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DTSTART;TZID=America/New_York:20260513T130000
DTEND;TZID=America/New_York:20260516T180000
DTSTAMP:20260823T202754
CREATED:20260430T200604Z
LAST-MODIFIED:20260430T200604Z
UID:116343-1778677200-1778954400@artinamericaguide.com
SUMMARY:Future Fair 2026
DESCRIPTION:The CAMP Gallery is pleased to announce our return to Future Fair in NYC this coming May 13-16 at booth U4. This year we’ll be featuring the works of Rosana Machado Rodriguez\, Michael Sylvan Robinson\, Deborah Simon\, and Silvana Soriano\, exploring the connections of fragility\, both in material and  subject. \nOur 2026 booth will explore connections of fragility\, both in material and subject. Navigating this present often leaves one feeling exposed and fragile. The artworks in the booth will highlight the inherent beauty in the fragile\, the vulnerability that makes us both human and compassionate and allows for growth\, but from the internal and the environment around. Rosana Machado Rodriguez presents the viewer with small vignettes highlighting individual isolation blanketing the work in protective stitches expressing care. Her works look inward towards one’s ability to both cocoon and resolve. Michael Sylvan Robinson through intricate stitches and embellishment dresses the works in strength of commitment\, stitching in resilience. Making the fiber works a tome of meaning\, each garment-like work becomes armor against the chaos of the present. Deborah Simon looks towards the physical internal of her subjects both warning of their fragility but also highlighting the exquisite patterns and order of a body. Her work draws one in\, exploring the paths of veins and arteries that direct one’s gaze through the external and find place in the internal. Silvana Soriano collages moments of inspiration and universals from different films transforming script and scene into complex and layered tableaux of resilience\, both vulnerable and unstoppable. All the artists\, combined\, invite the viewer to engage and relate to the works through not only the surface of the works\, but what reaction each viewer brings to the work. \n  Save  
URL:https://artinamericaguide.com/event/future-fair-2026/
LOCATION:Chelsea Industrial\, 535-551 W 28th St\, New York City\, NY\, 10001\, United States
CATEGORIES:Art Fair,Event
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/04/FF_Post_SQUARE01.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260426T120000
DTEND;TZID=America/New_York:20260426T170000
DTSTAMP:20260823T202754
CREATED:20260506T181119Z
LAST-MODIFIED:20260506T181119Z
UID:116303-1777204800-1777222800@artinamericaguide.com
SUMMARY:Rob Pruitt’s Flea Market
DESCRIPTION:NSU Art Museum Fort Lauderdale brings Rob Pruitt’s Flea Market back to Fort Lauderdale for its encore on Sunday\, April 26. The internationally renowned contemporary artist has been staging his nomadic flea markets around the world since 1999\, in locations from New York to London’s Tate Gallery and at NSU Art Museum in 2021. Pruitt is inviting local artists to sell their art and wares during the one-day happening\, which will be held at NSU Art Museum (One East Las Olas Blvd.\, Fort Lauderdale\, FL). \nTaking the form of a traditional open-air bazaar\, Rob Pruitt’s Flea Market is an opportunity to meet artists and take home an original artwork in a relaxed atmosphere. By highlighting bartering and haggling as both economic and performative\, and featuring a diverse array of goods from artwork to housewares\, Pruitt’s Flea Market blurs the line between art and commerce. \nFree to the Public \n  Save  
URL:https://artinamericaguide.com/event/rob-pruitts-flea-market-2/
LOCATION:NSU Art Museum\, 1 E Las Olas Blvd\, Fort Lauderdale\, FL\, 33301\, United States
CATEGORIES:Art Fair,Event,Exhibition,Pop up
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ORGANIZER;CN="NSU Art Museum":MAILTO:moareservations@moafl.org
GEO:26.1194368;-80.1427657
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=NSU Art Museum 1 E Las Olas Blvd Fort Lauderdale FL 33301 United States;X-APPLE-RADIUS=500;X-TITLE=1 E Las Olas Blvd:geo:-80.1427657,26.1194368
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260226
DTEND;VALUE=DATE:20260302
DTSTAMP:20260823T202754
CREATED:20260226T195730Z
LAST-MODIFIED:20260226T200131Z
UID:115997-1772064000-1772409599@artinamericaguide.com
SUMMARY:Music & Art | Frieze Los Angeles
DESCRIPTION:Michael Rosenfeld Gallery is pleased to announce its return to Frieze Los Angeles 2026 for the fifth consecutive year with a group presentation that celebrates the intertwining relationship between music and the visual arts. \nLearn more \n\nImage Caption:\nRomare Bearden (1911-1988)\nOf the Blues: New Orleans Farewell\, 1974\nCollage of various papers with acrylic on Masonite\n43 3/8 x 49 1/2 inches / 110.2 x 125.7 cm\nsigned \n  Save  
URL:https://artinamericaguide.com/event/music-art-frieze-los-angeles/
LOCATION:Frieze Los Angeles\, 9900 Wilshire Boulevard\, Beverly Hills\, 90210\, United States
CATEGORIES:Art Fair
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/thumb__1734_1300_0_0_crop.jpg
ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251103
DTEND;VALUE=DATE:20260108
DTSTAMP:20260823T202754
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
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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;TZID=America/New_York:20250507T140000
DTEND;TZID=America/New_York:20250510T180000
DTSTAMP:20260823T202754
CREATED:20250505T202537Z
LAST-MODIFIED:20250505T202537Z
UID:113177-1746626400-1746900000@artinamericaguide.com
SUMMARY:Future Fair 2025
DESCRIPTION:Practices towards Preservation is the focus of the works by Andrew Arocho and Molly Gambardella exhibited at Future Fair in The CAMP Gallery’s Booth F7. Join us from May 7-10 as both of the artists share their deeply mindful and respectful appreciation of the landscape that has caught their attention. \n  \nIn a world that is often chaotic\, the need for nature stands steadfast as a location of respite. Artists  Andrew Arocho and Molly Gambardella acknowledge this need as we all traverse a landscape often in peril. The risks to our environment should not outweigh our convenience as we rely and ingest more and more plastic\, and as our seas not only rise\, but are weighed down with what we discard.  \nAndrew Arocho\, an abstract artist has embraced the sea and the idea of the sublime while on and in the water. Understanding the awe inspiring quality of the sea\, Arocho strives to capture both its unyielding power\, but also the moments of peace that it affords. Cascading through waves\, bluffs and still water\, each of his works present different angles of the phenomenon of moving water. Seeing the sea also as a mirror into one’s own self\, Arocho also offers insight on the cyclical flow of both water\, and life. One can assume that as the water can rage\, then calm\, so too does the individual—it is a matter of allowing and following the current towards the destination one envisions.  \nLooking at the environment and landscapes we all traverse\, Molly Gambardella begins her journey with the goal of recycling what is trashed\, what clogs our hills\, streams and more. An avid outdoors person\, Gambardella also strives to teach and pay homage to the many microcosms that make up our planet. Primarily looking at Lichens\, she takes these tiny entities from under a microscope and enlarges them\, at times to more than sixty inches. Her work is comprised of thousands of silk petals that she painstakingly pieces together to create the abundance that mirrors lichens. Her work also crosses the lines between art and design culminating in works that function both as art\, but also as a reminder of the fragility of nature and how each ecosystem is needed to keep our planet healthy – and of course\, ourselves.  \nCombined\, these artists look at the landscape that is our environment\, soaking in the abuses\, and the weakness—and in so doing\, they not only focus on the obvious\, the external but also on the internal. In this way\, how we feel internally can be seen by how we treat what is outside and around us. \n \n  Save  
URL:https://artinamericaguide.com/event/future-fair-2025/
LOCATION:Chelsea Industrial\, 535-551 W 28th St\, New York City\, NY\, 10001\, United States
CATEGORIES:Art Fair
ATTACH;FMTTYPE=image/gif:https://artinamericaguide.com/wp-content/uploads/2025/05/FutureFair_-2.gif
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250424
DTEND;VALUE=DATE:20250428
DTSTAMP:20260823T202754
CREATED:20250418T104455Z
LAST-MODIFIED:20250421T170636Z
UID:112997-1745452800-1745798399@artinamericaguide.com
SUMMARY:Michael Rosenfeld Gallery at EXPO Chicago 2025
DESCRIPTION:Visit Michael Rosenfeld Gallery at Expo Chicago\, in booth 123. \nLearn more\n\nImage:\nBenny Andrews (1930–2006)\nEight Ball\, 1992\noil on canvas with painted fabric collage\n82 x 51 7/8 x 1 inches / 208.3 x 131.8 x 2.5 cm\nsigned \n\n  Save  
URL:https://artinamericaguide.com/event/expo-chicago-2025/
LOCATION:Expo Chicago\, 600 E Grand Ave\, Chicago IL 60611\, Chiago\, IL\, 60611\, United States
CATEGORIES:Art Fair
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/04/Images_All_3-scaled.jpg
ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
GEO:41.8917065;-87.6084807
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Expo Chicago 600 E Grand Ave Chicago IL 60611 Chiago IL 60611 United States;X-APPLE-RADIUS=500;X-TITLE=600 E Grand Ave\, Chicago IL 60611:geo:-87.6084807,41.8917065
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250411T180000
DTEND;TZID=America/New_York:20250510T170000
DTSTAMP:20260823T202754
CREATED:20250407T200152Z
LAST-MODIFIED:20250407T200152Z
UID:112857-1744394400-1746896400@artinamericaguide.com
SUMMARY:April @ CAMP: Opening Reception
DESCRIPTION:The Contemporary Art Modern Project is ready to welcome April with it’s first Solo Exhibition of the year\, running from April 11–May 10\, 2025. The gallery will be hosting an opening reception on April 11\, 2025\, in our North Miami gallery 6–9 PM. \nJulie Peppito Chooses Hope offers a roadmap for navigating chaos through layered compositions of fiber\, paint\, and found objects. Exploring the tension between expectation and reality\, Peppito transforms everyday materials into intricate works that embrace movement\, ambiguity\, and growth. The exhibition invites viewers to step beyond uncertainty and into possibility—where hope is both a choice and an ever-expanding horizon. \n  \nABOUT OUR EXHIBITING ARTIST: JULIE PEPPITO (b. 1970\, American)\nJulie Peppito combines multiple materials to create creature-like sculptures\, layered tapestries\, large installations\, collages\, and playground art. The hybrid forms are about connection\, waste and fantasy.Peppito holds an MFA with a concentration in sculpture from Alfred University in Alfred\, NY (2004) and she received her BFA from The Cooper Union in New York\, NY (1992). Peppito’s work has been the subject of 10 solo exhibitions. Peppito creates\, teaches art and lives in Brooklyn\, NY with her partner (comic book artist) Gideon Kendall and their son. \nFor more information\, please reach out to hello@thecampgallery.com\nThe Contemporary Art Modern Project (The CAMP Gallery) \nThe CAMP Galley is located at 791-793 NE 125th St. North Miami\, FL 33161. The gallery is open Wednesday–Saturday\, from 11 AM to 5 PM. Private tours can be scheduled by emailing hello@thecampgallery.com or calling 786-953-8807. \n  Save  
URL:https://artinamericaguide.com/event/april-camp-opening-reception/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Art Fair,Event,Exhibition,Pop up
