DESCRIPTION:The Smithsonian American Art Museum has the largest public collection of works by Alma Thomas in the world. Thomas’s art first entered SAAM’s collection in 1970. The museum acquired more than a dozen works during the artist’s lifetime\, and thirteen that were bequeathed to the museum by Thomas after her death. Composing Color: Paintings by Alma Thomas draws on these extensive holdings to offer an intimate view of Thomas’s evolving practice during her most prolific period\, 1959 to 1978. \nIn her work\, color can be symbolic and multisensory\, evoking sound\, motion\, temperature\, even scent. Her abiding source of inspiration was nature—whether seen through her kitchen window or from outer space. Organized around the artist’s favored themes of Space\, Earth\, and Music\, this show invites you to see the world through Alma Thomas’s eyes. She often assigned titles to her own paintings that connect natural phenomena\, like flowers or a sunset\, with song. In her art\, nature and music are treated as twin expressions of a fundamental life force or spirit. \nConsciously oriented toward the future\, she embraced the technological and social changes of the twentieth century. Her artistic evolution from academic painting to abstraction reflected this forward-facing attitude—her belief in the need for “a new art representing a new era.” \n\n  Save  
URL:https://artinamericaguide.com/event/composing-color-paintings-by-alma-thomas/
LOCATION:Smithsonian American Art Museum\, 750 9th St. N.W.\, Washington\, DC\, 20001\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/05/eclipse-scaled.jpg
ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230922T080000
DTEND;TZID=America/New_York:20240704T170000
DTSTAMP:20260426T071127
CREATED:20240522T193731Z
LAST-MODIFIED:20240522T193731Z
UID:108577-1695369600-1720112400@artinamericaguide.com
SUMMARY:Carrie Mae Weems: Looking Forward\, Looking Back
DESCRIPTION:This focused exhibition pairs two projects by Carrie Mae Weems—a major multimedia installation\, Lincoln\, Lonnie\, and Me – A Story in 5 Parts\, and eight photographs from the series Constructing History—that explore the relationship of memory to history and of memory as it is mediated through performance\, photography\, or video. \nWeems invites others to step back in time. Lincoln\, Lonnie\, and Me–A Story in 5 Parts (2012) is a multimedia installation that transforms the gallery into a nineteenth-century illusionistic theater. This complex work brings to life episodes from the American Civil War to the present\, accompanied by a soundtrack that evokes the constitutional promise of equality\, along with projections of recurring racial and gender difference that make achieving it so elusive. It is accompanied by eight photographs from her series Constructing History (2008). Weems worked with college students to restage iconic photographs from World War II to the civil rights era and beyond. Taking on these poses\, a new generation simultaneously enacts and witnesses past moments of strength\, pain\, and progress in the present. \n  Save  
URL:https://artinamericaguide.com/event/carrie-mae-weems-looking-forward-looking-back/
LOCATION:Smithsonian American Art Museum\, 750 9th St. N.W.\, Washington\, DC\, 20001\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/05/Weems-scaled.jpg
ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231111T110000
DTEND;TZID=America/New_York:20241027T170000
DTSTAMP:20260426T071127
CREATED:20230823T152458Z
LAST-MODIFIED:20230823T152458Z
UID:104954-1699700400-1730048400@artinamericaguide.com
SUMMARY:Frye Salon
DESCRIPTION:Frye Salon features over one-hundred paintings from the Frye Art Museum’s Founding Collection hung floor to ceiling—a display mode referred to as a salon-style hang. The installation approximates the dramatic viewing experience enjoyed by visitors to Charles and Emma Frye’s Seattle home in the first decades of the twentieth century. \nThe Fryes developed their passion for art at the World’s Columbian Exposition\, a world’s fair held in Chicago in 1893. The experience greatly influenced the painterly subjects and artists the young couple collected for years to come. Over the next four decades\, they purchased canvases by an international roster of artists from Europe and the United States. As children of German immigrants\, the Fryes focused particularly on works by German artists. \nThe couple displayed the collection in private living quarters and a purpose-built gallery attached to their home in First Hill. Major philanthropic supporters of music\, the Fryes also hosted concerts and charitable events in their gallery. Concurrent exhibition LINEAJES pays homage to this model of cross-disciplinary engagement\, inviting local percussionist Antonio M. Gómez to activate the space with musical interventions and a mural painted on the walls behind the Salon works. \n  Save  
URL:https://artinamericaguide.com/event/frye-salon/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/08/4994-1.jpg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231118T100000
DTEND;TZID=America/New_York:20240616T170000
DTSTAMP:20260426T071127
CREATED:20231116T171127Z
LAST-MODIFIED:20231116T171127Z
UID:105967-1700301600-1718557200@artinamericaguide.com
SUMMARY:Cloth as Land: HMong Indigeneity
DESCRIPTION:On view November 18–June 16\, 2024 \nIndigeneity—a state of being Indigenous and originating from a specific place; encompassing displaced minorities whose ancestral homelands have been lost due to colonialism\, yet preserved in the continuity of cultures\, identities\, and kinship. \nHMong Indigeneity lives in textiles: vibrant\, breathing pieces of cloth shaped by HMong hands to illustrate ancestral landmarks and homelands. Here\, lines converge to form patterns and an aesthetic of kin that replace teb chaws—land\, country\, and place—as pathways for Indigeneity to reside. \nCentering the voices of three HMong-American artists\, Cloth as Land investigates a place for HMong Indigeneity within contemporary HMong art. Curated by Pachia Lucy Vang\, the exhibition features textiles from JMKAC’s collection and newly commissioned works by artists Ger Xiong/Ntxawg Xyooj\, Pao Houa Her\, and Tshab Her. \n  Save  
