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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260404T045922
DTEND;TZID=America/New_York:20260221T180000
DTSTAMP:20260404T045922
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
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231208
DTEND;VALUE=DATE:20261207
DTSTAMP:20260404T045922
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
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ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240726T080000
DTEND;TZID=America/New_York:20280726T170000
DTSTAMP:20260404T045922
CREATED:20240703T180957Z
LAST-MODIFIED:20240703T180957Z
UID:109170-1721980800-1848243600@artinamericaguide.com
SUMMARY:Glenn Kaino: Bridge
DESCRIPTION:Glenn Kaino’s powerful aerial sculpture Bridge is comprised of 200 golden arms hanging from the ceiling of SAAM’s Luce Foundation Center. Each is a casting of the outstretched right arm of Tommie Smith\, the American winner of the men’s 200-meter race at the 1968 Olympic Games in Mexico City. During the medal ceremony\, Smith bowed his head and raised his black-gloved fist in a symbolic act of protest. Coming at a moment of turmoil in the United States\, where public unrest flared over the war in Vietnam\, racial discrimination and inequality\, and the assassinations of Martin Luther King Jr. and Robert F. Kennedy\, his gesture was an assertion of Black solidarity in the fight for human rights. Echoed by the American bronze medalist John Carlos\, it inspired social causes around the world and irrevocably changed Smith’s own life. \n  Save  
URL:https://artinamericaguide.com/event/glenn-kaino-bridge/
LOCATION:Smithsonian American Art Museum\, 750 9th St. N.W.\, Washington\, DC\, 20001\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/07/bridge.jpeg
ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250307T110000
DTEND;TZID=America/New_York:20271231T180000
DTSTAMP:20260404T045922
CREATED:20250224T180514Z
LAST-MODIFIED:20250224T180514Z
UID:112255-1741345200-1830276000@artinamericaguide.com
SUMMARY:Tending and Dreaming: Stories from the Collection
DESCRIPTION:Tending and Dreaming: Stories from the Collection launches the first dedicated collection galleries at the Museum. Providing unprecedented access to core works in San José’s only publicly held art collection\, SJMA’s collection galleries position artists as storytellers to imagine the Museum as a space where culture and meaning are actively made and always in process.  \nOrganized into thematic groupings\, Tending and Dreaming offers poetic starting points for engaging with ideas woven through the works of almost fifty artists from the Bay Area and beyond\, including  Ruth Asawa\, Martha Atienza\, Shilpa Gupta\, Yolanda López\, and Elias Sime\, among many others.  \n  Save  
URL:https://artinamericaguide.com/event/tending-and-dreaming-stories-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/New_York:20250711T110000
DTEND;TZID=America/New_York:20260222T180000
DTSTAMP:20260404T045922
CREATED:20250224T180514Z
LAST-MODIFIED:20250224T180514Z
UID:112259-1752231600-1771783200@artinamericaguide.com
SUMMARY:Pao Houa Her: The Imaginative Landscape
DESCRIPTION:Pao Houa Her’s practice engages with the legacies\, potentials\, and aesthetics of landscape and portrait photography traditions\, examining the complex intertwining of desire\, homeland\, and artifice. Rooted in the experience of her Hmong community and shaped by family experiences and lore passed down by her elders\, Her’s work centers women as the knowledge bearers of both past and future. Using a formally rigorous photographic approach\, Her explores constructions of homeland that resonate across diasporas.  \nPao Houa Her: The Imaginative Landscape is an unconventional survey of over 20 years. Seen through the expansive titular series\, it traces conceptual ties between past series\, new work\, and work still under development\, connecting California agricultural landscapes to the jungles of Laos\, poppy fields in Minnesota\, and beyond. The exhibition is co-organized by Lauren Schell Dickens\, chief curator at SJMA\, and Jodi Throckmorton\, chief curator at John Michael Kohler Arts Center in Sheboygan\, Wisconsin\, and will be presented at both organizations simultaneously.  \n  Save  
URL:https://artinamericaguide.com/event/pao-houa-her-the-imaginative-landscape/
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/New_York:20250711T110000
DTEND;TZID=America/New_York:20260222T180000
DTSTAMP:20260404T045922
CREATED:20250820T162604Z
LAST-MODIFIED:20250820T162604Z
UID:114300-1752231600-1771783200@artinamericaguide.com
SUMMARY:Pao Houa Her: The Imaginative Landscape
DESCRIPTION:Pao Houa Her’s practice engages with the legacies\, potentials\, and aesthetics of landscape and portrait photography traditions\, examining the complex intertwining of desire\, homeland\, and artifice. Rooted in the experience of her Hmong community and shaped by family experiences and lore passed down by her elders\, Her’s work centers women as the knowledge bearers of both past and future. Using a formally rigorous photographic approach\, Her explores constructions of homeland that resonate across diasporas. \nPao Houa Her: The Imaginative Landscape is an unconventional survey of over 20 years. Seen through the expansive titular series\, it traces conceptual ties between past series\, new work\, and work still under development\, connecting California agricultural landscapes to the jungles of Laos\, poppy fields in Minnesota\, and beyond. Her’s images are also dispersed across downtown San José in unexpected place—outside and indoors\, on walls and on screens—a reminder of the tenacity of diasporic communities flourishing throughout our city. \nThe exhibition is co-organized by Lauren Schell Dickens\, chief curator at SJMA\, and Jodi Throckmorton\, chief curator at John Michael Kohler Arts Center in Sheboygan\, Wisconsin\, and will be presented at both organizations simultaneously. \n  Save  
URL:https://artinamericaguide.com/event/pao-houa-her-the-imaginative-landscape-2/
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/New_York:20250830T100000
DTEND;TZID=America/New_York:20260104T170000
DTSTAMP:20260404T045922
CREATED:20250718T162925Z
LAST-MODIFIED:20250718T163036Z
UID:113900-1756548000-1767546000@artinamericaguide.com
SUMMARY:Edna Andrade: Imagination Is Never Static