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/04/EventbriteBanner_April.jpg
ORGANIZER;CN="The Contemporary Art Modern Project":MAILTO:maria@thecampgallery.com
GEO:25.8434605;-80.1895077
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=The CAMP Gallery 791 NE 125 St Miami FL 33161 United States;X-APPLE-RADIUS=500;X-TITLE=791 NE 125 St:geo:-80.1895077,25.8434605
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241206T080000
DTEND;TZID=America/New_York:20241208T170000
DTSTAMP:20260823T202754
CREATED:20240722T191430Z
LAST-MODIFIED:20241202T220501Z
UID:109278-1733472000-1733677200@artinamericaguide.com
SUMMARY:James Cohan at Art Basel Miami Beach
DESCRIPTION:– \nArt Basel Miami Beach\nBooth G22 | December 4-8\, 2024\n\nImage caption:\nJORDAN NASSAR\nSong of the Flowers\, 2022\nHand-embroidered cotton on cotton\n130 x 245 x 3 in.\n330.2 x 622.3 x 8 cm.\nImage courtesy of the artist and James Cohan Gallery \n  Save  
URL:https://artinamericaguide.com/event/art-basel-miami-beach/
LOCATION:Art Basel Miami Beach\, Miami Beach Convention Center 1901 Convention Center Drive Miami Beach\, FL 33139\, Miami Beach\, FL\, 33139\, United States
CATEGORIES:Art Fair
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/07/web_james_cohan.jpg
ORGANIZER;CN="James Cohan":MAILTO:info@jamescohan.com
GEO:25.7950215;-80.1345386
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Art Basel Miami Beach Miami Beach Convention Center 1901 Convention Center Drive Miami Beach FL 33139 Miami Beach FL 33139 United States;X-APPLE-RADIUS=500;X-TITLE=Miami Beach Convention Center 1901 Convention Center Drive Miami Beach\, FL 33139:geo:-80.1345386,25.7950215
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20241206
DTEND;VALUE=DATE:20241209
DTSTAMP:20260823T202754
CREATED:20241204T152613Z
LAST-MODIFIED:20241204T152613Z
UID:110865-1733443200-1733702399@artinamericaguide.com
SUMMARY:Hannelore Baron | Kabinett Sector\, Art Basel Miami Beach 2024
DESCRIPTION:Learn more \n  Save  
URL:https://artinamericaguide.com/event/hannelore-baron-kabinett-sector-art-basel-miami-beach-2024/
LOCATION:Art Basel Miami Beach\, Miami Beach Convention Center 1901 Convention Center Drive Miami Beach\, FL 33139\, Miami Beach\, FL\, 33139\, United States
CATEGORIES:Art Fair
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/12/Hannelore-Baron-1926–1987-Untitled-C81122-1981-copy.jpg
ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
GEO:25.7950215;-80.1345386
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Art Basel Miami Beach Miami Beach Convention Center 1901 Convention Center Drive Miami Beach FL 33139 Miami Beach FL 33139 United States;X-APPLE-RADIUS=500;X-TITLE=Miami Beach Convention Center 1901 Convention Center Drive Miami Beach\, FL 33139:geo:-80.1345386,25.7950215
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20241206
DTEND;VALUE=DATE:20241209
DTSTAMP:20260823T202754
CREATED:20241204T152613Z
LAST-MODIFIED:20241204T152613Z
UID:110859-1733443200-1733702399@artinamericaguide.com
SUMMARY:Art Basel Miami Beach 2024
DESCRIPTION:Learn more \n  Save  
URL:https://artinamericaguide.com/event/art-basel-miami-beach-2024/
LOCATION:Art Basel Miami Beach\, Miami Beach Convention Center 1901 Convention Center Drive Miami Beach\, FL 33139\, Miami Beach\, FL\, 33139\, United States
CATEGORIES:Art Fair
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/12/f236d29d720bfa92ccab3f31d4b7223bj.jpg
ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
GEO:25.7950215;-80.1345386
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Art Basel Miami Beach Miami Beach Convention Center 1901 Convention Center Drive Miami Beach FL 33139 Miami Beach FL 33139 United States;X-APPLE-RADIUS=500;X-TITLE=Miami Beach Convention Center 1901 Convention Center Drive Miami Beach\, FL 33139:geo:-80.1345386,25.7950215
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241205T120000
DTEND;TZID=America/New_York:20241207T190000
DTSTAMP:20260823T202754
CREATED:20241122T192510Z
LAST-MODIFIED:20241122T192510Z
UID:110779-1733400000-1733598000@artinamericaguide.com
SUMMARY:The CAMP Gallery at Feria Clandestina 2024
DESCRIPTION:The Contemporary Art Modern Project will be exhibiting at Feria Clandestina this Art Week from December 5–7. Room 214 will feature an eclectic showcase of cyanotype and painting. \nMargaret Roleke\, Hermes Berrío\, and Lydia Viscardi explore opposing social forces in The Contemporary Art Modern Project’s room at the Gold Dust Motel. These artists tackle the aesthetics of their environments and the day-to-day experiences within them\, from urban and suburban domesticity and how gun violence endangers both\, as a reminder of what we have and what can tear everything apart. \nFor a full schedule of show hours\, click here: https://lnkd.in/efZwnXAp \nClandestina was founded by Nuria Richards in 2019 as a collateral art initiative and is a channel of participation for artists\, galleries\, and independent projects. Clandestinar with the local and international community to create ecosystems that promote curatorial opportunities and cultural exchange. Clandestina aims to create a new art market that nurtures curatorial value\, engage the curiosity of new and old art members. \n  Save  
URL:https://artinamericaguide.com/event/the-camp-gallery-at-feria-clandestina-2024/
LOCATION:Gold Dust Motel\, 7700 Biscayne Blvd\, Miami\, FL\, 33138\, United States
CATEGORIES:Art Fair
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/11/FAIR-INVITES-SQUARE-2024-04.jpg
ORGANIZER;CN="The Contemporary Art Modern Project":MAILTO:maria@thecampgallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241203T110000
DTEND;TZID=America/New_York:20241208T200000
DTSTAMP:20260823T202754
CREATED:20241122T192558Z
LAST-MODIFIED:20241122T192558Z
UID:110771-1733223600-1733688000@artinamericaguide.com
SUMMARY:The CAMP Gallery at SCOPE Art Show Miami Beach 2024
DESCRIPTION:The work in this booth is united by the unique dreamlike quality each artist brings to the table through a balance of textures and an abstraction of environment\, akin to the idea of a “mind-body-spirit” connection. While their techniques differ in varying places\, Orly Cogan\, Manju Shandler\, and Eden Quispe center a purposeful and delicate reclaiming of privacy in The Contemporary Art Project’s booth for SCOPE Art Show Miami Beach 2024.\n\nThe artists selected for this year’s fair highlight the gallery’s dedication to showcasing the potential and integrity of textile art in the context of the fine art landscape. Despite its association with sometimes saccharine\, nostalgic ideas of comfort and childhood\, Cogan\, Shandler\, and Quispe channel their anxieties and preoccupations through the inherent pliability and transparency of this medium. \nSCOPE’s annual flagship show in Miami represents the future of the arts ecosystem by forecasting new trends and the people and ideas that drive them\, from alternative and nomadic gallery models to cutting-edge artists traversing the boundaries of technology\, culture\, and society. As the highest attended fair during Miami Art Week\, SCOPE Art Show is a welcoming hub for every kind of art and culture seeker\, from the established collector to the first-time fair visitor. \nFor tickets and a full schedule of show hours\, click here: https://lnkd.in/e-XVKVKm \nCurated by Maria Gabriela Di Giammarco \n\n  Save  
URL:https://artinamericaguide.com/event/the-camp-gallery-at-scope-art-show-miami-beach-2024/
LOCATION:FL
CATEGORIES:Art Fair
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/11/FAIR-INVITES-SQUARE-2024-05.jpg
ORGANIZER;CN="The Contemporary Art Modern Project":MAILTO:maria@thecampgallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241030T080000
DTEND;TZID=America/New_York:20241103T170000
DTSTAMP:20260823T202754
CREATED:20240722T191430Z
LAST-MODIFIED:20240722T191430Z
UID:109277-1730275200-1730653200@artinamericaguide.com
SUMMARY:James Cohan at the ADAA The Art Show
DESCRIPTION:Solo presentation of new work by Alison Elizabeth Taylor – small WOP and new marquetry pieces \n  Save  
URL:https://artinamericaguide.com/event/james-cohan-at-the-adaa-the-art-show/
LOCATION:FL
CATEGORIES:Art Fair
ORGANIZER;CN="James Cohan":MAILTO:info@jamescohan.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20241029
DTEND;VALUE=DATE:20241103
DTSTAMP:20260823T202754
CREATED:20241028T162315Z
LAST-MODIFIED:20241028T162315Z
UID:110446-1730160000-1730591999@artinamericaguide.com
SUMMARY:Charles White at The Art Show\, Booth D16
DESCRIPTION:View the complete exhibition checklist \nBenefit Preview: Tuesday\, October 29\nWednesday\, October 30\, 12–7PM\nThursday\, October 31\, 12–7PM\nFriday\, November 1\, 12–7PM\nSaturday\, November 2\, 12–6PM \nVisit Michael Rosenfeld Gallery in Booth D16 \n“Actually\, I’ve only painted one picture in my entire life … I see my totality of 300 years of history of black people through one little fraction … a family … my family. … I don’t try to record it\, but use it symbolically to make a very broad universal statement about the search for dignity\, the search for a deeper understanding of the conflict and the contradictions of life … so that there is more to it than just the illustrative portrayal of a history of a family … what I’m trying to do is talk about the history of humanity.”[1]\n—Charles White (1918–1979) \nMichael Rosenfeld Gallery is pleased to participate in The Art Show 2024 with Charles White\, a solo exhibition of paintings and drawings from each period of the artist’s career with particular emphasis on the Civil Rights Movement era. Bringing together a compelling selection of major works dating from 1936 to 1975\, Charles White offers a concise survey of the artist’s style as it evolved over four decades in his relentless endeavor to affectively convey the humanitarian themes that were the primary concern of his art. \nActive in Chicago\, New York\, and Los Angeles\, Charles White produced a powerful body of figurative compositions depicting subjects drawn from the rich history of Black America and the world around him. His prolific oeuvre comprises social realist scenes\, narrative compositions of historical subjects\, and a large body of portraiture depicting political leaders\, creative luminaries\, and everyday Black Americans from all walks of life. White’s allegorical compositions of the 1960s are especially well-represented in Michael Rosenfeld Gallery’s presentation with a group of large-scale drawings that exhibit his masterful technical skill and directly address the social and political injustices endemic to Black American life. White’s art evolved through various styles over a forty-year period as he adapted his approach to adequately convey his shifting interests\, but he never wavered in his dedication to portraying Black Americans in “images of dignity\,” as he put it. \nHighlights of Charles White include two major portraits of venerated musical artists\, Paul Robeson (1973) and Leadbelly (1975). Commissioned by photographer and filmmaker Gordon Parks (1912–2006) for the promotional art and soundtrack album cover associated with the 1976 film Leadbelly—which Parks directed—White’s portrait is an elevating portrayal of the blues legend\, who he renders in titanic proportions reflective of the indelible impact he had on twentieth-century music. Paul Robeson is similarly monumental in scale but takes a tondo format\, focusing the eye on the baritone’s exquisitely rendered face gazing heavenward at a dappled beam of light. Chosen by White for its ties to Renaissance portraiture\, the tondo functions as “a framing device that subtly evokes a cosmic