URL:https://artinamericaguide.com/event/cloth-as-land-hmong-indigeneity/
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;VALUE=DATE:20231208
DTEND;VALUE=DATE:20261207
DTSTAMP:20260426T071127
CREATED:20240522T193731Z
LAST-MODIFIED:20240522T193731Z
UID:108575-1701993600-1796601599@artinamericaguide.com
SUMMARY:Isaac Julien: Lessons of the Hour — Frederick Douglass
DESCRIPTION:Sir Isaac Julien’s moving image installation Lessons of the Hour (2019) interweaves period reenactments across five screens to create a vivid picture of nineteenth-century activist\, writer\, orator\, and philosopher Frederick Douglass. Through critical research\, fictional reconstruction\, and a marriage of poetic image and sound\, Julien asserts Douglass’ enduring lessons of justice\, abolition\, and freedom that remain just as relevant today. \nLessons of the Hour features passages from Douglass’ key speeches\, including the titular “Lessons of the Hour\,” “What to the Slave Is the Fourth of July?” and “Lecture on Pictures.” \nJulien weaves together reenacted scenes from Douglass’ life and lectures\, filming at his historic home in Washington\, DC\, and a restaged studio of famed Black photographer J.P. Ball (1825–1904) as he makes a portrait of Douglass. Images of contemporary Baltimore—the city where Douglass was enslaved and escaped from bondage in 1838—including footage of fireworks and protests in 2015 following the death of Freddie Gray\, Jr. while in police custody\, are interspersed as the struggle to make good on America’s promise of equality continues. \nLessons of the Hour was jointly acquired by SAAM and the National Portrait Gallery in 2023. The 28-minute work debuted for Washington audiences December 8\, 2023\, and remains on public view through the 250th anniversary of the founding of the United States in 2026. \n  Save  
URL:https://artinamericaguide.com/event/isaac-julien-lessons-of-the-hour-frederick-douglass/
LOCATION:Smithsonian American Art Museum\, 750 9th St. N.W.\, Washington\, DC\, 20001\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/05/isaac-julien-1-scaled.jpg
ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240116
DTEND;VALUE=DATE:20240617
DTSTAMP:20260426T071127
CREATED:20231010T164429Z
LAST-MODIFIED:20231012T195754Z
UID:105551-1705363200-1718582399@artinamericaguide.com
SUMMARY:Jacob Lawrence and the Legend of John Brown
DESCRIPTION:Jacob Lawrence and the Legend of John Brown presents a recently acquired portfolio of prints by the acclaimed Black modernist Jacob Lawrence (1917–2000). Lawrence originally produced The Legend of John Brown as paintings in 1941\, but\, due to problems related to the stability of the gouache used in the series\, in 1974 he collaborated with printers to translate this important body of work to screen prints. Lawrence drew inspiration for the 22 prints in the series from research he conducted at the Schomberg Center for Research in Black Culture at the New York Public Library\, notably Franklin B. Sanborn’s The Life and Letters of John Brown\, Liberator of Kansas and Martyr of Virginia\, published in 1885. Lawrence’s account of Brown’s life and death includes consideration of his time in Kansas\, where Brown first employed violence in his quest to rid the country of slavery. \n  Save  
URL:https://artinamericaguide.com/event/jacob-lawrence-and-the-legend-of-john-brown/
LOCATION:Spencer Museum of Art\, University of Kansas\, 1301 Mississippi St.\, Lawrence\, KS\, 66045\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/10/2020.0068.21.jpg
ORGANIZER;CN="Spencer Museum of Art%2C University of Kansas":MAILTO:spencerart@ku.edu
GEO:38.9596803;-95.244588
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Spencer Museum of Art University of Kansas 1301 Mississippi St. Lawrence KS 66045 United States;X-APPLE-RADIUS=500;X-TITLE=1301 Mississippi St.:geo:-95.244588,38.9596803
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240130T110000
DTEND;TZID=America/New_York:20240726T160000
DTSTAMP:20260426T071127
CREATED:20240215T194541Z
LAST-MODIFIED:20240215T194541Z
UID:107080-1706612400-1722009600@artinamericaguide.com
SUMMARY:Les Visionnaires In the Modernist Spirit
DESCRIPTION:Drawn from the Museum’s permanent collection and the Howard L. and Muriel Weingrow Collection of Avant-Garde Art and Literature from the University’s Special Collections\, this exhibition examines the persisting influence of the French avant-garde. With a forward-thinking ethos\, artists such as Arp\, Cocteau\, Chagall\, Dalí\, Ernst\, Gilot\, and Miró explore the uncharted terrain of surrealism\, dada\, automatism\, and spiritualism\, among others. Unexpected examples of their artwork highlight their interdisciplinary nature through the use of various mediums such as bookmaking\, film\, pottery\, printmaking\, photography\, set design\, and typography. Political and societal events of the early 20th century influenced their creative endeavors\, artistic methodologies\, and camaraderie. Paris is at the center of their transformative vision\, which in turn finds its future and influence in the post-WWII American art world. \nThis exhibition is planned in conjunction with the Society for French Historical Studies Annual Conference hosted by Hofstra University on March 14-16\, 2024. \nThe Hofstra University Museum of Art’s programs are made possible by the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature. \nHOURS: Tuesday – Friday\, 11 a.m. – 4 p.m.; Saturday and Sunday\, noon-4 p.m.\nSUMMER HOURS (mid-May – Labor Day): Tuesday – Friday\, 11 a.m. – 4 p.m.; Closed Weekends \nImage: \nFrançoise Gilot(French\, 1921-2023)#IX\, from On the Stone: Poems and Lithographs(Sur La Pierre: Poemes et Lithographies)\, 1972Lithograph12.75 x 9.75 in.Courtesy of Special Collections\, Joan and Donald E. Axinn Library\, Hofstra University\n© Françoise Gilot Archives\n  Save  
URL:https://artinamericaguide.com/event/les-visionnaires-in-the-modernist-spirit/
LOCATION:Emily Lowe Gallery at Hofstra University\, 112 Hofstra University\, Hempstead\, NY\, 11549\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/02/Gilot.jpg
ORGANIZER;CN="Hofstra University Museum of Art":MAILTO:museum@hofstra.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240203T100000