DESCRIPTION:Celebrate a 20th-century artist whose innovative abstract drawings and paintings continue to inspire. \nEdna Andrade: Imagination Is Never Static offers a new look at the practice of acclaimed artist and educator Edna Andrade (1917–2008). Presenting a selection of drawings recently gifted to the Harvard Art Museums by the artist’s estate\, this exhibition emphasizes the central role of drawing as well as interdisciplinary exploration in her art and in modernist movements of the 20th century. \nAndrade is best known for her geometric compositions\, which were inspired by her interest in studying structures in nature\, architecture\, astronomy\, mathematics\, and art history. She carried this same set of wide-ranging inspirations and inquiry to her teaching. Her classroom bridged her own traditional artistic training of drawing from observation and the principles of the Bauhaus school that transformed U.S. arts curricula after faculty émigrés took up leadership positions in art and architecture programs\, such as Harvard’s Graduate School of Design. Andrade taught courses on color and design at the Philadelphia Museum School of Art and was part of an intellectual salon called Form Forum\, which brought mathematicians\, artists\, architects\, and philosophers together in an exchange of ideas. Presented on a university campus\, the exhibition explores the way that Andrade used drawing as a process of experimentation\, channeling her own multifaceted approach to art and design. \nCurated by Mitra Abbaspour\, Houghton Curator of Modern and Contemporary Art and Head of the Division of Modern and Contemporary Art\, and Madeline Murphy Turner\, Emily Rauh Pulitzer Curatorial Fellow in Contemporary Drawings; with Bridget Hinz\, Senior Curatorial Assistant for Special Exhibitions and Publications. \n  Save  
URL:https://artinamericaguide.com/event/edna-andrade-imagination-is-never-static/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/07/Edna-Andrade.jpeg
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250902
DTEND;VALUE=DATE:20260130
DTSTAMP:20260404T045922
CREATED:20250903T145102Z
LAST-MODIFIED:20251219T202347Z
UID:114410-1756771200-1769731199@artinamericaguide.com
SUMMARY:Performance\, Activist\, and Existential Photographs
DESCRIPTION:Ronald Feldman Gallery is pleased to present a group exhibition: \nPerformance\, Activist\, and Existential Photographs  \nA selection of photographs and photo-based works by: \nVincenzo Agnetti\, Elaine Angelopoulos\, Eleanor Antin\, Arakawa\, Conrad Atkinson\, Brandon Ballengée\, Joseph Beuys\, Chris Burden\, Cassils\, Chuck Close\, Keith Cottingham\, Terry Fox\, Tom Friedman\, Rico Gatson\, Helen & Newton Harrison\, Komar & Melamid\, Lev Nisnevich\, Robert Rauschenberg\, Man Ray\, Gerhard Richter\, Cindy Sherman\, Dmitry Shubin\, Tavares Strachan\, Diemut Strebe\, Hiroshi Sugimoto\, Eve Sussman\, Mierle Laderman Ukeles\, Andy Warhol\, Hannah Wilke \nThis selection is inspired by Marcel Duchamp’s belief that the concept behind the artwork is more important than its visual or material form.  This radical shift away from materiality created a foundation for artists to challenge traditional artistic forms and practices and opened the door to bold new directions.  All of the artists included use their work to probe into an array of subject matters\, and often redefine art in the process.  If approached with an open mind\, the photographs invite and inspire viewers to question their own assumptions about what art is.  This exhibition presents a cross-section of Ronald Feldman Gallery’s significant history and commitment to idea-driven work. \n  Save  
URL:https://artinamericaguide.com/event/performance-activist-and-existential-photographs/
LOCATION:Ronald Feldman Gallery\, 31 Mercer Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/08/Burden-Doorway-to-Heaven-1973.jpg
ORGANIZER;CN="Ronald Feldman Gallery":MAILTO:info@feldmangallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20250909T080000
DTEND;TZID=America/Chicago:20260125T170000
DTSTAMP:20260404T045922
CREATED:20251020T183958Z
LAST-MODIFIED:20251020T183958Z
UID:115013-1757404800-1769360400@artinamericaguide.com
SUMMARY:Iⁿ’zhúje’waxóbe: Return of the Sacred Red Rock
DESCRIPTION:Return of the Sacred Red Rock tells the story of the rematriation of Iⁿ‘zhúje‘waxóbe\, or the Sacred Red Rock\, from the City of Lawrence\, Kansas\, to Kaw Nation through artwork created by local artists and Kaw tribal citizens. This exhibition is open through January 25. \n  Save  
URL:https://artinamericaguide.com/event/i%e2%81%bfzhujewaxobe-return-of-the-sacred-red-rock/
LOCATION:Spencer Museum of Art\, University of Kansas\, 1301 Mississippi St.\, Lawrence\, KS\, 66045\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/10/T2025.046.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/Denver:20250919T100000
DTEND;TZID=America/Denver:20260510T170000
DTSTAMP:20260404T045922
CREATED:20250123T201026Z
LAST-MODIFIED:20250123T201026Z
UID:111745-1758276000-1778432400@artinamericaguide.com
SUMMARY:“Tell Clyfford I Said ‘Hi’”: An Exhibition Curated by Children of the Colville Confederated Tribes
DESCRIPTION:“Tell Clyfford I Said ‘Hi’”: An Exhibition Curated by Children of the Colville Confederated Tribes is a collaborative exhibition co-curated with youth from the Colville Confederated Tribes in Washington State\, on view from September 19\, 2025–May 10\, 2026\, at the Clyfford Still Museum. It highlights the perspectives of Colville children on Clyfford Still’s depictions of their ancestors and their home\, as well as his abstract works. Installed in all nine of the Museum’s galleries\, this exhibition investigates six themes identified by our co-curators: Family & Culture\, Connection\, Storytelling\, Wilderness\, Love\, and Paint & Color. \nClyfford Still Museum’s curatorial and education staff worked with young children (ages three years to fourteen years old) and teachers from partner schools and childcare centers on the Colville Confederated Tribes Reservation on every level of the exhibition\, including artwork selection and arrangement\, object interpretation and gallery text\, and interactive space. \nThis exhibition continues CSM’s efforts to foster engagement with its collections by sharing authority on Still’s work with the Museum’s critical communities and is an occasion to bridge various gaps—physical\, cultural\, metaphorical—that exist between Indigenous communities and the traditional art museum space. \nBackground and Development \nWhile working as an instructor at the Washington State College Fine Arts Department\, Clyfford Still assisted in founding a summer art colony for WSC community members and became one of its first instructors in the summers of 1937 and 1938. Instructors held classes in Nespelem on the Colville Reservation and Toppenish on the Yakama Indian Reservation in Washington. The Clyfford Still Museum collections include three paintings on canvas\, over 85 drawings and sketches on paper\, nearly 20 documentary photographs\, and other archival ephemera documenting Still’s time in the area. These objects reveal how Still’s experiences with the Colville community profoundly impacted his work for years. \nWhile culturally distinct and diverse\, the twelve bands of the Confederated Tribes of the Colville Reservation—Chelan\, Chief Joseph Band of Nez Perce\, Colville\, Entiat\, Lakes\, Methow\, Moses-Columbia\, Nespelem\, Okanogan\, Palus\, San Poil\, and Wenatchi—share cultural practices and 1.4 million acres of land. Though CSM has focused past exhibitions and programs on Still’s work from Nespelem since 2013\, this exhibition seeks to extend and deepen CSM’s relationship with the Colville Tribal community. \nCo-curated with children in the Colville Confederated Tribes in northeastern Washington\, this exhibition explores Clyfford Still’s work through the perspectives of children\, some of whom are direct descendants of individuals Still portrayed in his art. “Tell Clyfford I Said ‘Hi’” centers young Indigenous voices by engaging them to collaboratively develop an exhibition that builds upon previous evaluation\, research\, and CSM exhibitions. \n  Save  