sense of the measureless or boundless.” [2] \nWhite’s Mural Study for Camp Wo-Chi-Ca (1945) is a rare preparatory drawing for a mural at the Worker’s Children’s Camp in New Jersey\, where he taught art and met his second wife\, Frances Barrett. Reflecting his admiration for the Mexican muralists and incorporating iconography from the indigenous cultures of the Pacific Northwest\, the traditional arts of Africa\, and the spiritual practices of the Far East\, the drawing synthesizes White’s diverse cultural interests while articulating his vision for an equitable standard of education that advances a cosmopolitan world view. Booth D16 also features prime examples of White’s beatific portrayals of Black women with Let the Light Enter (1961) and J’Accuse No.3 (1965). Dedicated to poet and abolitionist Frances Ellen Watkins Harper (1825–1911)\, Let the Light Enter is emblematic of White’s exalting portrayals of historical figures\, which often strove to recuperate overlooked or underknown leaders from Black American history while drawing parallels with the contemporaneous struggle for civil rights. J’Accuse No.3 belongs to a series titled after nineteenth-century French writer Émile Zola’s famous indictment of the French state’s systemic discriminatory practices that resulted in the Dreyfus Affair. Portraying a woman’s serene\, upturned face emerging from an ethereal\, swirling atmosphere of light and dark\, J’Accuse No.3 allegorizes the steadfast fortitude of innumerable anonymous civil rights activists who sought political justice from a prejudicial government. \nA primary example from the Nobody Knows My Name series—titled after James Baldwin’s 1961 essay collection—rounds out the exhibition’s focus on the 1960s. Illuminated by a crack of light in an otherwise dark space\, the subject of Nobody Knows My Name #1 (1965) is a young man who gazes into the space of the viewer with a calm seriousness. Poetically symbolizing the subject’s struggle for recognition from a society that seeks to ignore and suppress him\, the drawing epitomizes what art historian David C. Driskell wrote of White’s series and Baldwin’s book: “With genuine concern for having one’s presence acknowledged\, for being visible\, comes recognition that communal interaction is one of the things that makes us human.” [3] \nThe resurgent interest in Charles White’s life and oeuvre in recent years is in large part due to the landmark touring exhibition co-organized by the Art Institute of Chicago and The Museum of Modern Art in New York\, Charles White: A Retrospective (2018–19). Curated by Sarah Kelly Oehler\, the Institute’s Field-McCormick Chair and Curator of American Art\, and Esther Adler\, MoMA’s Associate Curator of Drawings and Prints\, the exhibition presented over one hundred works dating from 1935–79. Two major works on view in Michael Rosenfeld Gallery’s Art Show 2024 presentation were recently featured in the critically renowned historical survey Going Dark: The Contemporary Figure at the Edge of Visibility at the Solomon R. Guggenheim Museum in New York (October 2023–April 2024)\, curated by Ashley James\, the museum’s Associate Curator of Contemporary Art. \nMichael Rosenfeld Gallery has championed the work of Charles White for over thirty years. The artist was a fixture of the gallery’s acclaimed annual exhibition series African American Art: 20th Century Masterworks (1994–2003)\, and in 2009 the gallery mounted Charles White: Let the Light Enter\, Major Drawings 1942–1970\, the catalogue for which first published a 1960s radio interview with the artist released to the gallery by the Charles White Archives. In 2018\, the gallery organized the widely praised exhibition Truth & Beauty: Charles White and His Circle\, which surveyed the artist’s career while contextualizing his work within a larger milieu of figurative artists whose work addressed social and political subjects. The accompanying catalogue published texts discussing White’s art\, career\, and influence by Benny Andrews\, Romare Bearden\, John Biggers\, Eldzier Cortor\, Ernest Crichlow\, Jacob Lawrence\, Hughie Lee-Smith\, and Hale Woodruff. \n1. Charles White quoted in Edmund W. Gordon\, “First and foremost\, an artist” in Freedomways: A Quarterly Review of the Freedom Movement vol. 20\, no. 3\, special issue “Charles White: Art and Soul” (1980): 137\n2. John P. Murphy\, “Vision\, 1973\,” in Veronica Roberts\, ed.\, Charles White: The Gordon Gift to The University of Texas (Austin\, TX: Blanton Museum of Art\, The University of Texas at Austin\, 2019)\, 37.3.\n3. David C. Driskell\, “Foreword\,” in Andrea D. Barnwell\, Charles White(Rohnert Park\, CA: Pomegranate Communications\, Inc.\, 2002)\, ix \n  Save  
URL:https://artinamericaguide.com/event/charles-white-at-the-art-show-booth-d16/
LOCATION:Park Avenue Armory\, 643 Park Avenue\, New York\, NY\, 10065\, United States
CATEGORIES:Art Fair
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241009T080000
DTEND;TZID=America/New_York:20241013T170000
DTSTAMP:20260823T202754
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LAST-MODIFIED:20240722T191430Z
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SUMMARY:James Cohan at Frieze Masters: Mernet Larsen
DESCRIPTION:“From the mid-80s to 1999\, I was working very improvisational\, very involved with process and physical surface: scraping\, burying\, collaging\, peeling\, adding sheetrock compound to the paint\, so the paintings were kind of like old walls. I had no subject matter in mind\, but as I worked\, subject matter would emerge. Michelangelo once said there was a figure embedded in every piece of marble and his job was to chip it out. I felt something similar: that there was a character embedded in my painting and it was up to me to discover what it was.” –MERNET LARSEN \n  Save  
URL:https://artinamericaguide.com/event/james-cohan-at-frieze-masters-mernet-larsen/
LOCATION:FL
CATEGORIES:Art Fair
ORGANIZER;CN="James Cohan":MAILTO:info@jamescohan.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241009T080000
DTEND;TZID=America/New_York:20241013T170000
DTSTAMP:20260823T202754
CREATED:20240718T182532Z
LAST-MODIFIED:20240718T182532Z
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SUMMARY:James Cohan at Frieze London: Two Person Presentation - Jesse Mockrin & Kennedy Yanko
DESCRIPTION:For Frieze London 2024\, James Cohan will present a two-person booth of new work by Jesse Mockrin and Kennedy Yanko\, two artists who engage deeply with the art historical canon–of Western European painting and modernist abstraction\, respectively– to radically transformative ends. \nJesse Mockrin’s presentation for Frieze London 2024 explores three biblical narratives – the Abduction of the Sabine Women\, the Judgement of Solomon\, and varied representations of Mary Magdalene. Mockrin notes\, “these age-old stories are united by an overarching theme: the exploitation of the vulnerabilities of women.” Mockrin’s paintings complicate and radically re-envision her source material. She employs strategies of fragmentation\, enlargement\, recombination\, and concealment to imbue once-familiar compositions with new layers of subversive significance. Mockrin’s paintings “serve to expose these biases hidden within the canon – to make them visible\, to upend them.” \nWorking with paint skins and found metal\, Kennedy Yanko constructs sculptures and architecturally scaled installations that defy the limits of their own materiality. Steeped in the visual language of Abstract Expressionism\, Action\, and Color Field Painting\, Yanko’s works cast off the boundaries of their medium\, occupying the generative spaces between painting and sculpture\, abstraction and figuration\, surreal and earthbound. For Frieze London\, Yanko is reducing her scale\, creating her own version of miniatures. These diminutive\, freestanding sculptures force the viewer to perceive the work aerially\, joining the perspective the artist takes while in the act of painting. From this suspended vantage point\, the viewer is pushed to zoom out from the often-immersive experience of Yanko’s larger scale works and consider the luxurious tangibility and jewellike materiality of these objects unto themselves. \n  Save  
URL:https://artinamericaguide.com/event/james-cohan-at-frieze-london-two-person-presentation-jesse-mockrin-kennedy-yanko/
LOCATION:FL
CATEGORIES:Art Fair
ORGANIZER;CN="James Cohan":MAILTO:info@jamescohan.com
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240906
DTEND;VALUE=DATE:20240909
DTSTAMP:20260823T202754
CREATED:20240902T171528Z
LAST-MODIFIED:20240902T171528Z
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SUMMARY:Michael Rosenfeld Gallery at The Armory Show\, Booth 312
DESCRIPTION:VIP Preview (Invitation Only): Thursday\, September 5\nFriday\, September 6\, 11AM–7PM\nSaturday\, September 7\, 11AM–7PM\nSunday\, September 8\, 11AM–6PM \n  Save  
URL:https://artinamericaguide.com/event/michael-rosenfeld-gallery-at-the-armory-show-booth-312/
LOCATION:The Armory Show at the Javits Center\, 11th Avenue at 35th Street\, New York\, NY\, NY\, 10001\, United States
CATEGORIES:Art Fair
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ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240904T170000
DTEND;TZID=America/New_York:20240909T170000
DTSTAMP:20260823T202754
CREATED:20240816T021549Z
LAST-MODIFIED:20240816T021549Z
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SUMMARY:The CAMP Gallery at VOLTA New York City 2024
DESCRIPTION:The Contemporary Art Modern Project is pleased to announce their participation in VOLTA Art Fair in New York City\, September 4–8\, 2024. Making this their second VOLTA fair of the year\, The CAMP Gallery is prepared and excited to welcome new collectors and familiar faces to Stand 35 at the fair with artists Seth Ellison\, Michael Sylvan Robinson\, Joanna Ambroz\, Hermes Berrio\, Michael Sylvan Robinson\, and Magdalena Zych. \nThe artists in this show all carry their works in a version of realism; not in the traditional sense of style yet in a motif in the abstraction of their representational works. They speak on a realism in life\, using the ridiculousness of the mundane\, form\, mysticism and the surreal to portray complexities and understanding of ones’ self and the world around them. \nThe underlying nature that the world through our eyes and mind in a present moment can be a spectacular dive into the changing psyche of each individual is felt through each piece. Joanna Ambroz’s bicolor self portraits bring forth the emotions of tension and harmony as two sides of the same coin. Hermes Berrio’s approach to the mundane aspects of life\, highlighting them as you would royalty. Seth Ellison’s surreal representations tell a tale of a culture of meritocracy that institutes a predominant sense of failure simultaneously as a facade of success. Michael Sylvan Robinson approaches a level of mysticism in their works that embody a struggle of gender and queerness still not accepted in a modern society. Magdalena Zych fills her pieces with the viscerality of nature’s forms\, both magnificent and grotesque in their sensual appearance\, seeking the true future of a coexistence. \n  Save  
URL:https://artinamericaguide.com/event/the-camp-gallery-at-volta-new-york-city-2024/
LOCATION:Chelsea Industrial\, 535-551 W 28th St\, New York City\, NY\, 10001\, United States
CATEGORIES:Art Fair,Event,Exhibition
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DTSTART;TZID=America/New_York:20240611T080000
DTEND;TZID=America/New_York:20240616T170000
DTSTAMP:20260823T202754
CREATED:20240529T152347Z
LAST-MODIFIED:20240605T205616Z