DTEND;TZID=America/New_York:20240630T170000
DTSTAMP:20260426T071127
CREATED:20240206T152554Z
LAST-MODIFIED:20240206T152554Z
UID:106980-1706954400-1719766800@artinamericaguide.com
SUMMARY:Joyce Kozloff: How We Know What We Know
DESCRIPTION:The Arts/Industry residency is a longstanding innovative collaboration between Kohler Co. and the John Michael Kohler Arts Center whereby each year\, up to twelve artists work in the pottery and foundry of Kohler Co. to explore new ideas\, techniques\, and perspectives during a three-month residency. Joyce Kozloff came to the Arts/Industry program in 1986-87\, with the express purpose of producing ceramic tiles for a commission at Detroit’s Financial Center People Mover Station. Prior to her residency\, she had been executing public commissions in her home studio. As an Arts/Industry resident\, Kozloff had access to the Kohler Co. materials and production facilities to create the components for this installation working in a studio on the factory floor. \n  \nJoyce Kozloff: How We Know What We Know considers a twenty-year span of Kozloff’s career\, beginning with her Arts/Industry residency. Through a presentation of work from five of her series (among them are Voyages\, Knowledge\, and Targets) from 1986–2006\, it traces her transition from the Pattern and Decoration Movement into cartography. \n  Save  
URL:https://artinamericaguide.com/event/joyce-kozloff-how-we-know-what-we-know/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/02/ex.koz_.2024.5002-jpeg-only_1200x1504.jpg
ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240216
DTEND;VALUE=DATE:20240624
DTSTAMP:20260426T071127
CREATED:20240124T133900Z
LAST-MODIFIED:20240124T133900Z
UID:106824-1708041600-1719187199@artinamericaguide.com
SUMMARY:Sheila Levrant de Bretteville: Community\, Activism\, and Design
DESCRIPTION:Sheila Levrant de Bretteville: Community\, Activism\, and Design is the first monographic exhibition on this renowned graphic designer\, public artist\, and educator\, whose community-based and politically responsive work champions principles of advocacy and inclusion. De Bretteville (b. 1940\, B.F.A. 1963\, M.F.A. 1964) is well known for her important and early contributions to the field of feminist design and education; in 1973\, with the artist Judy Chicago and the art historian and critic Arlene Raven\, de Bretteville established the Woman’s Building and the Feminist Studio Workshop—the first independent art school for women and women’s culture—in downtown Los Angeles. This exhibition presents a rich array of materials drawn from the artist’s extensive archive to highlight pivotal moments in her multifaceted and trailblazing career. On view are dynamic and rarely seen promotional materials that de Bretteville made for Yale University Press and the Italian manufacturer Olivetti shortly after she graduated from the Yale School of Art; posters and broadsheets produced while she was living in Los Angeles that blend word and image to advance woman-focused initiatives\, many of which have become icons of feminist design; and photographs and models of her public art installations\, which reflect her ongoing commitment to the feminist movement and issues such as immigration and racial equity. Representing a shift in scale and focus from the printed page to the urban environment\, these public projects\, which have not been closely examined as a group until now\, include “Biddy Mason: Time and Place” (Los Angeles\, 1989–90)\, an expansive sculptural mural honoring a formerly enslaved midwife made in collaboration with the artist Betye Saar\, and “Hillhouse” (New Haven\, Connecticut\, 2003)\, the revitalization of the entrance to a local high school. De Bretteville’s accomplishments continue to have lasting effects: In 1990 she was named director of graduate studies in graphic design at Yale and became the first woman at the Yale School of Art to be awarded tenure. Her vision has shaped a new generation of graphic design. \n  Save  
URL:https://artinamericaguide.com/event/sheila-levrant-de-bretteville-community-activism-and-design/
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/2024/01/Preview-brettevilleopening_feb_newsletter-copy.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:20240216
DTEND;VALUE=DATE:20240624
DTSTAMP:20260426T071127
CREATED:20240124T133901Z
LAST-MODIFIED:20240124T133901Z
UID:106826-1708041600-1719187199@artinamericaguide.com
SUMMARY:Munch and Kirchner: Anxiety and Expression
DESCRIPTION:Featuring more than 60 works on paper\, this exhibition is the first to examine the prints of Edvard Munch alongside those of Ernst Ludwig Kirchner\, elucidating the fascinating overlaps in their creative output and personal biographies and demonstrating how these artists suffered from—and attempted to cope with—the anxieties of their age. Both Munch and Kirchner were experimental printmakers who exploited the perceptual and emotional power of color and abstraction for creative expression and portrayed what they perceived to be a fragmented\, harrowing reality. Responding to feelings of growing nationalism in Northern Europe\, the onset of World War I\, and the rise of the Nazi regime\, both artists experienced existential crises\, endured bouts of depression\, grappled with substance abuse\, and received psychiatric care. Nevertheless\, they continued to produce works of art that demonstrated their radical visions of the modern world and that often echoed the state of their mental and physical health. Drawing primarily on a large group of prints in the collection of Nelson Blitz\, Jr.\, and Catherine Woodard\, as well as the Gallery’s own substantial holdings of German Expressionist works on paper and other U.S. museum collections\, this exhibition brings into focus the parallels between these two towering figures of Expressionism\, highlighting their engagement with themes of anxiety\, modernity\, psychology and psychiatry\, depression\, and trauma. \n  Save  
URL:https://artinamericaguide.com/event/munch-and-kirchner-anxiety-and-expression/
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/2024/01/ag-obj-324214-0001-pub-scaled.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:20240224
DTEND;VALUE=DATE:20240722
DTSTAMP:20260426T071127