URL:https://artinamericaguide.com/event/tell-clyfford-i-said-hi-an-exhibition-curated-by-children-of-the-colville-confederated-tribes/
LOCATION:Clyfford Still Museum\, 1250 Bannock St.\, Denver\, CO\, 80204\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/01/Colville-Children-Curate-scaled.jpg
ORGANIZER;CN="Clyfford Still Museum":MAILTO:press@clyffordstillmuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20251015T110000
DTEND;TZID=America/Los_Angeles:20260412T170000
DTSTAMP:20260404T045922
CREATED:20251002T210138Z
LAST-MODIFIED:20251002T210138Z
UID:114915-1760526000-1776013200@artinamericaguide.com
SUMMARY:Boren Banner Series: Camille Trautman
DESCRIPTION:Every photograph is a reminder that the act of framing is never neutral. In Camille Trautman’s first solo museum exhibition in their hometown\, the Seattle-born Duwamish artist uses photography and video to challenge colonial narratives and counter Indigenous erasure. The exhibition presents selections from their ongoing series The North American LCD—spectral self-portraits staged in varied natural landscapes. Rooted in Trautman’s process of coming out as transgender\, the images show the artist’s body partially obscured by large LCD screens. The series examines how both landscape photography and digital media can shape or distort cultural identity\, often by promoting or denying visibility. \n  Save  
URL:https://artinamericaguide.com/event/boren-banner-series-camille-trautman/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/10/till_001_01_X1_0018_small.jpg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251017T110000
DTEND;TZID=America/New_York:20260607T170000
DTSTAMP:20260404T045922
CREATED:20250930T190523Z
LAST-MODIFIED:20250930T190523Z
UID:114809-1760698800-1780851600@artinamericaguide.com
SUMMARY:ektor garcia: loose ends
DESCRIPTION:In a materials-based practice that draws on Mexican handcraft traditions and a DIY sensibility\, ektor garcia subtly challenges hierarchies ​of​ gendered and racialized labor while undermining notions of static identity. ​He draws from a​ ​unique ​vocabulary of materials—copper wire\, cast metals\, glass\, clay\, horsehair\, seashells\, and leather—​which he​ w​ea​ve​s​\, knot​s​\, and crochet​s​​ into objects​ at once​ vulnerable and resistant\, soft and hard. ​He begins e​ach piece with a single gesture or stitch\, ​which he ​repeat​s​ over countless hours to ​create​ long chains\, textiles\, nets\, and altar-like accumulations. Such works are shaped by the artist’s responsiveness to materials\, environmental and social context​s​\, and the intuitive inattention that develops with manual repetition. As sculptures​\,​ they ​are​ quiet but restless​—​psychologically and politically charged in their ​misleading ​delicacy and susceptibility to transformation. \nRecords of time and labor\, garcia’s creations are only ever paused in their growth\, never complete. The artist is ​also ​known to undo previously exhibited objects\, reshaping and gathering them into ​new​ constellations. ​Through​​ ​his​ ​practice\, ​he​ opens up​ new​ possibilities for making and knowing that are constantly engaged in a process of unraveling and reworking\, learning and quiet change. \nIn SJMA’s Davies ​G​allery\, garcia’s installation will incorporate existing and new sculptures repurposed into a single\, new installation. Originally from California​\, the artist is​ currently living nomadically​;​ this exhibition marks his homecoming to the ​B​ay ​A​rea. \n  Save  
URL:https://artinamericaguide.com/event/ektor-garcia-loose-ends/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/09/garcia-crochet-web-size.jpg
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20251018T110000
DTEND;TZID=America/Los_Angeles:20260419T170000
DTSTAMP:20260404T045922
CREATED:20251002T210138Z
LAST-MODIFIED:20251002T210138Z
UID:114907-1760785200-1776618000@artinamericaguide.com
SUMMARY:Priscilla Dobler Dzul: Water Carries the Stories of Our Stars
DESCRIPTION:Water Carries the Stories of our Stars is the expansive museum debut from artist Priscilla Dobler Dzul\, who lives in Tacoma\, Washington\, and Yucatán\, Mexico. The exhibition brings together an entirely new body of sculpture\, textile\, and video work to chart urgent stories of environmental harm and cultural justice. Drawing from her Maya and multicultural heritage and building on years of research\, the artist merges pre-Hispanic techniques\, collaborations with Yucatec Maya elders\, and regionally sourced materials to reflect on the loss of water and its consequences. From Mexican cenotes to Washington wetlands\, Dobler Dzul’s work centers living waters as portals of cosmic ancestral knowledge. She calls on us to listen—to the birds\, the winds\, the elders—and to reimagine collective existence through the labor of craft. \n  Save  
URL:https://artinamericaguide.com/event/priscilla-dobler-dzul-water-carries-the-stories-of-our-stars/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/10/Turtle-and-vulture-gathered-the-bones-to-awaken-margay-tapirus-and-human-iguana_small.jpg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20251025T110000
DTEND;TZID=America/Los_Angeles:20260118T170000
DTSTAMP:20260404T045922
CREATED:20251002T210138Z
LAST-MODIFIED:20251002T210138Z
UID:114911-1761390000-1768755600@artinamericaguide.com
SUMMARY:Beau Dick: Insatiable Beings
DESCRIPTION:Insatiable Beings is the first US museum survey of the late Beau Dick (1955–2017)\, Kwakwaka’wakw Hereditary Chief\, activist\, and master carver. Internationally celebrated for his powerful formline masks and sculptures\, Dick’s work brings to life ancestral stories while offering a profound critique of capitalist systems. Featuring richly adorned carvings—many made to be danced in ceremonies—the exhibition honors Dick’s vision of art as both spiritual practice and political act. Insatiable Beings centers Dick’s voice and community\, offering a vital\, layered portrait of an artist who engaged tradition as a tool for resistance\, mentorship\, and cultural resurgence. \n  Save  
URL:https://artinamericaguide.com/event/beau-dick-insatiable-beings/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/10/Beau-Dick_Hamatsa-Bear-Headdress_small.jpg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20251025T110000
DTEND;TZID=America/Los_Angeles:20260920T170000
DTSTAMP:20260404T045922
CREATED:20251002T210138Z
LAST-MODIFIED:20251002T210138Z
UID:114919-1761390000-1789923600@artinamericaguide.com
SUMMARY:Frye Salon + Jonathan Lasker