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SUMMARY:Art Basel | Marianne Boesky Gallery
DESCRIPTION:Marianne Boesky Gallery is pleased to present works by Ghada Amer\, Jennifer Bartlett\, Sanford Biggers\, Pier Paolo Calzolari\, Svenja Deininger\, Mary Lovelace O’Neal\, Suzanne McClelland\, Sarah Meyohas\, Donald Moffett\, Hannah van Bart\, and Michaela Yearwood-Dan for Art Basel 2024.  \nWith new embroidered paintings and a bronze sculpture\, Ghada Amer builds on her ongoing investigation of language and material. Grounded in precise mathematical abstractions\, Jennifer Bartlett’s works call into question the rigid—often self-imposed—constraints and restrictions of the grid\, resulting in dynamic compositions with deep poetic and aesthetic resonance. In marble works from his Chimera series and quilt-based works from his Codex series\, Sanford Biggers continues his investigation into our understandings of collective historical narratives\, mythologies\, and traditions. Onto the surface of pigmented and salt-strewn panels\, Pier Paolo Calzolari attaches small objects\, providing focus for contemplation within the surrounding textures and colors. In new paintings\, Svenja Deininger opens dialogues between shape\, color\, texture\, and surface. With two paintings from her Mexico series\, Mary Lovelace O’Neal mines the visual language she has developed over her six-decade career\, iterating on the imaginative forms\, innovative materiality\, and inventive handling of color that define her practice.  \nRepeating\, burying\, and dissolving fragments of language within her paintings\, Suzanne McClelland alternately obscures and exposes their linguistic and numerical origins. In a new\, multi-panel hologram\, Sarah Meyohas surfaces magnified\, abstracted imagery of plant matter—a reminder that the natural world is its own form of technology. In multi-dimensional paintings\, Donald Moffett exposes the urgency of environmental degradation at the hands of governments and industry. Throughout her atmospheric portraits\, still lifes\, and landscapes\, Hannah van Bart captures strange figures and uncertain lands. In large-scale paintings\, Michaela Yearwood-Dan embeds botanical motifs and diaristic meditations within brushy abstract forms and heavy drips of paint\, reflecting an inviting domesticity. \nTogether\, these works produce a dialogue that highlights—and complicates—their shared themes\, exemplifying the gallery’s interest in forming narratives across backgrounds and mediums while speaking to the very nature of what it means to make art today.  \n  Save  
URL:https://artinamericaguide.com/event/art-basel-marianne-boesky-gallery/
LOCATION:Art Basel\, Messe Basel Messeplatz 10\, Basel\, 4058\, Switzerland
CATEGORIES:Art Fair
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ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
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DTSTART;TZID=America/New_York:20240610T100000
DTEND;TZID=America/New_York:20240616T200000
DTSTAMP:20260823T202754
CREATED:20240530T195611Z
LAST-MODIFIED:20240530T195611Z
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SUMMARY:THE CAMP GALLERY AT VOLTA BASEL 2024
DESCRIPTION:The Contemporary Art Modern Project is pleased to announce their participation in VOLTA Art Fair\, in Basel\, Switzerland\, June 10–16\, 2024. Making this their first venture into the European art market\, The CAMP Gallery is poised and ready to welcome new collectors and visitors to Stand A01 at the fair. \nKeeping in mind the idea of a ‘Volta’ as a turn\, The Contemporary Art Modern Project\, along with Stefano Ogliari Badessi\, Elena Monzo\, Silvia Trappa\, Dominik Schmitt\, Hans Withoos\, Johnny Ramstedt\, Manju Shandler\, Liz Leggett\, JAS and Karola Pezarro are doing just that – taking a turn – one from expectation\, in many ways deconstructing the present. The present we are reacting to is the one we are all very much weighed down in: Wars\, Politics and a loss of tolerance towards one another. Our exhibiting artists offer our stand guests a release from all the above by either breaking rules\, suggesting  mantras\, playing with portraiture in many mediums\, or just abandoning this world and  traveling to an imagined world where difference is beautiful. \n  Save  
URL:https://artinamericaguide.com/event/the-camp-gallery-at-volta-basel-2024/
LOCATION:31 Mercer Street\, New York\, NY\, 10013\, United States
CATEGORIES:Art Fair
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240411
DTEND;VALUE=DATE:20240415
DTSTAMP:20260823T202754
CREATED:20240411T184453Z
LAST-MODIFIED:20240411T184453Z
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SUMMARY:EXPO CHICAGO Booth 111
DESCRIPTION:Michael Rosenfeld Gallery is excited to return to EXPO CHICAGO after a ten-year hiatus with a presentation of major twentieth and twenty-first-century artworks that exemplify the gallery’s commitment to expanding the canon of American art. Encompassing a wide range of disciplines including painting\, drawing\, sculpture\, collage\, and assemblage\, the exhibition will be anchored by masterworks by represented artists and those long associated with the gallery’s program. In honor of Chicago’s vital history as a cultural hub\, Booth 111 will feature several artists associated with the city. Major works by native Chicagoans Eldzier Cortor (1916–2015)\, Archibald J. Motley\, Jr. (1891–1981)\, Theodore Roszak (1907–1981)\, and Charles White (1918–1979) will be featured alongside works by artists who found their voice at the city’s premier art schools\, such as Benny Andrews (1930–2006)\, Richmond Barthé (1901–1989)\, Raymond Jonson (1891–1982)\, and Lenore Tawney (1907–2007). Spanning nearly nine decades of American art\, Michael Rosenfeld Gallery’s EXPO CHICAGO presentation encapsulates the inclusive range of artists who have made essential contributions to the country’s cultural history that the gallery has championed for over thirty-five years. \n  \nVisit Booth 111 to view works by Benny Andrews\, Hannelore Baron\, Richmond Barthé\, Mary Bauermeister\, Romare Bearden\, John Biggers\, Norman Bluhm\, Robert Colescott\, Bruce Conner\, Joseph Cornell\, Eldzier Cortor\, Harold Cousins\, Elaine de Kooning\, Willem de Kooning\, Dorothy Dehner\, Beauford Delaney\, Claire Falkenstein\, Sam Gilliam\, Adolph Gottlieb\, Nancy Grossman\, Hans Hofmann\, Raymond Jonson\, Lee Krasner\, Yayoi Kusama\, Alfred Leslie\, Norman Lewis\, Conrad Marca-Relli\, Archibald J. Motley\, Jr.\, Louise Nevelson\, Alfonso Ossorio\, Irene Rice Pereira\, Marion Perkins\, Richard Pousette-Dart\, Theodore Roszak\, Betye Saar\, Lucas Samaras\, Esphyr Slobodkina\, Lenore Tawney\, Alma Thomas\, Bob Thompson\, Jack Tworkov\, Charmion von Wiegand\, Charles White\, Jack Whitten\, and William T. Williams. \n  Save  
URL:https://artinamericaguide.com/event/expo-chicago-booth-111/
LOCATION:Navy Pier\, Chicago\, 600 E Grand Ave\, Chicago\, IL\, 60611\, United States
CATEGORIES:Art Fair
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ORGANIZER;CN="Expo Chicago":MAILTO:info@helwasergallery.com
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240229
DTEND;VALUE=DATE:20240304
DTSTAMP:20260823T202754
CREATED:20240226T153841Z
LAST-MODIFIED:20240302T224904Z
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SUMMARY:Michael Rosenfeld Gallery at Frieze Los Angeles 2024\, Booth A16
DESCRIPTION:Michael Rosenfeld Gallery is pleased to return to Frieze LA with an exhibition of major paintings and works on paper by Beauford Delaney\, Norman Lewis\, and Alma Thomas. Of the same generation and active in Paris\, New York\, and Washington\, DC\, respectively\, these painters pioneered some of the most advanced approaches to abstraction of the twentieth century. Works on view at Booth A16 will focus on the most productive decades of the artists’ careers—the 1950s through the 1970s—presenting an illuminating survey of an unparalleled era in American painting. \nLike their abstract expressionist contemporaries\, Delaney\, Lewis\, and Thomas privileged the individual painterly gesture as a means to conveying an essential truth\, each forging visionary approaches to non-objective painting predicated upon the authenticity of the brushstroke. All three artists were resolute in their commitment to abstraction throughout their careers despite inadequate critical and institutional attention as well as pressure from certain circles within their own community to create representational images that directly addressed the Black experience. As art historian Dr. Lowery Stokes Sims writes\, these artists’ approaches to painting were grounded in their distinct but intersecting theories of abstraction: “For Delaney\, abstraction’s significance came through in the healing properties of color; for Lewis\, abstraction articulated the interaction of art and social events; and for Thomas\, its critical aspect consisted of post-Post-Impressionist chromatic evocations of time\, place\, sensibility and mood.”[1] \nBorn and raised in Knoxville\, TN\, Beauford Delaney (1901–1979) cultivated a vivid\, expressionist style of semi-representational painting during his twenty-three years in New York City’s Greenwich Village\, where he settled in 1930. His turn to abstraction occurred shortly after he followed his dear friend James Baldwin to Paris in September of 1953—a pivotal moment in his life and work. Though he continued to create portraits for the rest of his career\, Delaney’s primary output soon evolved into purely non-objective expressions of light and color\, wherein gestural brushstrokes constitute both form and subject. \nBooth A16 presents an exemplary selection of Delaney’s abstract works on canvas and paper including a large-scale painting of exceptional quality\, Untitled (Waning Light: Abstraction) (1963). Demonstrative of the complexity of Delaney’s impastoed surfaces\, this work is dominated by lyrical scumbles of bright yellow that swirl across a multicolored ground\, constituting a wholly abstract exploration of the flickering light of early evening. Yellow was a particularly important color for Delaney\, holding connotations of a spiritual\, illuminatory radiance\, and his yellow abstractions are widely admired as embodiments of exaltation\, ecstasy\, and rapture. As Baldwin once wrote\, “When we stand in front of a Delaney painting\, we are\, my friends\, in the light: and if in that light\, which is both loving and merciless\, we can confront each other\, we are liberated by the perception that darkness is not the absence of light\, but its denial.”[2] \nFollowing a similar artistic trajectory\, Norman Lewis (1909–1979) began his career in the 1930s as a social realist painter but eventually became disillusioned with art’s capacity to inspire social and political change. He began experimenting with abstraction in the 1940s\, producing semi-representational cubist works before arriving at his mature\, fully abstract style by the end of the decade. Born and raised in Harlem\, Lewis lived in New York his entire life\, drawing inspiration from the city’s creative scenes and daily bustle. Throughout the 1950s he honed his approach to abstraction\, which typically involved diffuse atmospheres of color and delicate\, calligraphic linework. Music and activism were central to Lewis’ life\, and he subtly addressed these and other interests throughout his oeuvre. Exemplary of this impulse is Untitled (Players Four) (1966)\, which captures the improvisational energy of a jazz quartet in action. Simultaneously suggesting musical notations\, the movements of the musicians\, and the visual embodiment of sound itself\, Lewis’ painting palpably conveys a rhythmic\, free-flowing harmony through purely abstract means. \nAnother of Lewis’ major achievements\, Untitled (1978) is a standout example of Lewis’ final series of works known as the Seachange compositions. Comprising a central motif of ovoid forms radiating outward\, this painting on paper suggests the undulating movement of the sea\, light reflecting off the water\, and the reverberating sound of wind and waves. In titling these works with a term for a prevailing shift in public perception\, Lewis imbues them with a political overtone\, referencing the changing plight of Black Americans following the political upheavals of the 1960s. Taken as a whole\, Lewis’ works embody the artist’s eloquently stated understanding of art as “the expression of unconscious experiences common to all men… In this sense\, it becomes an activity of discovery\, emotional\, intellectual\, and technical\, not only for the artist but for those who view his work.”