CREATED:20231009T142831Z
LAST-MODIFIED:20231009T142831Z
UID:105476-1708732800-1721606399@artinamericaguide.com
SUMMARY:Hank Willis Thomas: LOVERules\, From the Collections of Jordan D. Schnitzer and His Family Foundation
DESCRIPTION:This exhibition of 90+ works\, drawn from the collection of the Jordan D. Schnitzer Family Foundation\, spans over 20 years of Thomas’s work. While not intended as a comprehensive survey\, it touches on the breadth of his most significant practices\, through the presentation of key series and individual works. The artworks in LOVERules include photography\, print\, mixed-media wall works\, neon\, and sculpture. They encompass themes Thomas has examined throughout his career\, such as the impact of corporate branding\, the construction of gender and race\, and the struggle for liberty and equality. The exhibition also highlights Thomas’ mining of personal and public archives\, and his ability to reframe texts\, images\, and materials to connect historical moments of resistance to our lives today. With incisive clarity\, Thomas asks us to see and challenge systems of inequality that are woven into the fabric of contemporary life. \n  Save  
URL:https://artinamericaguide.com/event/hank-willis-thomas-loverules-from-the-collections-of-jordan-d-schnitzer-and-his-family-foundation/
LOCATION:Henry Art Gallery\, NE 41st St.\, Seattle\, WA\, 98195\, United States
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240301T100000
DTEND;TZID=America/New_York:20240721T170000
DTSTAMP:20260426T071127
CREATED:20240116T143206Z
LAST-MODIFIED:20240116T143206Z
UID:106675-1709287200-1721581200@artinamericaguide.com
SUMMARY:LaToya M. Hobbs: It’s Time
DESCRIPTION:Immerse yourself in a day in the life of a contemporary artist through a tour de force of monumental printmaking. \nLaToya M. Hobbs: It’s Time presents the series Carving Out Time\, a life-size suite of woodcuts by Arkansas-born and Baltimore-based artist LaToya M. Hobbs. Unfolding over five scenes\, the work depicts one day in Hobbs’s life with her husband\, visual artist Ariston Jacks\, and their two children. Hobbs shares the labor and intimacy of her private life in these prints\, centering the negotiations she brokers daily to balance her manifold responsibilities—as a wife\, mother\, educator\, and artist. The series is also a powerful statement about her influences and self-fashioning as an artist: references to paintings\, sculptures\, and prints by prominent artists such as Elizabeth Catlett\, Alma Thomas\, Valerie Maynard\, and Kerry James Marshall appear throughout. Carving Out Time (2020–21) is the largest expression within Hobbs’s ongoing Salt of the Earth project\, which she characterizes as “the personification of Black women as salt in relation to their role as preservers of family\, culture and community.” A contemplation of nuanced concepts of time and labor\, the work offers an affecting visual statement that is at once deeply personal and universal. \nLaToya M. Hobbs: It’s Time is the inaugural presentation of the full suite of prints and provides a unique opportunity to view the drawings that the artist made in preparation for the project\, which she generously lent to the exhibition for their first public display. \n  Save  
URL:https://artinamericaguide.com/event/latoya-m-hobbs-its-time/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/01/LaToya-Hobbs_Scene-5-The-Studio_2022.224.5.jpg
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240301T100000
DTEND;TZID=America/New_York:20240721T170000
DTSTAMP:20260426T071127
CREATED:20240206T152435Z
LAST-MODIFIED:20240206T152435Z
UID:106986-1709287200-1721581200@artinamericaguide.com
SUMMARY:Future Minded: New Works in the Collection
DESCRIPTION:Future Minded highlights a selection of works acquired in recent years that exemplify the Harvard Art Museums’ collecting vision and strategies. Nearly all are on display for the first time. \nThe museums are committed to acquiring art that expands the range of artists and cultures represented in the collections; that moves museum practice toward more nuanced understanding of both histories and contemporary issues; and that pushes boundaries and embraces experimentation. Many of the works on view are by living artists\, an area of focused growth for the museums. \nStaged across two adjacent galleries\, the exhibition presents a range of drawings\, photographs\, prints\, paintings\, and sculptures spanning centuries and continents. The works are by roughly 30 artists\, including Jean (Hans) Arp\, Edward Mitchell Bannister\, Willie Cole\, Pietro Damini\, Svenja Deininger\, Jeffrey Gibson\, Baldwin Lee\, Ana Mendieta\, Lucia Moholy\, Toyin Ojih Odutola\, Noriko Saitō\, Melissa Shook\, Jane Yang-D’Haene\, and many others. \n  Save  
URL:https://artinamericaguide.com/event/future-minded-new-works-in-the-collection/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/02/Noriko-Saito.jpg
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20240303T100000
DTEND;TZID=America/Chicago:20250202T170000
DTSTAMP:20260426T071127
CREATED:20240301T154524Z
LAST-MODIFIED:20240301T154524Z
UID:107287-1709460000-1738515600@artinamericaguide.com
SUMMARY:Mad Dash: 50 Years of Arts/Industry
DESCRIPTION:Jack Earl\, one of the first Arts/Industry artists-in-residence\, said the Arts/Industry residency in the Kohler Co. factory felt like a “mad dash at something.” Mad Dash: 50 Years of Arts/Industry is a chronological installation of artworks\, letters\, photographs\, and promotional materials dating from 1974 to the present. It reveals the origin and history of Arts/Industry through the artists themselves.  \nEvery artist donates an object made during their residency to the John Michael Kohler Arts Center’s collection. Mad Dash presents artworks from this collection to encapsulate the experience of art making within Kohler Co. and highlight various stages of the artists’ careers.  \n  Save  
URL:https://artinamericaguide.com/event/mad-dash-50-years-of-arts-industry/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/02/ai.cla_.1978.0045-jpeg-_1200x811.jpg
ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240308
DTEND;VALUE=DATE:20240909
DTSTAMP:20260426T071127
CREATED:20240522T193731Z
