BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Art in America Guide - ECPv6.7.0//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-ORIGINAL-URL:https://artinamericaguide.com X-WR-CALDESC:Events for Art in America Guide REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/New_York BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20220313T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20221106T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20230312T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20231105T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20240310T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20241103T060000 END:STANDARD TZID:America/Halifax BEGIN:DAYLIGHT TZOFFSETFROM:-0400 TZOFFSETTO:-0300 TZNAME:ADT DTSTART:20220313T060000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0300 TZOFFSETTO:-0400 TZNAME:AST DTSTART:20221106T050000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0400 TZOFFSETTO:-0300 TZNAME:ADT DTSTART:20230312T060000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0300 TZOFFSETTO:-0400 TZNAME:AST DTSTART:20231105T050000 END:STANDARD TZID:America/Los_Angeles BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20240310T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20241103T090000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;VALUE=DATE:20220423 DTEND;VALUE=DATE:20221128 DTSTAMP:20260403T194925 CREATED:20230626T142032Z LAST-MODIFIED:20230626T142032Z UID:104102-1650672000-1669593599@artinamericaguide.com SUMMARY:59th Venice Biennale "Personal Structures" – Donald Martiny DESCRIPTION:Madison Gallery will be exhibiting Donald Martiny at the 59th Venice Biennale\, April 23 through November 2022 in partnership with the ECC European Cultural Centre at the Palazzo Bembo. \nThe art of Donald Martiny exists somewhere between painting and sculpture. We are confronted with a singular brushstroke\, huge\, a seemingly spontaneous\, lavish eruption of color and texture on the wall. \n“Space : Traditional Western painting from the time of Giotto until Courbet created the illusion of space using Filippo Brunelleschi’s ideas of perspective. This type of space offered the viewer the opportunity to enter the illusory\, albeit fictional picture space to experience the art. I intend for my works to exist in the same space as the viewer; to interact directly as an object with the environment and the viewer.. The forms of the work are in dialogue with the wall\, the room\, and the viewer. In Germany in 1808 Caspar David Friedrich brilliantly synthesized and amalgamated space in his painting Der Mönch am Meer and later with Der Wanderer über dem Nebelmeer by inviting the viewer to place themselves into the painting through the use of a Rückenfigur. Barnett Newman understood this very well when he painted his masterwork Vir Heroicus Sublimis in 1951. Through the use of free-standing paint-sculptures my work is in dialogue with the history of the use of space\, the history of painting\, and with these paintings in particular. \nTime: In photography the shutter speed of 1/1600th second is typical to freeze action and capture an instant in time.(1) While photography captures the image of an instant in time\, a painting captures an event in time. Rather than producing an image of a gesture or mark\, my paintings are the result of an event. The event happens over an extended period of time. By inviting the viewer into the painting\, to become a collaborator or participant rather than a casual viewer the works offer a multifaceted and complex experience similar to the experience one might have wandering through a cathedral rather than the usual glance\, glimpse\, or cursory look. What I have in mind is a different kind of experience: not just glancing\, but looking\, staring\, gazing\, sitting or standing transfixed: forgetting\, temporarily\, the errands you have to run\, or the meeting you’re late for\, and thinking\, living\, only inside the work. Forgetting time\, the past\, the future\, only existing in the present. \nFalling in love with an artwork\, finding that you somehow need it\, wanting to return to it\, wanting to keep it in your life. This kind of experience requires time and a willingness to be in dialogue with the work; to have an ongoing relationship with it. While the painting itself may be unchanging\, the viewer may find they change quite a bit over time. “ – Donald Martiny \n  Save   URL:https://artinamericaguide.com/event/59th-venice-biennale-personal-structures-donald-martiny/ LOCATION:31 Mercer Street\, New York\, NY\, 10013\, United States CATEGORIES:Art Fair,Exhibition ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/06/DM-venice-scaled.jpeg GEO:40.7127753;-74.0059728 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=31 Mercer Street New York NY 10013 United States;X-APPLE-RADIUS=500;X-TITLE=31 Mercer Street:geo:-74.0059728,40.7127753 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Halifax:20221104T110000 DTEND;TZID=America/Halifax:20221230T170000 DTSTAMP:20260403T194925 CREATED:20221028T203111Z LAST-MODIFIED:20221028T203143Z UID:100182-1667559600-1672419600@artinamericaguide.com SUMMARY:New Works by George Snyder DESCRIPTION:New works by George Snyder presented by Gallery C. \n  Save   URL:https://artinamericaguide.com/event/new-works-by-george-snyder/ LOCATION:Gallery C\, 540 N. Blount Street\, Raleigh\, NC\, 27604\, United States CATEGORIES:Art Fair ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/10/17-Color-Stx-108h--scaled.jpg GEO:35.7876224;-78.6357733 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Gallery C 540 N. Blount Street Raleigh NC 27604 United