[3] \nBorn in Columbus\, GA\, Alma Thomas (1891–1978) was the first person to graduate from Howard University’s newly founded fine art department in 1924\, after which she led a thirty-five-year career as an art teacher in Washington\, DC public schools. She studied art at American University in the late 1950s\, experimenting with realism before turning to abstraction after retiring from teaching in 1960\, when she was able to devote herself full-time to painting. Throughout the 1960s\, Thomas produced a vibrant body of works on paper defined by diaphanous washes of color\, over which she applied elegant\, linear brushwork and vibrant strokes of saturated pigment. Untitled (1962) is one of the best examples of this approach\, reflecting Thomas’ interest in capturing the flitting optical effects and sensual colors of botanical subjects and scenes from nature. \nAnother noteworthy inclusion is Summer at Its Best (1968)\, a large-scale “stripe” painting comprised of rhythmic daubs of exuberant colors against a bright white ground. This work belongs to Thomas’s seminal Earth Paintings series\, a group of works that constitute abstracted visions of the interaction between wind\, light\, and the flowers that were a beloved subject throughout her career. Inspired by the beauty of nature\, the Space Race\, and her own observations of earthly and celestial phenomena\, Thomas’s paintings reflect her belief that art can transcend political and historical concerns. “Color is life\,” she once stated. “Light is the mother of color. Light reveals to us the spirit and living soul of the world through colors.”[4] \nPresenting a selection of works on canvas and paper exemplary of each artist’s oeuvre\, Michael Rosenfeld Gallery’s Frieze LA exhibition offers a unique insight into a key era in the history of American painting. Though each artist expressed disparate ideas through their specific theories of abstraction\, all three artists structured their painting practice around the seemingly boundless capacity of the brushstroke to convey their respective concerns through non-representational means. After decades of exploring the “potential of form\, color and gesture to evoke the emotions of a given situation\,”[5] as Sims writes\, Delaney\, Lewis\, and Thomas passed away within a year of each other\, leaving behind some of the most significant contributions to twentieth-century American art and providing a wealth of inspiration for future generations of abstract painters. \nThe works of Beauford Delaney\, Norman Lewis\, and Alma Thomas have been integral to Michael Rosenfeld Gallery’s program since its founding over thirty-five years ago. The presentation at Frieze LA revisits an exhibition the gallery organized in 2005\, STROKE!: Beauford Delaney\, Norman Lewis\, & Alma Thomas\, which was accompanied by a catalogue publishing original scholarship by art historian Lowery Stokes Sims. In addition to being consistently included in the gallery’s group exhibitions\, Delaney\, Lewis\, and Thomas have each been the subject of multiple solo exhibitions at the gallery. In the fall of 2001\, Michael Rosenfeld Gallery mounted Alma Thomas: Phantasmagoria\, Major Paintings from the 1970s\, for which an exhibition catalogue with an essay by Dr. Sims was published\, and in the spring of 2015 Alma Thomas: Moving Heaven & Earth\, Paintings and Works on Paper opened to widespread acclaim. \nMichael Rosenfeld Gallery has organized six solo exhibitions of Lewis’ work: Norman Lewis: Intuitive Markings\, Works on Paper 1945–1975 (May–August 1999); Norman Lewis: Abstract Expressionist Drawings\, 1945–1978 (January–March 2009); Norman Lewis: PULSE\, A Centennial Exhibition (November–December 2009); Norman Lewis: A Selection of Paintings and Drawings (January–March 2016); Norman Lewis: Looking East (November 2018–January 2019); and\, most recently\, Norman Lewis: Give Me Wings to Fly (September–November 2023)\, which was dubbed a “a tour de force presentation” by Donald Kuspit for Artforum. The gallery became the exclusive representative of the Estate of Norman Lewis in 2014 and has produced five catalogues on the artist publishing new scholarship by art historians David Anfam\, Andrianna Campbell\, Ruth Fine\, and Tetsuya Oshima. \nThe gallery’s commitment to championing the legacy of Beauford Delaney is equally longstanding. In 1995\, the gallery mounted Beauford Delaney: 1960s Paris\, which was followed by Beauford Delaney: Liquid Light in 1999\, for which a catalogue with an essay by Delaney biographer David Leeming was published. Michael Rosenfeld Gallery became a special advisor to and representative of the Estate of Beauford Delaney in 2018\, after which the gallery organized the critically acclaimed exhibition Be Your Wonderful Self: The Portraits of Beauford Delaney (September–December 2021). The exhibition traveled to the Ogden Museum of Southern Art in 2022\, when the gallery released an accompanying catalogue with an essay by Mary Campbell\, Associate Professor of art history at The University of Tennessee\, Knoxville\, who is currently writing a biography on Delaney. \n[1] Lowery Stokes Sims\, “Stroke: Style\, Technique\, Culture and Politics\,” in Stroke! Beauford Delaney\, Norman Lewis and Alma Thomas\, exh. cat. (New York: Michael Rosenfeld Gallery\, 2005)\, p. 5. \n[2] James Baldwin\, quoted in Beauford Delaney\, exhibition catalogue (Paris: Galerie Darthea Speyer\, 1973)\, n.p. \n[3] Norman Lewis\, artist statement\, quoted in the exhibition brochure for his October 1954 solo exhibition Norman Lewis at Willard Gallery\, New York\, NY \n[4] Alma Thomas\, quoted in Alma Thomas\, exhibition catalogue (New York: Whitney Museum of American Art\, 1972)\, n.p. \n[5] Sims\, “Stroke: Style\, Technique\, Culture and Politics\,” p. 10. \n  Save  
URL:https://artinamericaguide.com/event/frieze-los-angeles-2024-booth-a16/
LOCATION:Frieze Los Angeles\, 9900 Wilshire Boulevard\, Beverly Hills\, 90210\, United States
CATEGORIES:Art Fair
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DTSTART;TZID=America/New_York:20240215T170000
DTEND;TZID=America/New_York:20240218T210000
DTSTAMP:20260823T202754
CREATED:20240206T153024Z
LAST-MODIFIED:20240206T153024Z
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SUMMARY:IFPDA Print Fair
DESCRIPTION:Manneken Press will be participating as an exhibitor in the 2024 IFPDA Print Fair. The IFPDA Print Fair\, presented annually by the International Fine Print Dealers Association\, is the world’s largest art fair for prints and editions. This year sixty four exhibitors from across the globe will convene at NYC’s iconic Park Avenue Armory February 15 – 18\, 2024. These print galleries\, dealers and publishers will offer exquisite contemporary\, modern and historical fine art prints and works on paper for sale. Manneken Press’s booth\, #C16\, will feature prints by notable contemporary artists\, published by and produced at Manneken Press. They represent our latest releases with many having been created only in the past several months. \nHighlights of our booth are several works made by New York City-based poet and critic John Yau in collaboration with an artist\, including several impressions from a series of word-and-image monotypes made in collaboration with Chicago artist Richard Hull in 2023\, and from 2014\, a portfolio of colorful lithographs by painter Judy Ledgerwood to which Yau contributed a poem. An exhibition at the University of Kentucky Art Museum\, Disguise The Limit: John Yau’s Collaborations\, includes these projects with Hull and Ledgerwood. Also featured in our booth will be a suite of nine monotypes by Ledgerwood\, and our most  recent projects: aquatint editions by Matt Magee and Jill Moser. \n  Save  
URL:https://artinamericaguide.com/event/ifpda-print-fair/
LOCATION:Park Avenue Armory\, 643 Park Avenue\, New York\, NY\, 10065\, United States
CATEGORIES:Art Fair
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GEO:40.7679446;-73.9662489
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DTSTART;TZID=America/New_York:20240118T080000
DTEND;TZID=America/New_York:20240121T170000
DTSTAMP:20260823T202754
CREATED:20240117T171458Z
LAST-MODIFIED:20240119T151849Z
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SUMMARY:George Adams Gallery at FOG Design + Art
DESCRIPTION:The George Adams Gallery presents a selection of paintings and drawings by Bay Area artist Craig Calderwood at FOG FOCUS 2024. \nCalderwood’s versatile practice includes drawings\, paintings\, and sculptures\, often featuring intricate patterns and “lowbrow” materials. Their work is deeply autobiographical\, offering a reflection on their childhood experiences and their identity as a queer and trans person. Calderwood delves into concepts of gender fluidity\, desire\, biodiversity\, and otherness through their portrayal of androgynous figures and body parts that possess unfamiliar qualities. This effect is amplified by elaborate and highly detailed patterning\, effectively concealing any discernible secondary sex characteristics and encouraging what Calderwood describes as a sense of “genderlessness.” \nCalderwood’s distinct vocabulary of symbols and patterns seen throughout their work is rooted in the coded languages historically used by queer and trans communities\, and is informed by extensive historical research\, personal narratives\, and pop-cultural moments. Materiality is also a significant aspect in their work\, both conceptually and autobiographically\, as their use of textiles recalls their father\, a professional upholsterer during their childhood. Calderwood’s paintings\, which they refer to as tapestries\, begin with a patchwork of upholstery fabrics\, and the tactile surface becomes an integral part of the work. Combining textiles with fabric paint\, polymer clay\, and pipe cleaners offers a commentary on the perception of these materials as mere craft supplies. By subverting the intended use of these materials\, Calderwood blurs the binary of art and craft. \nIncluded in the presentation are recent paintings Bad Panacea\, Bassoon Song for a Sad Baguette\, and Silver Water Turns Her Blue (2023) which depict still lives after models Calderwood created with fruits and vegetables while working at a grocery store. The tapestries are coded with comic-like narratives imbued with personal meaning throughout the intricate borders. Also included are highly detailed drawings\, all pen and ink\, which portray specific instances from Calderwood’s childhood. \nCalderwood’s work made its debut at George Adams Gallery in Shapeshifters\, an exhibition of four artists from the Bay Area in 2021. In 2022\, they were honored as the Eureka Fellowship Grantee\, and served as the Art+Process+Ideas (API) artist in residence at Mills College\, Oakland\, where their work was exhibited at the Mills College Art Museum. In the past year\, Calderwood was featured in Figure Telling at the di Rosa Center for Contemporary Art in Napa\, Fight and Flight at the Museum of Craft and Design\, San Francisco\, and Bay Area Now at the Yerba Buena Center for the Arts. Calderwood was selected by the San Francisco Arts Commission to create artwork for the three-story atrium of the Harvey Milk Terminal at the San Francisco International Airport\, and their mural is set to be unveiled in 2024. Currently\, Calderwood is an artist in residence at Recology\, San Francisco. \nCraig Calderwood (b. 1987\, Bakersville\, CA) was raised in California’s San Joaquin Valley. From a young age\, Calderwood found drawing to be an outlet and tool for self-expression\, which later led to their interest in pursuing art. After taking classes at Fresno City College\, they relocated to San Francisco\, CA in 2011\, where they currently live and work. \n  Save  