DESCRIPTION:Frye Salon is both a fixture and a living experiment—an ever-evolving installation that invites fresh perspectives on the museum’s founding-era collection. The gallery features more than one hundred paintings in a floor-to-ceiling presentation mode known as “salon style\,” recalling the striking displays once found in Charles and Emma Frye’s First Hill home. In Frye Salon + Jonathan Lasker\, a selection of large canvases by the contemporary American painter—subject of the concurrent exhibition Drawings and Studies—intermingle with the featured collection works. Known for his bold visual language of biomorphic forms and distinctive use of line\, Lasker uses the familiar tools of representational painting—figure and ground\, space and perspective—to destabilize the dividing line with abstraction. Situated among the works of Frye Salon\, his vibrant\, evocatively titled compositions open unexpected conversations across time\, style\, and painterly intent. \n  Save  
URL:https://artinamericaguide.com/event/frye-salon-jonathan-lasker/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/10/Frye-20240415-079_small.jpg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20251025T110000
DTEND;TZID=America/Los_Angeles:20260927T170000
DTSTAMP:20260404T045922
CREATED:20250930T190545Z
LAST-MODIFIED:20250930T190545Z
UID:114831-1761390000-1790528400@artinamericaguide.com
SUMMARY:Jonathan Lasker: Drawings and Studies
DESCRIPTION:For over five decades\, American artist Jonathan Lasker has approached the elements of painting like a puzzle—taking it apart\, turning the pieces\, and putting it back together in new ways. Drawings and Studies offers a close look at how his ideas take shape\, featuring works on paper that Lasker created from the 1980s to the 2020s\, tracking the refinement of his distinctive visual language. At once analytical and expressive\, these compositions play with the visual cues of figuration\, teasing allusions to portraits\, landscapes\, or still lifes through biomorphic forms and carefully choreographed marks. In Lasker’s hands\, abstraction exists in spirited tension with representation\, and the act of seeing becomes part of the story. \n  Save  
URL:https://artinamericaguide.com/event/jonathan-lasker-drawings-and-studies/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/09/Study-for-Fake-Freak-scaled.jpg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20251025T110000
DTEND;TZID=America/Los_Angeles:20260927T170000
DTSTAMP:20260404T045922
CREATED:20250930T190545Z
LAST-MODIFIED:20250930T190545Z
UID:114829-1761390000-1790528400@artinamericaguide.com
SUMMARY:Jonathan Lasker: Drawings and Studies
DESCRIPTION:For over five decades\, American artist Jonathan Lasker has approached the elements of painting like a puzzle—taking it apart\, turning the pieces\, and putting it back together in new ways. Drawings and Studies offers a close look at how his ideas take shape\, featuring works on paper that Lasker created from the 1980s to the 2020s\, tracking the refinement of his distinctive visual language. At once analytical and expressive\, these compositions play with the visual cues of figuration\, teasing allusions to portraits\, landscapes\, or still lifes through biomorphic forms and carefully choreographed marks. In Lasker’s hands\, abstraction exists in spirited tension with representation\, and the act of seeing becomes part of the story. \n  Save  
URL:https://artinamericaguide.com/event/jonathan-lasker-drawings-and-studies-2/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20251030T100000
DTEND;TZID=America/Los_Angeles:20251220T170000
DTSTAMP:20260404T045922
CREATED:20251006T142307Z
LAST-MODIFIED:20251006T142307Z
UID:114937-1761818400-1766250000@artinamericaguide.com
SUMMARY:Richard Misrach: Rewind
DESCRIPTION:With Richard Misrach: Rewind\, Fraenkel Gallery presents a retrospective look at the artist’s career\, spanning more than five decades. Organized in reverse chronological order\, the exhibition ranges from Cargo\, Misrach’s newest series exploring the impact of global trade\, to Telegraph 3 A.M.\, his earliest project\, documenting street culture in Berkeley\, California in the early 1970s. Highlighting ideas and themes that have consistently driven his work\, the exhibition presents photographs m ade with an array of materials and techniques. Using everything from 35mm film to large-scale digital prints\, the show traces Misrach’s development across the forefront of the medium. Fraenkel Gallery has shown Misrach’s work since 1985; this will be his seventeenth exhibition with the gallery. A public reception and book signing with the artist will take place on Saturday\, November 1\, from 2-4pm. \n  \nWhether photographing subjects as disparate as environmental disasters or cloud studies\, Misrach has always pursued beauty. “I’ve come to believe that beauty can be a very powerful conveyor of difficult ideas\,” says Misrach. “It engages people when they might otherwise look away.” The exhibition begins with a 2025 sunrise view of a freighter ship in the San Francisco Bay\, printed at more than 5’ x 6’. Composed in vivid shades of pink\, blue\, and violet\, the image from Cargo addresses the complex economic systems that shape modern life\, and their far-reaching consequences. Other seductive but charged images document the U.S.-Mexico border wall\, from the series Border Cantos; Louisiana’s highly polluted Cancer Alley\, from Petrochemical America; and the aftermath of Hurricane Katrina\, from a series shown here for the first time\, 20 years after the storm. Several photographs come from Desert Cantos\, Misrach’s long-running series examining humans’ multifaceted relationship with the landscape of the American West. \n  \nSince the start of his career\, Misrach has moved seamlessly between social concerns and more philosophical\, experimental questions. “My work…has been about navigating these two extremes—the political and the aesthetic\,” Misrach writes. His first series Telegraph 3 A.M. used a medium format camera on a tripod. Working during the day and at night\, Misrach made portraits recording the effects of drugs and poverty in the wake of the Berkeley counterculture movement. In the series that followed\, Misrach began photographing in the desert\, shooting at night but using a strobe to reveal the otherworldly shapes of cacti and sagebrush. The richly black\, split-toned prints he made depict a near-mystical landscape visible only to the camera. \n  \nLater series push further into sublime encounters between nature and the camera. Starting in the 1990s\, Misrach photographed the Golden Gate Bridge\, capturing variations in atmosphere and color that border on abstraction. Working from a single vantage point\, Misrach waited for the light and composition to align in front of his camera\, an approach he returned to with On the Beach\, his study of the ocean’s infinite surface\, and most recently with Cargo. Abstraction in nature is also at the center of the series Notations\, exploring the surreal hues found in color photographic negatives\, digitally rendered. In these images\, Misrach inverts the tonalities of clouds or desert scrub brush\, creating delicate studies of texture and form. \n  \nRichard Misrach (born 1949) has been photographing the American West for more than 50 years. His work has been the subject of solo exhibitions at the National Gallery of Art\, Washington\, D.C.; Art Institute of Chicago; Los Angeles County Museum of Art; and Centre Pompidou\, Paris\, among others. Border Cantos\, a collaboration with the composer Guillermo Galindo\, opened at the San Jose Museum of Art in California in 2016 and continues to travel throughout the U.S. His work has been featured in more than a dozen books\, including Telegraph 3 A.M.