LAST-MODIFIED:20240522T193731Z
UID:108573-1709856000-1725839999@artinamericaguide.com
SUMMARY:Fighters for Freedom: William H. Johnson Picturing Justice
DESCRIPTION:William H. Johnson (1901 – 1970) painted his Fighters for Freedom series in the mid-1940s as a tribute to African American activists\, scientists\, teachers\, and performers as well as international leaders working to bring peace to the world. He celebrated their accomplishments even as he acknowledged the realities of racism\, violence\, and oppression they faced and overcame. Johnson reminds us that individual achievement and commitment to social justice are at the heart of the American story. \nThis landmark exhibition brings together—for the first time since 1946—34 paintings featured in the series. \nThe exhibition illuminates the extraordinary life and contributions of Johnson\, an artist associated with the Harlem Renaissance but whose practice spanned several continents\, as well as the contributions of historical figures he depicted. Some of his Fighters—Marian Anderson\, George Washington Carver\, Mohandas Gandhi\, and Harriet Tubman—are familiar figures; others—Nannie Helen Burroughs and William Grant Still\, among them—are less well-known individuals whose achievements have been eclipsed over time. Johnson celebrates their accomplishments even as he acknowledges the realities of racism\, oppression\, and sometimes violence they faced and overcame. Johnson clues viewers to significant episodes in the Fighters lives by punctuating each portrait with tiny buildings\, flags\, and vignettes that give insight into their stories. Using a colorful palette to create evocative scenes and craft important narratives\, he suggests that the pursuit of freedom is an ongoing\, interconnected struggle\, with moments of both triumph and tragedy. \nThe exhibition is drawn primarily from SAAM’s collection of more than 1\,000 works by William H. Johnson\, the largest and most complete collection of work by the artist\, given to the museum by the Harmon Foundation in 1967. \n\n  Save  
URL:https://artinamericaguide.com/event/fighters-for-freedom-william-h-johnson-picturing-justice/
LOCATION:Smithsonian American Art Museum\, 750 9th St. N.W.\, Washington\, DC\, 20001\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/05/Fighters-scaled.jpg
ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20240308T180000
DTEND;TZID=America/Halifax:20240811T170000
DTSTAMP:20260426T071127
CREATED:20221215T213321Z
LAST-MODIFIED:20221215T213321Z
UID:101082-1709920800-1723395600@artinamericaguide.com
SUMMARY:Paul Chan: Breathers
DESCRIPTION:New York-based artist\, writer\, and publisher Paul Chan came to prominence in the early 2000s with vibrant moving image works that touched upon aspects of war\, religion\, pleasure\, and politics. Around 2009\, following a decade of art-making\, Chan embarked on a self-imposed break\, turning his attention to experimental publishing and the economics of information by founding the press Badlands Unlimited. Taking the notion of a “breather” as its organizing principle\, this exhibition surveys Chan’s activities since his voluntary break from that point to the present. \nPaul Chan: Breathers opens with Nonprojections and Arguments\, two series that explore the possibilities of the moving image beyond its primary place of the screen or projection. Language\, design\, and networks of circulation are examined through the radical publications produced by Badlands Unlimited\, which include paperbacks\, e-books\, zines\, GIFs\, and books on stone tablets in genres such as erotic fiction\, artists’ writings\, and poetry. The exhibition also showcases a new series of kinetic sculptures entitled Breathers. These fan-powered billowing fabric bodies\, which move in a free-form choreography in the gallery\, are described by Chan as “animated by breath.” \nThe exhibition is accompanied by a catalog created in close collaboration with the artist\, designed and published by the Walker Art Center. \nPaul Chan: Breathers is organized by the Walker Art Center\, Minneapolis and curated by Pavel Pyś\, Curator\, Visual Arts; with Matthew Villar Miranda\, Curatorial Fellow\, Visual Arts. The Contemporary Art Museum St. Louis exhibition is organized by Misa Jeffereis\, Associate Curator. \nThe exhibition is made possible by generous support from Candace Barasch. Support for the exhibition catalog is provided by Greene Naftali\, New York; Maja Oeri\, Schaulager Basel; and a grant from the Andrew W. Mellon Foundation in support of Walker Art Center publications. \nPaul Chan (b. 1973\, Hong Kong; lives and works in New York) was recently named a 2022 MacArthur Fellow by the MacArthur Foundation. He was the 2014 recipient of the Hugo Boss Prize\, which coincided with his solo exhibition Nonprojections for New Lovers at the Solomon R. Guggenheim Museum\, New York (2015). In 2019\, Chan was one of six artists to co-curate the group exhibition Artistic License: Six Takes on the Guggenheim Collection. Solo exhibitions include Odysseus and the Bathers\, Museum of Cycladic Art\, Athens (2018); Bathers at Night\, Remai Modern\, Saskatoon (2018); Rhi Anima\, Greene Naftali\, New York (2017); Pillowsophia\, Pennsylvania Academy of Fine Arts\, Philadelphia (2017); Hippias Minor\, Deste Foundation Project Space\, Slaughterhouse\, Hydra (2015); Selected Works\, Schaulager\, Basel (2014); My laws are my whores\, The Renaissance Society at the University of Chicago\, Chicago (2009); The 7 Lights\, New Museum\, New York (2008); and The 7 Lights\, Serpentine Gallery\, London (2007). Chan’s work is in the collections of the Art Gallery of Ontario\, Toronto; Art Institute of Chicago; Carnegie Museum of Art\, Pittsburgh; Hammer Museum\, Los Angeles; Institute of Contemporary Art\, Boston; Museum of Contemporary Art\, Los Angeles; The Museum of Modern Art\, New York; Solomon R. Guggenheim Museum\, New York; Stedelijk Museum\, Amsterdam; Walker Art Center\, Minneapolis; and the Whitney Museum of American Art\, New York\, among others. \nThis exhibition is generously supported in part by the Whitaker Foundation. \nImage: Paul Chan\, 2chained or Genesia and Nemesia\, 2019. Nylon\, fan\, screenprint\, tarp\, synthetic woven fabric\, 87 x 113 x 82 inches. Ⓒ Paul Chan. Courtesy the artist and Greene Naftali\, New York. Photo courtesy Zeshan Ahmed. \n\n  Save  