URL:https://artinamericaguide.com/event/george-adams-gallery-at-fog-design-art/
LOCATION:FOG Design+Art\, Fort Mason Center\, 2 Marina Blvd\, San Francisco\, CA\, CA\, 94123\, United States
CATEGORIES:Art Fair
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ORGANIZER;CN="George Adams Gallery":MAILTO:info@georgeadamsgallery.com
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DTSTART;VALUE=DATE:20240117
DTEND;VALUE=DATE:20240122
DTSTAMP:20260823T202754
CREATED:20240117T171459Z
LAST-MODIFIED:20240118T213452Z
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SUMMARY:Michael Rosenfeld Gallery at FOG Design+Art 2024
DESCRIPTION:Michael Rosenfeld Gallery is pleased to participate in FOG Design+Art 2024 with a group exhibition celebrating the generative influence Eastern thought and aesthetics had on American art of the last hundred years. Featured artists include Leo Amino\, Ruth Asawa\, Mary Bauermeister\, William Baziotes\, Harry Bertoia\, Lee Bontecou\, Joseph Cornell\, Harold Cousins\, Jay DeFeo\, Beauford Delaney\, Claire Falkenstein\, Morris Graves\, Lee Krasner\, Yayoi Kusama\, Ibram Lassaw\, Jacob Lawrence\, Norman Lewis\, Alfonso Ossorio\, Agnes Pelton\, Richard Pousette-Dart\, Betye Saar\, Sonja Sekula\, Toshiko Takaezu\, Lenore Tawney\, Alma Thomas\, Mark Tobey\, Charmion von Wiegand\, and William T. Williams. In complement to a rich selection of painting\, sculpture\, collage\, ceramics\, and works on paper dating from 1938 to 2019\, Booth 211 also features furniture by George Nakashima (1905–1990)\, one of the leading design innovators of the twentieth century and a father of the American craft movement. \nOver the last thirty-five years\, Michael Rosenfeld Gallery has organized numerous group and solo exhibitions that have focused on the influence of Eastern thought and traditions on American artists. The gallery’s dedication to exposing audiences to this aspect of American modernism stems not only from its historical under-recognition\, but also from the profundity of its effect\, which is aptly summarized by Guggenheim curator Alexandra Munroe in her text for the landmark 2009 exhibition The Third Mind: American Artists Contemplate Asia\, 1860-1989: “What emerges [from studying the influence of Eastern thought in the U.S.] is a history of how artists working in America selectively adapted Eastern ideas and art forms to create not only new styles of art\, but more importantly\, a new theoretical definition of the contemplative experience and self-transformative role of art itself. The Asian dimension also gave a universalist logic to the modern and neo-avant-garde premise that art\, life\, and consciousness are interpenetrating realities unified by an existential concreteness.” \nMichael Rosenfeld Gallery’s FOG presentation will feature several standout sculptures from mid-century. S.391/50 (c.1958)\, a crocheted wire sculpture by Ruth Asawa (1926–2013)\, is exceptional for its golden patina—a rare quality in Asawa’s body of sculptures. S.391/50 takes the form of six double-sided\, trumpet-like shapes that expand outward from a central void\, embodying the tension between formal opposites that is at the heart of her practice: positive and negative space\, lightness and weight\, individual line and overall form. Evoking the impression of hay illuminated by sunlight\, Untitled (c.1963–64) is an exceptional sculpture by Harry Bertoia (1915–1978); composed of bronze-coated steel wires that have been meticulously welded into a complex\, freestanding sculpture\, Untitled testifies to Bertoia’s refined metalworking abilities and his deep spiritual connection to the natural world. Finally\, Untitled (Fusion) (c.1970) by Claire Falkenstein (1908–1997) is a standout example of her iconic Fusion sculptures\, wherein molten glass cascades through intricately composed\, calligraphic copper structures. \nA selection of both two- and three-dimensional works on view in Booth 211 exemplifies the diverse approaches to spiritual abstraction taken by some of the most significant artists of the twentieth century. Three noteworthy works include: Untitled (c.1942) by transcendentalist painter Agnes Pelton (1881–1961)\, whose metaphysical composition references the seed pods of a magnolia tree. Magnolia trees are frequently portrayed in the traditional art of China and Japan\, where they symbolize purity\, nobility\, perseverance\, feminine beauty\, and gentleness. An untitled\, minimalist\, ink-on-paper brush composition by abstract expressionist painter Norman Lewis (1909–1979) reflects the artist’s interest in Chinese calligraphy—an influence that was nurtured by his gallerist\, Marian Willard\, a founding member of the Asia Society in New York. Further\, three forms by master ceramicist and lifelong practitioner of Zen Buddhism Toshiko Takaezu (1922–2011) exhibit her signature glazing techniques\, wherein the surfaces of her vessels and closed forms act as canvases for her grand gestural markings. Takaezu’s admiration of natural forms was borne of a deep reverence for the environment that was intimately connected to her spiritual beliefs. \nThe spiritual aspect of Takaezu’s art practice is characteristic of many of the artists featured in Michael Rosenfeld Gallery’s presentation\, including Charmion von Wiegand (1896–1983)\, whose hard-edged geometric composition Gouache #175: The Second Chakra (1962) was inspired by diagrammatic renderings of the seven-chakra system central to the exercises of Hatha Yoga. Von Wiegand’s study of Tantra had intensified in the 1950s and 1960s after she began attending yoga classes led by Yogi Vithaldas\, who advanced the notion that Indian philosophy could coexist with Western medicine. Similarly\, the welded and brazed bronze sculpture Asparas (1959) by Ibram Lassaw (1913–2003) shares its name with deities in Hindu and Buddhist mythology known for their superior dancing abilities\, after which a traditional dance of Southeast Asia is modeled. Lassaw studied Zen Buddhism under the influential scholar D. T. Suzuki at Columbia University in New York from 1953 to 1955\, and the religion became an important source of inspiration for his sculpture practice in the years following his studies. Finally\, Untitled (c.1964) by Mark Tobey (1890–1976) exemplifies the calligraphic\, all-over approach for which he is known\, wherein a luminescent web of white ink or paint imbues the composition with a sense of mystical transcendence. Inspired by Arabic and the East Asian languages he studied\, Tobey became a convert to the Bahá’í Faith in 1918; toward the end of his life\, he explained that the “white writings” of his paintings “symbolize the light\, the unifying thought which flows across the compartments of life\, and these give strength to the spirit and are constantly renewing their energies so that there can be a greater understanding of life.” \n  Save  
URL:https://artinamericaguide.com/event/michael-rosenfeld-gallery-at-fog-designart-2024/
LOCATION:FOG Design+Art\, Fort Mason Center\, 2 Marina Blvd\, San Francisco\, CA\, CA\, 94123\, United States
CATEGORIES:Art Fair
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DTSTART;TZID=America/New_York:20231207T080000
DTEND;TZID=America/New_York:20231207T170000
DTSTAMP:20260823T202754
CREATED:20231207T151007Z
LAST-MODIFIED:20231207T151024Z
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SUMMARY:Jane Lombard Gallery at Untitled Art\, Miami Beach Booth B5
DESCRIPTION:Drawing from multigenerational multidisciplinary practices\, this all-female presentation collectively considers the poetics of everyday experiences and their relationship to the landscape.. Through paintings and layered textile collages\, Struble explores that which  is altered by humans\, reclaimed by nature\, and what results from their symbiotic interaction. Pollard creates paintings and sculptures that investigate our everyday tendency to reconcile contradictory phenomena. Zelter’s paintings and ceramic grids decontextualize the familiar\, compelling viewers to negotiate their place within society. Cabrera’s soft sculpture and layered compositions employ culturally-specific media to comment on the Mexican migrant experience. The presented works collectively urge viewers to acknowledge their own positioning by revealing our biases\, subjectivities\, and the critical context that dictates what we think we know and why. \n\nImages: Booth installation view. Photo credit: Adam Reich. Images courtesy of the artist\, and Jane Lombard Gallery. \n  Save  
URL:https://artinamericaguide.com/event/jane-lombard-gallery-at-untitled-art/
LOCATION:UNTITLED\, 12th Street and Ocean Drive\, Miami Beach\, FL\, 33139\, United States
CATEGORIES:Art Fair
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ORGANIZER;CN="Jane Lombard Gallery":MAILTO:info@janelombardgallery.com
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231206T110000
DTEND;TZID=America/New_York:20231210T180000
DTSTAMP:20260823T202754
CREATED:20231205T195652Z
LAST-MODIFIED:20231206T164054Z
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SUMMARY:Kabinett Sector\, Art Basel Miami Beach | Claire Falkenstein: Fusions