\, Bravo 20: The Bombing of the American West\, Crimes and Splendors: The Desert Cantos of Richard Misrach\, On the Beach\, Destroy This Memory\, Petrochemical America\, Border Cantos\, Blind Spot Folios 001: Nancy Holt & Richard Misrach\, On Landscape and Meaning\, Notations\, and most recently\, Cargo. His photographs are held in the collections of major institutions including the Museum of Modern Art\, New York; Whitney Museum of American Art\, New York; Metropolitan Museum of Art\, New York; National Gallery of Art\, Washington\, D.C.; and the San Francisco Museum of Modern Art\, among others. He is the recipient of numerous awards including four National Endowment for the Arts Fellowships and a Guggenheim Fellowship. \n  \n  Save  
URL:https://artinamericaguide.com/event/richard-misrach-rewind/
LOCATION:Fraenkel Gallery\, 49 Geary Street\, San Francisco\, CA\, 94108\, United States
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ORGANIZER;CN="Fraenkel Gallery":MAILTO:mail@fraenkelgallery.com
GEO:37.7876041;-122.4042781
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Fraenkel Gallery 49 Geary Street San Francisco CA 94108 United States;X-APPLE-RADIUS=500;X-TITLE=49 Geary Street:geo:-122.4042781,37.7876041
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251030T180000
DTEND;TZID=America/New_York:20251220T180000
DTSTAMP:20260404T045922
CREATED:20251001T210028Z
LAST-MODIFIED:20251001T210028Z
UID:114879-1761847200-1766253600@artinamericaguide.com
SUMMARY:Betsy Eby | Chromatic Frequencies
DESCRIPTION:Winston Wächter Fine Art is pleased to present Chromatic Frequencies\, a new body of encaustic paintings by Betsy Eby exploring the visualization of sound and harmonic connection. As both a painter and musician\, Eby brings a rare sensitivity to her practice\, drawing on her heightened perceptual gifts\, creating correspondences between color\, rhythms and sound. \nChromatic Frequencies emerges from Eby’s recent personal journey. Following major neurosurgery\, she turned to Solfeggio Frequencies\, soundscapes rooted in hertz frequencies known by researchers to have healing properties on the brain and body’s neural networks. An evolution of her lifelong practice of painting nature based abstractions\, this body of work explores themes on a quantum level at once read micro and macroscopically\, bringing together Eby’s love of music\, colorfield painting\, rhythmic line and materiality.  She builds resonant color fields representing harmonic systems then disrupts those systems with the embodiment of gestural line work. The lines bury\, recede and emerge\, hovering amidst luminous fields. One painting to the next explores analogous or contrasting color worlds\, decisions affecting their resulting moods. \nEby speaks of the Japanese process\, Kintsugi\, or “golden repair\,” a tradition in which broken vessels are mended with precious metals\, celebrating scars as markers of resilience. “The act of painting is a recognition of the beauty found through survival\, with each painting being a record of systems disrupted then renewed\,” Eby states.  Chromatic Frequencies reflects Eby’s belief in the healing power of sound translated into material form. \nBetsy Eby earned her BA in Art History at the University of Oregon in 1990 and has since exhibited her artworks widely\, showing across the United States and Europe. Her works are held in numerous public and private collections including the Tacoma Museum of Art and the Columbus Museum of Art. She and her husband\, painter Bo Bartlett\, split their time between studios in Columbus\, Georgia\, and Wheaton Island\, Maine. A native to Oregon\, Eby cites her early influences in the Northwest mystics\, Pacific Northwest modernism and atmospheric abstraction. \n  Save  
URL:https://artinamericaguide.com/event/betsy-eby-chromatic-frequencies/
LOCATION:Winston Wächter Fine Art\, 530 W 25th St\, New York\, New York\, 10001
CATEGORIES:Exhibition
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ORGANIZER;CN="Winston Wachter Fine Art":MAILTO:nygallery@winstonwachter.com
GEO:40.7493621;-74.0047021
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Winston Wächter Fine Art 530 W 25th St New York New York 10001;X-APPLE-RADIUS=500;X-TITLE=530 W 25th St:geo:-74.0047021,40.7493621
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251030T180000
DTEND;TZID=America/New_York:20251220T180000
DTSTAMP:20260404T045922
CREATED:20251001T210046Z
LAST-MODIFIED:20251001T210046Z
UID:114883-1761847200-1766253600@artinamericaguide.com
SUMMARY:Paulette Tavormina | Portraits in Bloom
DESCRIPTION:Winston Wächter Fine Art\, New York is pleased to present Portraits in Bloom\, a new series of photographs by Paulette Tavormina. In her second solo exhibition with the gallery\, Tavormina takes inspiration from 17th-century Old Master still life paintings\, transforming their rich symbolism into contemporary photographic portraits of flowers. \nTavormina races against time to stage and curate each portrait in her studio after hand picking various fresh florals. Thus\, rather than presenting flowers in traditional vases\, she captures peonies\, lilacs\, dahlias\, roses\, tulips\, foxglove\, and more\, in various stages of life\, from tightly furled buds to petals in decline. Butterflies and insects often appear within her compositions\, reinforcing the interconnectedness of the natural world while echoing the allegorical depth of Old Master paintings. \nFor Tavormina\, flowers are not only symbolic but deeply personal. Her lifelong love of flora stems from childhood days spent in her grandparents’ garden on Long Island\, where her grandfather’s plum\, fig trees\, and plate sized dahlias alongside her grandmother’s award-winning roses\, left a lasting impression. Today\, Tavormina continues that tradition\, cultivating many of the flowers featured in her photographs from her own Connecticut garden. In Portraits in Bloom\, Tavormina elevates these homegrown specimens into elegant\, timeless compositions. Each work is both a meditation on beauty’s transience and a tribute to the enduring\, intimate bond between memory\, family\, and the natural world. \nPaulette Tavormina lives and works in New York City and Connecticut. Her photographs are held in museum\, corporate and private collections and have been exhibited in Paris\, London\, Moscow\, Lugano\, Madrid\, New York\, Los Angeles\, Miami\, Palm Beach\, Boston\, Palm Desert and San Francisco. Tavormina also has a successful career as a commercial photographer\, photographing Gucci’s Alchemist’s Garden Perfume campaign. She has photographed works of art for Sotheby’s\, fragrances for GOOP\, and recipes for The Del Posto Cookbook (Hachette) with chef\, Mark Ladner. She has been commissioned by National Geographic Magazine and The New York Times\, among others. Previously\, Tavormina was a prop and food stylist in Hollywood\, her work seen on the silver screen in seven films such as Nixon\, The Astronaut’s Wife and The Perfect Storm. Most recently\, she was invited to show her works at the Château des Joncherets showcase in Saint Lubin des Joncherets\, France\, which opens to the public in January 2026. \n  Save  