URL:https://artinamericaguide.com/event/paul-chan-breathers/
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/2022/12/7.-2Chained_Paul-Chan-Web-Res.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240315
DTEND;VALUE=DATE:20241111
DTSTAMP:20260426T071127
CREATED:20240122T213355Z
LAST-MODIFIED:20240122T213355Z
UID:106813-1710460800-1731283199@artinamericaguide.com
SUMMARY:Year of the Dragon
DESCRIPTION:A celebration of the dragon across media from the past 500 years\, coinciding with the 2024 Chinese Lunar New Year  \nMarch 15–November 10\, 2024 \nThe Yale University Art Gallery is pleased to present Year of the Dragon\, an exhibition coinciding with the 2024 Chinese Lunar New Year that celebrates this mythical beast through nearly 30 artworks spanning from the 17th century to the present day. In the West\, the dragon has historically been characterized as an evil creature\, flying through the air while breathing fire from its mouth\, but in the East\, the dragon is believed to possess power in the celestial realm and to pour out blessings in the form of rainwater over swirling wind. The dragon also has a place in the Eastern zodiac calendar—alongside 11 other animals\, such as the rabbit\, snake\, and tiger—in which each year is associated with an animal and its reputed attributes. The objects on view\, which are largely drawn from the collection of the Yale University Art Gallery\, feature dragons on folding screens\, other paintings\, textiles\, ceramics\, ivory\, and woodblock prints. Other works\, such as Katsushika Hokusai’s well-known woodcut The Great Wave (ca. 1831)\, feature the wind and water elements that are often associated with the dragon. This object\, along with the other light-sensitive works in Year of the Dragon\, will be replaced with a new selection in July 2024\, offering repeat visitors a new experience of the exhibition. Taking inspiration from East Asian history\, folklore\, and myth\, Year of the Dragon demonstrates a long\, complex\, and continuing artistic tradition around this fantastical creature. \n  Save  
URL:https://artinamericaguide.com/event/year-of-the-dragon/
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/2024/01/YOTD-EXH-ag-obj-174814-0001-pub-preview.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:20240315
DTEND;VALUE=DATE:20241111
DTSTAMP:20260426T071127
CREATED:20240124T133900Z
LAST-MODIFIED:20240124T133900Z
UID:106828-1710460800-1731283199@artinamericaguide.com
SUMMARY:Year of the Dragon
DESCRIPTION:This exhibition celebrates 2024\, the Year of the Dragon\, with a presentation of nearly 30 artworks spanning from the 17th century to the present day. In the West\, the dragon has historically been characterized as an evil creature\, flying through the air while breathing fire from its mouth\, but in the East\, the dragon is believed to possess power in the celestial realm and to pour out blessings in the form of rainwater over swirling wind. The dragon also has a place in the Eastern zodiac calendar—alongside 11 other animals\, such as the rabbit\, snake\, and tiger—in which each year is associated with an animal and its reputed attributes. The objects on view\, which are largely drawn from the collection of the Yale University Art Gallery\, feature dragons emerging from the clouds painted on folding screens\, other paintings\, textiles\, ceramics\, ivory\, and woodblock prints. Taking inspiration from East Asian history\, folklore\, and myth\, these works demonstrate a long\, complex\, and continuing artistic tradition around this fantastical creature. \n  Save  
URL:https://artinamericaguide.com/event/year-of-the-dragon-2/
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/2024/01/2024-exh-YOTD-ag-obj-174814-0001-pub-scaled.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:20240328
DTEND;VALUE=DATE:20240827
DTSTAMP:20260426T071127
CREATED:20240522T193731Z
LAST-MODIFIED:20240522T193731Z
UID:108571-1711584000-1724716799@artinamericaguide.com
SUMMARY:Pattern and Paradox: The Quilts of Amish Women
DESCRIPTION:Explore the creative practice of Amish quilters in the United States. Pattern and Paradox: The Quilts of Amish Women looks beyond quilting as a utilitarian practice. It reveals historical quilting among the Amish as an aesthetic endeavor that walked a line between cultural and individual expression. The quilts paradoxically twin the plain with the spectacular\, tradition with innovation\, and a dismissal of personal pride with objects often seen as extraordinary artworks. \nThe quilts in Pattern and Paradox were all made between 1880 and 1950 in communities united by faith\, values of conformity and humility\, and a rejection of “worldly” society. No specific guidelines governed quilt patterns or colors\, so Amish women explored an uncharted territory\, pushing cultural limitations by innovating within a community that values adherence to rules. Styles\, patterns\, and color preferences eventually varied and distinguished the various settlements\, but it was the local quilters who drove and set the standards. \nPattern and Paradox celebrates the quilts\, the women who made them\, and considers their unique role in American art today\, roughly a century after the quilts in this collection were made. \nThe exhibition celebrates a major gift of Amish quilts to the museum by Faith and Stephen Brown. They began collecting quilts in 1977\, four years after encountering Amish quilts for the first time at the Smithsonian American Art Museum’s Renwick Gallery. The 50 quilts featured in Pattern and Paradox include 39 from the museum’s collection and 11 promised gifts. Around 100 additional quilts from the Browns’ exemplary collection are promised to the museum as a bequest. \n  Save  
URL:https://artinamericaguide.com/event/pattern-and-paradox-the-quilts-of-amish-women/
LOCATION:Smithsonian American Art Museum\, 750 9th St. N.W.\, Washington\, DC\, 20001\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240329
DTEND;VALUE=DATE:20240819
DTSTAMP:20260426T071127
CREATED:20240116T143355Z
LAST-MODIFIED:20240404T143249Z
UID:106708-1711670400-1724025599@artinamericaguide.com