DESCRIPTION:Michael Rosenfeld Gallery is proud to participate in the Kabinett sector of Art Basel Miami Beach with an installation of twenty-four small-scale sculptures by Claire Falkenstein (1908–1997) from her celebrated Fusion series. Drawn from the holdings of the artist’s Foundation\, the vast majority of the intimately sized works on view have never been publicly exhibited. \nAn interdisciplinary artist whose career spanned seven decades\, Claire Falkenstein does not fit easily into any school or movement. Comprising a wide variety of mediums—wood\, ceramic\, and metal sculpting\, painting\, prints\, jewelry\, and more—the Fusions are perhaps the greatest testament to her artistic ingenuity\, as they encompass a seemingly infinite array of shapes\, scales\, and palettes. Composed of welded metal and melted glass\, the Fusions embody the dichotomies that exemplify the artist’s practice as a whole: solid and fluid\, opaque and translucent\, durable and fragile. \nFalkenstein developed the Fusions after a trip to Venice\, Italy inspired her to incorporate Murano glass into her sculpture. Material experimentation was a cornerstone of Falkenstein’s artistic practice throughout her career\, and the Fusions came about through a methodical process of trial and error. After determining the precise temperature required to securely bond the glass and metal\, Falkenstein developed the technique through which all Fusions were made: She first created a welded metal armature into which she placed pieces of glass in specific joints\, “as a jeweler sets a jewel.” The object was then fired in a kiln until the two materials “fused\,” allowing the final form to be determined by the uncontrolled interaction between the glass and metal. Scholar Maren Henderson writes of the Fusions: \n“[Experiment]\, especially with an element of risk\, was now a fully realized sculptural method. Process itself was an authentic aesthetic expression\, as were chance and anti-form. The Fusions carried materials to the breaking point\, testing their essential character to the degree of altering or even destroying them. Glass was heated well beyond becoming malleable to the point where it collapsed or even burned. Sheet metal surfaces were heated until they warped. Edges were torn\, scarred or burned. Accidents were welcomed. And chance became a significant component of the process and the result.”[1] \nFalkenstein’s prolific experimentation with the Fusion sculptures resulted in a diverse body of work. Fusions exist in a wide range of configurations\, with some embodying a minimalist approach while others are densely complex; likewise\, some examples exhibit a kaleidoscopic array of colors\, while others contain only one or two. \nBorn and raised in the Pacific Northwest\, Falkenstein felt a deep appreciation of the region’s natural beauty\, and the visual contrast between the dense woodlands set against the flowing sea became a major trope in her art. Concentrating in art\, philosophy\, and anthropology at the University of California\, Berkeley\, Falkenstein was awarded her first solo exhibition by the East-West Gallery in San Francisco in 1930\, the same year she graduated—a rare achievement for such a young artist. In 1933\, Falkenstein received a grant to study at Mills College in Oakland under Cubist sculptor Alexander Archipenko. Her sculptures of the 1930s and 1940s comprise biomorphic abstractions rendered in wood and ceramic. Her work was first shown in New York City in 1944\, when the Bonestell Gallery mounted a solo exhibition. In the late 1940s\, she began teaching at the California School of Fine Arts (now the San Francisco Art Institute)\, where she met abstract expressionist painter Clyfford Still\, who became a lifelong friend and encouraged her to take a more open-ended approach to composition. \nIn 1950\, Falkenstein moved to Paris\, settling into the growing scene of American abstract artists there and soon befriending Sam Francis\, Paul Jenkins\, and Mark Tobey. A thoroughly individual artist who never sought association with a particular school or movement\, Falkenstein attributes her confidence in her unique sensibility partly to her time in Paris\, explaining\, “the French allowed a kind of individual action. …I felt it so strongly that right away my so-called ‘looking within’ really worked. That’s when I developed my own vocabulary.’”[2] Feeling a new sense of freedom\, she began working in metal and soon developed the artistic vocabulary that became the bedrock of her mature style. Her work was supported by the influential critic Michel Tapié\, who defined “art autre” as a European parallel to American abstract expressionism. Writing in the catalogue for her 1958 exhibition at Il Segno Gallery in Rome\, Tapié lauded\, “Claire Falkenstein is probably the artist who has most brought Sculpture to the heart of what the artistic epopee of today must be.” \nFalkenstein returned to the United States in 1963\, settling in Venice\, California\, where she would remain for the rest of her life. She continued to produce a wide variety of Fusions through the mid-1980s. Represented by Galerie Stadler in Paris and Martha Jackson Gallery in New York\, Falkenstein completed numerous public commissions while continuing to evolve her studio practice until her death. Her first public commission in Los Angeles was a welded copper tube and glass fountain for the California Federal Savings and Loan Association. Completed in 1965\, the Cal Fed Fountain was specially designed by Falkenstein to emphasize that the water that flowed through the construction was as integral to the sculpture’s composition as the complexly intertwined copper and glass elements\, resulting in the impression of an endless\, dynamic formal continuity. \nAfter regularly exhibiting her work for fifteen years\, Michael Rosenfeld Gallery became the exclusive representative of The Falkenstein Foundation in 2014. The gallery has since mounted two solo exhibitions\, Claire Falkenstein: A Selection of Works from 1955–1975 (2016) and Claire Falkenstein: Matter in Motion (2018)\, the latter of which was accompanied by a catalogue featuring an interview by Paul J. Karlstrom\, former director of the Archives of American Art\, and a tribute by Lynda Benglis. \n[1] Maren Henderson\, “Sculpture\,” in Claire Falkenstein (Los Angeles\, CA: The Falkenstein Foundation\, 2012)\, 108. \n[2] Oral history interview with Claire Falkenstein\, 1995 Mar. 2-21\, Archives of American Art\, Smithsonian Institution. http://www.aaa.si.edu/collections/interviews/oral-history-interview-claire-falkenstein-12659 \n  \n  Save  
URL:https://artinamericaguide.com/event/kabinett-sector-art-basel-miami-beach-claire-falkenstein-fusions/
LOCATION:Art Basel Miami Beach\, Miami Beach Convention Center 1901 Convention Center Drive Miami Beach\, FL 33139\, Miami Beach\, FL\, 33139\, United States
CATEGORIES:Art Fair
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ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231206T110000
DTEND;TZID=America/New_York:20231210T180000
DTSTAMP:20260823T202754
CREATED:20231205T195652Z
LAST-MODIFIED:20231206T164239Z
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SUMMARY:Art Basel Miami Beach 2023\, Booth A17
DESCRIPTION:Michael Rosenfeld Gallery is pleased to present a group exhibition of American masterworks representative of the gallery’s historically grounded and culturally diverse program. Spanning eight decades\, the majority of works on view are standout examples of midcentury American painting\, sculpture\, and works on paper by the artists that have been the backbone of the gallery’s program since its founding in 1989. Featured artists include Charles Alston\, Benny Andrews\, Ruth Asawa\, Milton Avery\, Hannelore Baron\, Richmond Barthé\, Mary Bauermeister\, Romare Bearden\, Harry Bertoia\, Joseph Cornell\, Harold Cousins\, Sam Gilliam\, Michael Goldberg\, Nancy Grossman\, Hans Hofmann\, Lee Krasner\, Yayoi Kusama\, Alfred Leslie\, Norman Lewis\, Conrad Marca-Relli\, Alice Neel\, Alfonso Ossorio\, Irene Rice Pereira\, Milton Resnick\, Betye Saar\, Alma Thomas\, Bob Thompson\, Mark Tobey\, Charles White\, Jack Whitten\, Charmion von Wiegand\, William T. Williams\, and Hale Woodruff. \nOrganized into sections exploring a range of disciplines and stylistic approaches\, Booth A17 includes a Kabinett installation featuring a stunning selection of fifty small-scale works by Claire Falkenstein (1908–1997) from her celebrated Fusion series of abstract metal and glass sculptures. Drawn from the holdings of the artist’s Foundation\, the vast majority of the delicate\, intimately sized works on view in Michael Rosenfeld Gallery’s presentation have never been publicly exhibited. \nComposed of welded metal and melted glass\, Claire Falkenstein’s Fusions embody the dichotomies that exemplify the artist’s practice as a whole: solid and fluid\, opaque and translucent\, durable and fragile. Executed over a thirty-year period\, from the mid-1950s through the mid-1980s\, the Fusions constitute Falkenstein’s most sustained exploration of the possibilities inherent to a particular technical approach to sculpture. These works are perhaps the greatest testament to her artistic ingenuity\, as they encompass a seemingly infinite array of shapes\, scales\, and palettes; some are quite minimalist\, while others are a dense tangle of metal with many colors of glass. The small-scale Fusions on view in Booth A17 demonstrate the sculptor’s singular range; also a successful jewelry designer\, Falkenstein is widely remembered for her large-scale public artworks and architectural installations\, yet observers of her delicately diminutive works will see that the formal and material nuance for which her oeuvre is celebrated is consistent across her work of all scales. Testifying to her unique ability to execute minutely intricate works without losing any formal or conceptual power\, the small-scale Fusions embody the fundamental concepts that shaped Falkenstein’s visual vocabulary throughout her career. \nIn addition to the Kabinett installation\, Michael Rosenfeld Gallery’s Art Basel Miami Beach presentation features key works shown in the gallery’s exhibition program of the past year\, presenting highlights from the exhibitions Harold Cousins: Forms of Empty Space\, Bob Thompson: Agony & Ecstasy\, and Norman Lewis: Give Me Wings To Fly. A major canvas by Thompson\, Untitled (The Proofing of the Cross) (1963)\, exemplifies the painter’s prescient approach to figurative expressionism and his signature appropriative technique. Executed while he was living in Spain\, Thompson’s painting riffs on the compositional structure of Piero della Francesca’s Proofing of the Cross\, the Legend of the True Cross (1455–66) in the Basilica of San Francesco in Arezzo\, Italy\, transmuting a Renaissance rendition of a Christian legend into a psychedelic tableaux of otherworldly\, animalistic creatures engaged in an enigmatic ritual that evokes\, as curator Slade Stumbo writes\, “a sense of a dream state which is furthered by the fantastic setting that is absent of any reference to any actual place. Thompson’s overarching theme in this work becomes the movement between realms\, metamorphosis.” Also on view at Booth A17 is a large-scale work featured in the gallery’s recent solo exhibition William T. Williams: Tension to the Edge (September 8–November 5\, 2022) titled Avon\, Rainmakers Piss (1970)\, an important canvas from the artist’s earliest mature body of work. A concise selection of works similar to those exhibited in the gallery’s current show\, Mary Bauermeister: Fuck the System—recently deemed a “Must-See” by Artforum—will complete the overview. \nAugmenting the wall-sized paintings installed on the booth’s exterior is an alcove dedicated to figuration. A large collage painting by Benny Andrews\, Thanks (1977)\, hangs adjacent to a quintessential portrait by one of Andrews’ good friends\, Alice Neel\, as well as one of Beauford Delaney’s most accomplished portraits depicting the influential journalist and critic Colin Gravois. Across the booth from this section is another alcove dedicated to material explorations of collage and assemblage\, featuring an abstract painted canvas collage by Conrad Marca-Relli\, a striking “Congregation” by Alfonso Ossorio from his celebrated series of intricate found-object assemblages\, and a historic\, large-scale paper collage by Romare Bearden from his Of the Blues series dedicated to the key players\, composers\, songs\, and locales that were integral to the blues and jazz music that deeply informed the artist’s practice. \nMichael Rosenfeld Gallery is recognized for its commitment to advancing an expanded view of twentieth- and twenty-first century American art. For over three decades\, the gallery has presented an ambitious and diverse exhibition program informed by a progressive vision and an inclusive understanding of art history. Through the championing and recontextualization of works by a range of important twentieth-century artists\, Michael Rosenfeld Gallery remains committed to expanding the canon of American art. A member of the Art Dealers Association of America (ADAA) since 2000\, Michael Rosenfeld Gallery proudly represents the distinguished living artists Nancy Grossman and William T. Williams\, as well as the estates and families of Benny Andrews\, Hannelore Baron\, Mary Bauermeister\, John Biggers\, Federico Castellon\, Harold Cousins\, Beauford Delaney\, Claire Falkenstein\, Michael Goldberg\, Morris Graves\, Norman Lewis\, Seymour Lipton\, Boris Margo\, Alfonso Ossorio\, Theodore Roszak\, Louis Stone\, Bob Thompson\, and Charmion von Wiegand. \n  Save  