URL:https://artinamericaguide.com/event/paulette-tavormina-portraits-in-bloom/
LOCATION:Winston Wächter Fine Art\, 530 W 25th St\, New York\, New York\, 10001
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/10/First-Dahlias.jpeg
ORGANIZER;CN="Winston Wachter Fine Art":MAILTO:nygallery@winstonwachter.com
GEO:40.7493621;-74.0047021
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Winston Wächter Fine Art 530 W 25th St New York New York 10001;X-APPLE-RADIUS=500;X-TITLE=530 W 25th St:geo:-74.0047021,40.7493621
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251103
DTEND;VALUE=DATE:20260108
DTSTAMP:20260404T045922
CREATED:20251105T182734Z
LAST-MODIFIED:20251105T182734Z
UID:115105-1762128000-1767830399@artinamericaguide.com
SUMMARY:To Grandmother's House We Go-- The Art of Travel
DESCRIPTION:To Grandmother’s House We Go – The Art of Travel\n\n\nAn Artsy Online Exclusive Exhibition Celebrating the Journey Through Art\nFeaturing works by Jose Aurelio Baez\, Robert Indiana\, Margaret Morrison\, Kenji Nakayama\, Drew Roth\, Swoon and Andy Warhol. \n[New York City\, NY] – Woodward Gallery presents To Grandmother’s House We Go – The Art of Travel\, a vibrant and evocative online group exhibition that explores the romance\, nostalgia\, and spirit of travel through the distinct lenses of six contemporary and modern artists. Featuring original paintings and prints by Margaret Morrison\, Drew Roth\, Robert Indiana\, Jose Aurelio Baez\, Kenji Nakayama\, and Swoon\, the exhibition celebrates modes of transportation—trains\, cars\, subways\, and imagined escapes—as metaphors for movement\, memory\, and personal journey. \nFrom Robert Indiana’s iconic graphic symbols to Drew Roth’s primitive-expressionist dreamscapes\, each artist offers a unique interpretation of what it means to be in motion—physically\, emotionally\, and creatively. Margaret Morrison brings surreal vision to travel imagery rooted in personal and cultural nostalgia. Jose Aurelio Baez’s layered urban iconography speaks to the cultural dislocation and hybrid journeys of modern life\, while Kenji Nakayama’s meticulous stencil and sign work evoke the American roadside\, echoing themes of migration\, labor\, and discovery. \nSwoon’s Red Riding Hood transports viewers to a realm where fairy tale and urban reality intersect. Her intricately cut portrait evokes both vulnerability and strength\, capturing the layered experience of women navigating spaces that are at once mythic\, dangerous\, and empowering. \nThis exhibition invites viewers to consider the aesthetics and meanings of travel—not only as a destination-driven act\, but as an emotional and symbolic experience. Whether a literal ride to a grandparent’s home or a conceptual passage through time\, To Grandmother’s House We Go draws together six distinct voices in a dynamic exploration of how we move through the world—and how those movements shape who we are. \nAbout the Artists:\n•   Robert Indiana: A leading figure in American Pop Art\, known for his bold text-based prints and sculptures\, including the iconic LOVE.\n•   Margaret Morrison: Celebrated for her lush\, imaginative still lifes and narratives that merge childhood memory with fantasy. This body of work emerges from her Zen of Driving series\, where time behind the wheel becomes a space for reflection.\n•   Drew Roth: A Cleveland-born\, SoHo-based painter whose tribal-infused expressionist works capture inner vision and motion.\n•   Jose Aurelio Baez: A Dominican-American artist whose multi-layered compositions explore migration\, identity\, and cultural hybridity.\n•   Kenji Nakayama: Japanese-born\, Boston-based painter and sign artist known for hyper-detailed hand-cut stencils and Americana motifs.\n•   Swoon: Internationally acclaimed for her socially engaged street art\, cut-paper portraits\, and feminist narratives that fuse myth\, community\, and activism. \n\n\n. \n  Save  
URL:https://artinamericaguide.com/event/to-grandmothers-house-we-go-the-art-of-travel/
LOCATION:Woodward Gallery\, 132A Eldridge Street\, New York City\, NY\, 10002\, United States
CATEGORIES:Art Fair
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2025/11/Margaret-Morrison-Wyoming.png
ORGANIZER;CN="Woodward Gallery":MAILTO:art@woodwardgallery.net
GEO:40.7188679;-73.9915203
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Woodward Gallery 132A Eldridge Street New York City NY 10002 United States;X-APPLE-RADIUS=500;X-TITLE=132A Eldridge Street:geo:-73.9915203,40.7188679
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251113
DTEND;VALUE=DATE:20251222
DTSTAMP:20260404T045922
CREATED:20251020T183958Z
LAST-MODIFIED:20251020T183958Z
UID:115022-1762992000-1766361599@artinamericaguide.com
SUMMARY:Damien Olsen Berdichevsky: Natural Histories
DESCRIPTION:Amos Eno Gallery\, a non-profit\, artist-run space\, is pleased to present Natural Histories\, a solo exhibition by Brooklyn-based multidisciplinary artist Damien Olsen Berdichevsky. The exhibition will be on view from November 13 to December 21\, 2025\, with an opening reception on Friday\, November 14. Works and installation views are also available on Artsy. \nIn Natural Histories\, Berdichevsky transforms the gallery into a cabinet of curiosities for the 21st century — part museum display\, part dream sequence. A constellation of sculptural assemblages and surreal dioramas invites viewers into a world where discarded\, found\, and fabricated objects shed their original functions to form new mythologies. The result is an uncanny landscape of artifacts that feel both ancient and futuristic\, familiar yet impossible to categorize. \nIn an era defined by information overload\, rapid obsolescence\, and the endless circulation of images\, Berdichevsky’s work offers a counterpoint — a slow\, psychological archaeology of meaning. His reconstructed “artifacts” speak to a collective desire to make sense of what we’ve lost: the tactile\, the mysterious\, and the sacred within the everyday. Natural Histories reimagines how value and memory are assigned in a world where the boundary between the authentic and the artificial has grown perilously thin. \nBerdichevsky’s process begins with erasure: by stripping each object of its known history\, he opens space for new meaning to emerge. Over time\, relationships between these hybrid forms reveal themselves — echoing what psychoanalysis calls “the ethics of the unconscious\,” where desire is uncovered only through detour and discovery. \nBerdichevsky’s inquiry into transformation\, meaning\, and perception doesn’t end with objects — it continues through sound. On November 22 at 4 p.m.