SUMMARY:Jennifer Angus: Flying Jewels & Other Lofty Insects
DESCRIPTION:Insects are the prime medium of internationally exhibited artist Jennifer Angus. Composing the small creatures into kaleidoscopic room installations\, Angus highlights our mixed relationship with these ubiquitous beings. With insects pinned directly to walls in repeating patterns that reference both textiles and wallpaper\, Angus’ installations speak to ideas of domestic comfort and the unseen world of dust mites\, germs\, and bacteria. The jewel-like quality of insects is showcased in shimmering bell jar tableaux and in glowing jelly jars set in windows with the effect of stained glass. Through such reverent—even holy—presentations\, the vital and threatened insect population is given its proper due. Angus’ recent work has drawn inspiration from the Victorian era and is fueled by her fascination with the multifaceted nature of insects that are at once exotic\, grotesque\, and enchanting. Her original installation for Meijer Gardens takes the iridescent green wings of the “Jewel Beetle” as her aesthetic departure point. \n  Save  
URL:https://artinamericaguide.com/event/jennifer-angus-flying-jewels-other-lofty-insects/
LOCATION:Frederik Meijer Gardens & Sculpture Park\, 1000 East Beltline Ave NE\, Grand Rapids\, MI\, 49525\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240329
DTEND;VALUE=DATE:20240819
DTSTAMP:20260426T071127
CREATED:20240116T143416Z
LAST-MODIFIED:20240404T143341Z
UID:106706-1711670400-1724025599@artinamericaguide.com
SUMMARY:Paul Villinski: Flight Patterns
DESCRIPTION:The art of Paul Villinski explores the dynamic aerial realm and various notions of “flight”—literal and metaphorical. A licensed pilot\, Villinski gives form to assorted airborne bodies\, including butterflies\, birds\, airplanes and aspiring humans. To create his sculptural work\, Villinski enlists a range of found materials: aluminum cans become flocks of patterned butterflies; used knives transform into feathered wings; old vinyl LPs morph into songbirds. These discarded objects are reborn in works that honor their past lives while compounding their identity to address serious subjects such as addiction and environmentalism. A highlight of the exhibition is a scaled-down World War II B25 bomber airplane suspended from the ceiling. In Villinski’s hands\, this vessel of destruction is transformed into a vehicle of hope: Instead of bombs it drops food and brings attention to the widespread condition of food scarcity. \n  Save  
URL:https://artinamericaguide.com/event/paul-villinski-flight-patterns/
LOCATION:Frederik Meijer Gardens & Sculpture Park\, 1000 East Beltline Ave NE\, Grand Rapids\, MI\, 49525\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Frederik Meijer Gardens &amp%3B Sculpture Park":MAILTO:hello@meijergardens.org
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240405T110000
DTEND;TZID=America/New_York:20240727T160000
DTSTAMP:20260426T071127
CREATED:20240515T211159Z
LAST-MODIFIED:20240515T211352Z
UID:108279-1712314800-1722096000@artinamericaguide.com
SUMMARY:Suzanne Chamlin: Studies in Color
DESCRIPTION:In this exhibition of recent work\, Chamlin explores ideas about color theory and light through a series of landscape and interior stills. Since 2012\, the artist has carefully charted her paints using the Munsell color system\, which analyzes colors in terms of hue (the color itself)\, value (relative light and dark) and chroma (level of saturation or brilliance). For each of her paintings\, Chamlin sets a highly specific palette; experimentation within this limited range then guides her decisions about process and pictorial space. \nAbout the Artist \nChamlin is Associate Professor of Studio Art in the Department of Visual & Performing Arts at Fairfield University. Her drawings are in the collections of the National Gallery of Art\, Yale University Art Gallery\, and the Nelson Atkins Museum. Chamlin has attended residencies at the Albers Foundation\, Yaddo\, Virginia Center for the Creative Arts\, Ragdale\, Fundación Valparaiso\, and Edna St. Vincent Millay Colony. Chamlin received her B.A. from Barnard College and M.F.A. from Yale University. \nFor more about the exhibition\, visit our website here. \n  Save  
URL:https://artinamericaguide.com/event/suzanne-chamlin-studies-in-color/
LOCATION:Bellarmine Hall\, 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
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240406
DTEND;VALUE=DATE:20240727
DTSTAMP:20260426T071127
CREATED:20240410T143411Z
LAST-MODIFIED:20240516T194559Z
UID:107811-1712361600-1722038399@artinamericaguide.com
SUMMARY:Richmond Barthé: A New Day Is Coming\, Curated with Isaac Julien
DESCRIPTION:Michael Rosenfeld Gallery is proud to present Richmond Barthé: A New Day Is Coming\, a solo exhibition of sixteen sculptures by the Harlem Renaissance master Richmond Barthé (1901–1989) curated with renowned artist and filmmaker Isaac Julien (b.1960). The exhibition will survey the most productive decades of Barthé’s career\, from 1929 to 1966\, with an emphasis on the works of the 1930s and 1940s that established him as a foremost sculptor of his era. A New Day Is Coming also debuts a new film by Julien\, which he describes as an “archival meditation” on Barthé and his work composed of historical documentary footage discovered during research for Once Again . . . (Statues Never Die) (2022)\, an immersive\, five-screen film installation commissioned by the Barnes Foundation in Philadelphia. \nA quintessential artist of the Harlem Renaissance\, Barthé created a pioneering body of sculpture that elevates the Black subject. Much of Barthé’s oeuvre reflects his penchant for allegory and an embrace of classical realism that rendered him a stylistic outlier of his generation. He consistently sought to convey a universal sense of heroism reflective of the African diaspora through his sculpture\, producing a refined body of bust-length portraits and full-length figures portraying a variety of individuals\, including historical luminaries\, archetypal\, religious\, and mythological subjects\, and contemporary celebrities from the dance and theater worlds. While the Black male figure was a prevailing focus of Barthé’s practice\, a consideration of his larger oeuvre reveals a career-long investment in depicting subjects of both genders with authority and empathy. Often working from memory\, Barthé used his superior technical ability to imbue his sculptures with a sense of movement and emotional interiority\, affectingly capturing the spiritual essence of his subjects. A New Day Is Coming will feature several of the artist’s most celebrated sculptures\, such as Feral Benga (1935)\, which portrays Parisian cabaret dancer François “Feral” Benga; Julius (c.1940)\, a portrait of Julius Perkins\, Jr.