URL:https://artinamericaguide.com/event/art-basel-miami-beach-2023-booth-a17/
LOCATION:Art Basel Miami Beach\, Miami Beach Convention Center 1901 Convention Center Drive Miami Beach\, FL 33139\, Miami Beach\, FL\, 33139\, United States
CATEGORIES:Art Fair
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DTSTART;TZID=America/New_York:20231104T190000
DTEND;TZID=America/New_York:20231104T230000
DTSTAMP:20260823T202754
CREATED:20231016T200559Z
LAST-MODIFIED:20231016T200559Z
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SUMMARY:Swoon Opening Celebration
DESCRIPTION:Live music\, street performers\, dancers\, open galleries\, food trucks\, drinks\, red carpet photo opps\, and more! \nDon’t miss the Opening Celebration for the Taubman’s newest special ticketed exhibition\, Swoon. \nFeaturing the work of internationally renowned street artist and printmaker Caledonia Curry/Swoon\, this is an evening you don’t want to miss! \nStreet Party 7-8 pm\nWe’ll kick off the evening with a Street Party like no other – get your red carpet photo taken\, grab a drink from the bar\, check out the food trucks\, take selfies with the stilt walkers\, dance along with the live DJ\, and more! \nOpen Galleries 8-11 pm\nDoors to the Museum open at 8 pm sharp! \nOnce inside\, the festivities continue – take a spin on the dance floor with more music\, create your own Swoon-inspired street art\, meet the artist in the galleries\, grab another drink\, visit the selfie station\, plus lots of other fun surprises to create an evening you’ll be talking about for a long time. \nGet your tickets today – these Opening Celebrations always sell out! \nAdvance Tickets: $20 Members | $25 General Public\nDay of Tickets: $35\n*Includes 1 drink ticket \nWant to take advantage of the Member pricing? Join today\, and you’ll also get a number of other benefits like unlimited free admission to Swoon\, invitations to Member-exclusive events\, discounts on classes\, free reciprocal membership at select museums\, and more. \nSwoon is organized and curated by the Taubman Museum of Art in collaboration with the Turner Carroll Gallery\, Santa Fe. \nExhibition and educational programming is generously supported in part by Ginny Jarrett\, Roanoke Arts Commission\, Carilion Clinic\, Beverly and Leon Harris\, Tom and Mary Evelyn Tielking\, Arkay\, LeadPoint Digital\, TXTUR\, Southwest Virginia Ballet\, Lighting Ninja\, Virginia Commission for the Arts\, National Endowment for the Arts\, Julie Lawrence\, Suzanne Thornily\, and Lee Woody. \n  Save  
URL:https://artinamericaguide.com/event/swoon-opening-celebration/
LOCATION:Taubman Museum of Art\, 110 Salem Avenue SE\, Roanoke\, VA\, 24011\, United States
CATEGORIES:Art Fair,Event,Exhibition
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DTSTART;VALUE=DATE:20231101
DTEND;VALUE=DATE:20231106
DTSTAMP:20260823T202754
CREATED:20231101T181848Z
LAST-MODIFIED:20231102T201854Z
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SUMMARY:The Art Show 2023\, Booth A4
DESCRIPTION:Michael Rosenfeld Gallery is pleased to participate in The Art Show 2023 with Charmion von Wiegand\, a solo exhibition of collages\, paintings\, and works on paper dating from 1945 to 1970\, comprising a vibrant survey of the artist’s most productive years. The exhibition constitutes an abridged version of the Kunstmuseum Basel’s recent retrospective Charmion von Wiegand (March 24–August 8\, 2023)\, to which the gallery loaned sixteen works. \nOn view at Booth A4\, Charmion von Wiegand charts the evolution of the artist’s mature style as she expanded her visual language to incorporate a thoroughly cosmopolitan range of influences. An important translator and protégé of Piet Mondrian (1872–1944)\, Charmion von Wiegand (1896–1983) developed her own approach to Neoplasticism that carried on the Dutch artist’s investigation of Theosophical principles while incorporating concepts\, designs\, and symbols from the Eastern religions she studied and eventually adopted as her personal spiritual guides. Also influenced by the automatist practices of the Surrealists and the densely urban environs of Manhattan\, von Wiegand’s collages and biomorphic abstractions of the 1940s soon segued into a more overt embrace of Mondrian’s Neoplastic grid. She continued in this vein through the 1950s and gradually began to incorporate motifs and compositional processes drawn from Taoist doctrines. Throughout the 1960s\, the artist’s intellectual interest and personal involvement in Eastern philosophies and religions\, especially Tibetan Buddhism\, inspired her to compose exacting amalgamations of stupas\, mandalas\, hexagrams\, prismatic grids\, and more. \nThroughout her career\, von Wiegand drew inspiration from a diverse range of sources\, including Theosophist color theory\, the I Ching\, Egyptian cosmology\, tantric yoga\, and various branches of Buddhism\, forging a singular language of geometric abstraction illuminated by her ardent pursuit of spiritual transcendence. From 1967 until her death in 1983\, von Wiegand devoted her spiritual life to Mahayana Buddhism\, and the art she produced in the years leading up to this conversion reflects her insatiable curiosity for non-Western systems of thought and spirituality. Scholar Massimo Introvigne\, a sociologist of religion\, posits that von Wiegand’s paintings of the 1960s “arguably represent the deepest Western visual representation of Tantrism: not a mere imitation of Eastern models\, but a reinterpretation of the modern abstract art of the West through Tantric lenses.”[1] As art historians and curators continue to expand the history of spiritual abstraction in the 20th century to include such luminaries as Sonia Delaunay\, Hilma af Klint\, and Agnes Pelton\, the work of Charmion von Wiegand has attracted greater institutional recognition and an international audience. \nMondrian had been active in Theosophical circles while living in Europe\, and\, in von Wiegand’s view\, internalized the Theosophical doctrine to the extent where its teachings not only informed his painting practice but became “implicit to his life.”[2] Though her first exposure to Theosophy was in childhood\, when she attended Theosophical Society meetings with her parents\, von Wiegand did not study the subject in earnest until she was an adult. In the 1920s\, she studied the esoteric philosophy of George Ivanovich Gurdjieff\, who she came to revere as a spiritual guide\, and her later friendship with Mondrian inspired her to revisit Theosophist thought; in 1946 she read the religion’s foundational text\, The Secret Doctrine by Helena Blavatsky as well as ancillary texts by Annie Besant and C. W. Leadbeater\, sparking an extended study of Theosophist color theory in her art. Another important event in von Wiegand’s spiritual life occurred in 1967\, when she met Khyongla Rato Rinpoche\, a Gelugpa monk who had recently arrived in New York as a refugee from China’s invasion of Tibet. Rato would mentor her spiritual study in the tradition of Mahayana Buddhism until her death\, and it was through him that she was given an audience with the Dalai Lama during her travels to India and Tibet. In 1975\, Rato founded the Tibet Center in New York and invited von Wiegand to sit on its Board of Advisors. \nThe daughter of a journalist for Hearst\, von Wiegand had a culturally stimulating upbringing\, living in Chicago\, San Francisco\, Arizona\, and Berlin. After studying journalism and art history at Barnard College and Columbia University\, she pursued a writing career that eventually led to her becoming a night correspondent for Hearst in Moscow\, where she was the only woman at the desk\, from 1929–32. After moving back to New York and marrying leftist writer Joseph Freeman\, she continued to pursue a career in journalism and began writing art criticism. A breakthrough with her psychologist in 1927 had led to her realization that she wanted to be a painter\, and she spent much of the 1930s cultivating an art practice in her spare time. After meeting Mondrian in 1941\, von Wiegand was inspired to make painting her primary endeavor. One of the few women who achieved success in the field of American abstract art in the postwar years\, von Wiegand’s social circle reflected her artistic interests and included such avant-garde luminaries as Hart Crane\, Sonia Delaunay\, John Graham\, Jean Hélion\, Carl Holty\, Frederick Kiesler\, Hans Richter\, Joseph Stella\, and Mark Tobey. Many of her peers shared her interest in Eastern religion and philosophy\, and von Wiegand’s unique visual language embodies what curator Haema Sivanesan describes as a transcultural\, “modern Buddhism”[3] that exemplifies the deep engagement with Eastern spiritual and aesthetic philosophies by the era’s artists and intellectuals. \nCharmion von Wiegand at the Kunstmuseum Basel was curated by the museum’s Curator of Contemporary Art\, Maja Wismer\, and was the artist’s first career retrospective at a European institution. In 2021\, Prestel Verlag released a beautifully illustrated catalogue\, Charmion von Wiegand: Expanding Modernism\, which includes a trove of primary document reproductions\, a selected chronology\, and contributions by Wismer as well as Martin Brauen\, an anthropologist specializing in Himalayan culture; art historian Lori Cole\, Associate Professor at New York University; Haema Sivanesan\, Curator at the Art Gallery of Greater Victoria; Nancy J. Troy\, Professor in Art at Stanford University; and art historian Felix Vogel\, who currently teaches at the University of Basel. \nMichael Rosenfeld Gallery’s commitment to the art of Charmion von Wiegand is longstanding. Since taking on the artist’s representation in 1998\, the gallery has worked closely with the estate to mount five solo exhibitions highlighting important facets of von Wiegand’s groundbreaking oeuvre: Spirit & Form\, Collages 1946–1963 (1998)\, Spirituality in Abstraction (2000)\, Improvisations\, 1945 (2003)\, Offering of the Universe (2007)\, and Secret Doors (2014)\, four of which were accompanied by fully-illustrated catalogues publishing new scholarship by leading art historians and curators. \n[1] Massimo Introvigne\, “From Mondrian to Charmion von Wiegand: Neo-Plasticism\, Theosophy\, and Buddhism\,” in Judith Noble\, ed. Black Mirror 0: territory (Somerset\, United Kingdom: Fulgur\, 2019) p. 58 \n[2] Charmion von Wiegand\, from Margit Rowell\, “Interview with Charmion von Wiegand\,” Piet Mondrian 1872–1944: Centennial Exhibition\, exh. cat. (New York: The Solomon R. Guggenheim Museum\, 1971) p. 77 \n[3] Haema Sivanesan\, “Charmion von Wiegand’s Vision of Modern Buddhism\,” in Maja Wismer\, ed. Charmion von Wiegand: Expanding Modernism (Basel: Kunstmuseum Basel\, 2021) p. 91 \n  Save  
URL:https://artinamericaguide.com/event/the-art-show-2023-booth-a4/
LOCATION:Park Avenue Armory\, 643 Park Avenue\, New York\, NY\, 10065\, United States
CATEGORIES:Art Fair
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