\, Berdichevsky will perform a live\, improvised soundtrack at Amos Eno\, inspired by his work on view. His approach to sound reflects his work in sculpture and painting\, shaping each composition with texture\, space\, and emotion as if molding sound into form or layering color onto canvas. Drawing from his cinematic experience\, Berdichevsky creates soundtracks for art that transform visual expression into immersive soundscapes\, allowing art to be heard as well as seen. \nAbout the Artist \nBorn in Buenos Aires to a Ukrainian immigrant family and later based in Brazil\, Damien Olsen Berdichevsky’s cross-cultural background informs his interdisciplinary practice spanning painting\, photography\, music\, and sculpture. With formal studies in Psychology\, Dance Theater\, and Zen Buddhism\, his work merges the visual\, performative\, and contemplative. Berdichevsky has exhibited internationally\, including at The Museum of Art of Fortaleza (Brazil) and The Brooklyn Museum. \n\n\nAbout Amos Eno Gallery \nAmos Eno Gallery has been a fixture in the New York art scene since 1974 when it opened in Soho. The gallery is open Thursdays through Sundays from noon to 6 p.m. and is run by a small community of professional artists\, both from New York City and across the country\, and a part-time director. ​ \nThe gallery is located at 191 Henry Street between Jefferson and Clinton Streets on the Lower East Side of Manhattan. It’s a 5 minute walk from the F Train’s East Broadway Station and a 10 minute walk from the J Train’s Delancey Street – Essex Street Station. \nFor more information\, please contact Gallery Director Ellen Sturm Niz at amosenogallery@gmail.com. \n\n  Save  
URL:https://artinamericaguide.com/event/damien-olsen-berdichevsky-natural-histories/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/10/Berdichevsky_Of-Drifters-and-Ramblers.jpeg
ORGANIZER;CN="Amos Eno Gallery":MAILTO:amosenogallery@gmail.com
GEO:40.7057864;-73.9331373
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Amos Eno Gallery 191 Henry Street New York NY 10002 United States;X-APPLE-RADIUS=500;X-TITLE=191 Henry Street:geo:-73.9331373,40.7057864
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251113
DTEND;VALUE=DATE:20251224
DTSTAMP:20260404T045922
CREATED:20251201T211233Z
LAST-MODIFIED:20251201T211233Z
UID:115158-1762992000-1766534399@artinamericaguide.com
SUMMARY:Vivian Browne: The Trees Speak\, Painting 1964-1992
DESCRIPTION:RYAN LEE is pleased to announce The Trees Speak\, an exhibition of paintings and works on paper by Vivian Browne (b. 1929 Laurel\, FL – d. 1993 New York\, NY) inspired by the intersection of humans and nature that she observed in the California landscape. Ranging from small paintings to grand triptychs\, some of the works on view were included in the 2025 museum retrospective Vivian Browne: My Kind of Protest\, but many of them haven’t been exhibited for 30 years. This is RYAN LEE’s third solo exhibition of Browne’s work. \nThese paintings\, created between 1964 and 1992\, reveal Browne’s heightened awareness of man’s impact on nature. In a 1988 artist statement\, Browne wrote\, “As a child growing up in Queens\, NY\, when it was still possible to walk through open fields and small orchards\, I became fascinated with trees. That compelling attraction combined with a growing concern for environmental issues has led to references to plant life in much of my work of the past ten years.” \nCurator Lowery Stokes Sims concurred\, noting that Browne “captured the wonderment of a child’s first infatuation with trees encapsulated in the dramatic upsweep of the perspective in many of these paintings.” This is epitomized in the monumental painting Kings Canyon (1992)\, named after Kings Canyon National Park which contains some of the world’s largest stands of sequoia trees. Creating a patchwork of abstracted elements\, Browne plays with perspective and color. The works in this exhibition\, pulsing with energy and repeated patterns\, are studies of light and space and the ways that humans intervene in nature. \nIn 1964\, Browne traveled to California for the first time when she received a six-month Huntington Hartford fellowship\, dedicating herself to art full time and finding inspiration in the local topography. During this time\, she created Pacific Palisades (1964-65)\, which foreshadowed both her interest in painting trees as well as the color palette she would favor throughout her career. \nBrowne returned to California in the 1980s and became captivated with the monumental trees that she encountered in places like Yosemite National Park. Her studio overlooked a “bunch of tangled trees\,” as her friend Emma Amos described it. She photographed power lines and transmission towers and began to visually juxtapose the linearity of tree branches and trunks with the metal bars of the pylons. Later\, she began to superimpose these natural and manmade shapes\, considering them as competing sources of energy. Browne said\, “In a world fast becoming stripped of its natural resources\, forms of the big trees seemed to me to be symbolic of power\, strength and endurance.” The painting titled Global Warming (1987) represents Browne’s prescient anxiety about the environment as she used what was\, at the time\, a newly popular term for climate change. \nEmbedded in the abstract patterns of the trees in paintings such as All Trace (c. 1987) are encoded words by Black female writers – in this case\, a quote from Toni Morrison’s acclaimed 1987 novel Beloved. Browne faced decades of pressure to paint “Black art” – meaning figurative art about Black themes. In an act of defiance and celebration\, she made her trees “Black” by imbuing them with writing by Black female authors. \n  Save  
URL:https://artinamericaguide.com/event/vivian-browne-the-trees-speak-painting-1964-1992/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="RYAN LEE":MAILTO:info@ryanleegallery.com
GEO:40.7500935;-74.0036112
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=RYAN LEE 515 W 26th St 3rd Fl New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=515 W 26th St\, 3rd Fl:geo:-74.0036112,40.7500935
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251114
DTEND;VALUE=DATE:20260201
DTSTAMP:20260404T045922
CREATED:20251201T210733Z
LAST-MODIFIED:20251212T182101Z
UID:115194-1763078400-1769903999@artinamericaguide.com
SUMMARY:Mary Bauermeister: St.one-d
DESCRIPTION:Learn more \n  Save  
URL:https://artinamericaguide.com/event/mary-bauermeister-st-one-d/
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
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251120
DTEND;VALUE=DATE:20251221
DTSTAMP:20260404T045922
CREATED:20251201T211256Z
LAST-MODIFIED:20251201T211256Z
UID:115198-1763596800-1766275199@artinamericaguide.com
SUMMARY:Ibram Lassaw: From Equinox to Solstice