\, a child actor and musician active in Harlem; Stevedore (1937) a heroic representation of the working everyman; Black Madonna (1961)\, an iconographic interpretation of the Holy Mother as a Black woman; and The Negro Looks Ahead (1944)\, a symbolic rendition of Black fortitude. \nThough Barthé was never open about his sexuality\, his frequent portrayals of the male nude were recognized as expressions of homoerotic desire by his friends and peers in the art and literary world. During his years in New York (1929–1948)\, Barthé became a key figure in an elite milieu of creatives and intellectuals who discretely incorporated gay themes into their work\, including poets Claude McKay\, Langston Hughes\, and Countee Cullen\, cabaret performer Jimmie Daniels\, playwright Harold Jackman\, and photographer Carl Van Vechten. Barthé formed particularly important friendships with the poet Richard Bruce Nugent and Harlem Renaissance philosopher Alain Locke\, the latter of whom considered Barthé’s sculpture a consummate embodiment of the New Negro Movement’s mandate to uplift the collective consciousness of Black America. \nBoth Locke and Nugent are important figures in Isaac Julien’s filmography. His breakthrough film Looking for Langston (1989) is a lyrical montage of real and imagined sequences exploring the lives and work of Harlem’s gay cultural luminaries of the 1920s and their descendants in the 1980s; the film features excerpts from Nugent’s short story “Smoke\, Lilies\, and Jade” (1926) as well as archival footage of Locke and Barthé. Once Again . . . (Statues Never Die) is\, in many ways\, a sequel to Looking for Langston\, taking up many of the same themes and subjects. Structured around a conversation between Locke and Albert C. Barnes\, an important collector of African sculpture and founder of the Barnes Foundation\, the film poetically weaves a thematic exploration of Black queer desire into its timely meditation on the collection and display of African material culture in European and American institutions. Locke and Barthé’s relationship is a primary touchpoint in the film’s arc\, and Barthé’s sculptures figure prominently in the film. \nA New Day Is Coming will feature several casts from editions Barthé produced in the 1940s through the 1960s\, as well as standout examples of his unique painted plaster sculptures dating from 1935 through 1966. The exhibition will also include several editions cast in the final decade of Barthé’s life drawn from the collection of art historian\, curator\, artist\, and Barthé scholar Samella Lewis (1923–2022)\, who was close friends with the sculptor. In 1985–86\, Dr. Lewis assisted Barthé in casting new editions of many of his most accomplished sculptures—a project funded by another important friend and patron\, the actor James Garner. Reproductions of archival photographs commemorating highlights of Barthé’s life and career will be installed throughout the gallery\, providing a historical backdrop to the presentation. These photos will complement two large-scale Inkjet prints by Julien capturing a moment in Once Again… Statues Never Die in which the film’s characters contemplate Barthé’s Black Madonna (1961). \nRichmond Barthé: A New Day Is Coming is mounted in conversation with multiple recent and ongoing museum exhibitions. In 2022\, the Barnes Foundation in Philadelphia opened Isaac Julien: Once Again . . . (Statues Never Die)\, an immersive\, five-screen installation by Julien commissioned by the Foundation on the occasion of their centennial. Installed among the screens were three of the Barthé sculptures featured in the film\, eight works of African art from the Foundation’s collection\, and a selection of works by contemporary sculptor Matthew Angelo Harrison. In 2023\, the Tate Britain opened the traveling career retrospective Isaac Julien: What Freedom is to me\, which featured seven of the artist’s major film installations\, including Once Again . . . (Statues Never Die); the exhibition is currently on view at its final venue\, the Bonnefanten Museum in Maastricht\, The Netherlands\, through August 17\, 2024. \nOnce Again . . . (Statues Never Die) is also featured in the 2024 Whitney Biennial\, Even Better Than the Real Thing\, open through August 11\, 2024. Among the Barthé sculptures augmenting this iteration of the work is a cast of Barthé’s Stevedore (1937) on loan from Michael Rosenfeld Gallery. The installation also features two Barthé sculptures owned by the Whitney\, African Dancer (1933)—which was included in the museum’s First Biennial Exhibition of Contemporary American Sculpture\, Watercolors\, and Prints in 1933—and The Blackberry Woman (1932). Notably\, when the museum acquired The Blackberry Woman in 1932\, Barthé became the first Black artist to enter their collection. Finally\, two of Barthé’s most renowned sculptures\, The Boxer (1942) and Feral Benga (1935–36)\, are currently on view in The Metropolitan Museum of Art’s much-anticipated historical survey The Harlem Renaissance and Transatlantic Modernism\, open through July 28\, 2024. \nRichmond Barthé: A New Day Is Coming is Michael Rosenfeld Gallery’s first solo exhibition on the artist\, who has been an important presence in the gallery’s program for nearly thirty-five years. \n  Save  
URL:https://artinamericaguide.com/event/richmond-barthe-a-new-day-is-coming-curated-with-isaac-julien/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
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GEO:40.7460874;-74.0076191
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
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