DESCRIPTION:Berry Campbell is pleased to announce its first exhibition of Ibram Lassaw (1913-2003)\, one of the foremost American abstract sculptors of the twentieth century. Lassaw merged technique and form in his process-based “action sculpture”—considered both a counterpart to and an inventive variation on Abstract Expressionist “action painting.” An early advocate of “truth to materials\,” he is best known for his direct-metal\, open-space welded sculptures in which he united both geometric and biomorphic forms. Lassaw’s enduring passion was to explore relationships between space and matter\, reflecting his abiding belief in universal order and cosmic harmony. \n  Save  
URL:https://artinamericaguide.com/event/ibram-lassaw-from-equinox-to-solstice/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Berry Campbell":MAILTO:em@berrycampbell.com
GEO:40.7488193;-74.0052789
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Berry Campbell Gallery 524 W 26th Street New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=524 W 26th Street:geo:-74.0052789,40.7488193
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251125T110000
DTEND;TZID=America/New_York:20251227T180000
DTSTAMP:20260404T045922
CREATED:20251201T211004Z
LAST-MODIFIED:20251201T211004Z
UID:115213-1764068400-1766858400@artinamericaguide.com
SUMMARY:Martha Armstrong: New Work
DESCRIPTION:Exhibition Dates: November 25 – December 27\, 2025\nGallery Hours: Tues – Sat\, 11AM – 6PM\n(Closed Thanksgiving Day & Christmas Day.) \nOpening Reception: Thurs\, December 4\, 6PM – 8PM \nThe Vermont woods\, Arizona deserts\, and Rhode Island shoreline radiate with Martha Armstrong’s distinctive verve in her latest solo exhibition at Bowery Gallery. Painting from observation\, Armstrong infuses her seascapes with the salt air\, sand\, and sweep of the tide. Her expansive Vermont paintings pulse with shifting light and shade\, forests rendered as present\, growing\, fermenting. In her Tucson deserts\, her color palette captures the hardness and softness of the region’s remarkable light\, with jagged dark mountains\, iron-green cactus\, and vast\, shimmering open spaces. \n  Save  
URL:https://artinamericaguide.com/event/martha-armstrong-new-work/
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;VALUE=DATE:20251206
DTEND;VALUE=DATE:20260111
DTSTAMP:20260404T045922
CREATED:20251208T211255Z
LAST-MODIFIED:20251208T211255Z
UID:115365-1764979200-1768089599@artinamericaguide.com
SUMMARY:John Noestheden: Signals & Echoes
DESCRIPTION:John Noestheden’s Signal and Echo works represent a unique standalone series within the artist’s celebrated Diamond Drawings. \nWhere many of the Diamond Drawings incorporate randomized procedures to create compositions referencing star formations\, in the Signal and Echo pieces\, Noestheden explores the possibilities of the grid as a structure through which he can introduce variation and unpredictability. \nMeticulously plotted out in pencil\, whose intersecting lines provide the nexus points for the application of the artist’s Swarovski silver crystals\, each work is rooted in mathematical structure: grids\, geometric patterns\, and repeating shapes. As always\, the crystals’ ability to refract light creates a dynamic and playful viewer experience\, one the artist further manipulates through the employment of varying crystal sizes\, both interior to the grids and in overall blocks of form. \nThe titles Signal and Echo evoke the search for meaning and the potential for communication with the cosmos. While the grids embody the methodical mapping of scientific enquiry\, the variations in the crystals’ geometric patterns and the randomized light reflections from their multifaceted surfaces\, in turn\, promise pattern within the chaos. “Messages arrive as pulses\, reverberations\, and distortions\, hinting at knowledge we can sense but not yet decode”\, writes the artist. \nOf course\, much of the light we receive from the cosmos is traveling millions of light years from stars that may no longer exist. Noestheden’s works manifest this poetic quality of light as fleeting afterimage\, temporal and contingent\, a universe that continues to speak through its echoes. \n“These lingering impressions speak to the persistence of memory and time: the shimmer of existence that continues after disappearance.” \nJohn Noestheden was born in Amsterdam in 1945 and moved to Canada in 1952. He received a BFA from the University of Windsor and an MFA from Tulane University\, New Orleans. In 1990 the artist accepted a position at the University of Regina teaching sculpture and drawing\, and since 2010\, has been living and working in Ontario. He has had over thirty solo exhibitions internationally\, and his work is represented in Canadian and U.S. museums\, as well as public and private collections. \nView the exhibition online here:\nhttps://www.artnet.com/galleries/jhb-gallery/signals-echoes \n  Save  
URL:https://artinamericaguide.com/event/john-noestheden-signals-echoes/
LOCATION:JHB Gallery New York\, 26 Grove Street\, 4C\, New York\, NY\, 10014\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/12/JN009-Squarefield-Two-IMG_1344-scaled.jpg
ORGANIZER;CN="JHB Gallery":MAILTO:info@jhbgallery.com
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251218T123000
DTEND;TZID=America/New_York:20251218T130000
DTSTAMP:20260404T045922
CREATED:20251215T214732Z
LAST-MODIFIED:20251215T214732Z
UID:115402-1766061000-1766062800@artinamericaguide.com
SUMMARY:Gallery Talk: Drawing Light in Sketch\, Shade\, Smudge: Drawing from Gray to Black
DESCRIPTION:The exhibition Sketch\, Shade\, Smudge: Drawing from Gray to Black highlights a wide selection of works created primarily with dark media like charcoal\, chalk\, and graphite. Join curatorial assistant and practicing artist Meghan Grady for a discussion that will focus on the different techniques used by artists to depict light when working with a variety of dark media. Visitors are welcome to bring their own sketchbook and draw as we talk. Please note that pencils are the only utensils allowed to be used in the galleries. \nSketch\, Shade\, Smudge: Drawing from Gray to Black celebrates the act of drawing using familiar tools—charcoal\, chalk\, crayon\, and graphite. Each type of material has distinctive properties: charcoal can be intensely rich and velvety\, or delicately gray and suggestive\, while graphite is slippery\, shiny\, and easy to erase. Crayon is deeply black and waxy\, whereas chalk can be crumbly and diffuse. The creative manipulations of these media—smudging\, scraping\, and erasing—make them versatile tools for adding intensity\, depth\, precision\, and expression to an artist’s vision. \nLed by:\nMeghan Grady\, Curatorial Assistant for Special Exhibitions and Publications\, Division of European and American Art \nPlease check in with museum staff at the Visitor Services desk in the Calderwood Courtyard to request to join the gallery talk. Space is limited\, and talks are available on a first-come\, first-served basis; no registration is required. \n  Save  
URL:https://artinamericaguide.com/event/gallery-talk-drawing-light-in-sketch-shade-smudge-drawing-from-gray-to-black/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
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ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
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