States;X-APPLE-RADIUS=500;X-TITLE=540 N. Blount Street:geo:-78.6357733,35.7876224 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20230119 DTEND;VALUE=DATE:20230123 DTSTAMP:20260403T194925 CREATED:20230117T210311Z LAST-MODIFIED:20230120T181920Z UID:101443-1674086400-1674431999@artinamericaguide.com SUMMARY:Michael Rosenfeld Gallery at FOG Design+Art 2023 DESCRIPTION:Following the success of our inaugural presentation at FOG Design+Art last year\, Michael Rosenfeld Gallery is pleased to return to San Francisco with Claire Falkenstein & Postwar Abstraction\, a celebration of American artists working in abstraction in the middle decades of the 20th century centered on the career of Claire Falkenstein (1908–1997). Dating from 1951–1974\, Falkenstein’s works are contextualized by a rich selection of works on paper from the same period by Lee Bontecou\, Elaine de Kooning\, Jay DeFeo\, Beauford Delaney\, Michael Goldberg\, Hans Hofmann\, Lee Krasner\, Alfred Leslie\, Norman Lewis\, Conrad Marca-Relli\, Alfonso Ossorio\, Jackson Pollock\, Alma Thomas\, and Mark Tobey. \nA pioneering modernist known for her radical material experimentation\, Claire Falkenstein is remembered for her prolific oeuvre that comprises sculptures in ceramic\, wood\, glass\, and a variety of metals\, as well as a strong body of paintings\, works on paper\, and prints. Falkenstein’s art was inspired by her diverse interests\, which included theoretical physics\, mathematics\, and the natural world\, often embodying a key concept that undergirds much of her work\, namely the tangible relationship between stasis and movement\, or\, “structure and flow\,” as she phrased it. Claire Falkenstein & Postwar Abstraction includes sixteen standout Falkenstein sculptures from each major series of her career\, as well as nine works on paper and two canvases from her Moving Point series. Comprising layered\, dynamic fields of rhythmic marks that coalesce into a larger form\, Falkenstein’s Moving Point works generate the impression of swarming action. Continuums and aggregate structures are prevailing concepts in Falkenstein’s works—both two- and three-dimensional—as is a reliance on improvisation during the compositional process; the resulting works impart a feeling of organic\, open-ended growth and proliferation\, allowing a host of interpretations related to collective movement\, from the trajectory of sub-atomic particles to the swell of waves in the sea. \nA stunning highlight of the exhibition is a monumental sculpture dating to 1957\, Time is Concrete No. 1\, which represents one of the earliest examples of Falkenstein’s signature melding of metal and glass. A culmination of Falkenstein’s artistic development in Paris\, this landmark sculpture exemplifies Falkenstein’s unique formal language\, which often blends her calligraphic and architectonic impulses\, coalescing into a form that transcends category. Material experimentation was a constant source of inspiration for Falkenstein\, and her investigations into the possibilities of glass as a sculptural material in the mid-1950s resulted in perhaps her most famous series of sculptures\, the Fusion works. After encountering Murano glass during a trip to Venice\, Falkenstein began testing various ways to incorporate the material into her metal sculptures. She soon determined a way to securely bond the two materials in her kiln\, allowing the glass to melt in unpredictable ways over the metal armatures of her sculptures. The Fusion works thus exemplify a number of dichotomies: design and accident\, hard and fluid\, dark and light\, durable and delicate. \nClaire Falkenstein & Postwar Abstraction also includes an important early example of Falkenstein’s experiments with suspended sculpture\, Architecture Organique (1951). This work is one of the first examples of the artist’s welded metal sculptures designed to be hung from the ceiling\, where it becomes a spectacle of shifting line and shadow as it interacts with the light and air currents in the space in which it is installed. Two years after completing Architecture Organique\, Falkenstein initiated a body of sculptures she referred to as the Sun series; featuring an intricate web of enclosed metal lattices that the artist described as “linear drawings in space\,” the Sun sculptures are intended to evoke the impression of a continuously expanding and contracting celestial body. Suspended from the ceiling or displayed on a floor\, these works reflect Falkenstein’s preoccupation with “opening up mass and making space visible\,” an aim expressed in her sculptures’ unique capacity to move through\, interlace with\, or define space—rather than taking up a solid volume as in traditional sculpture in the round. \nA selection of midcentury abstract works on paper by Falkenstein’s peers is also on view in Booth 202\, providing a clear sense of the milieu in which she developed her practice. Works by artists from both coasts as well as a fellow expatriate working in Paris—Beauford Delaney—both resonate and converse with the sculpture on view. Boldly hued\, gestural works by Delaney\, Elaine de Kooning\, Michael Goldberg\, Lee Krasner\, Alfonso Ossorio\, and Alma Thomas will be complemented by expressively textured\, neutrally toned collages by Alfred Leslie and Conrad Marca-Relli. An emphasis on line defines the lyrical compositions of Norman Lewis\, Jackson Pollock\, and Hans Hofmann\, while the intimately scaled works of Jay DeFeo and Lee Bontecou respectively transform an everyday object into a dynamic abstraction and describe a biomorphic realm of cosmic proportions. Finally\, a potent group of white writing paintings on paper by an artist Falkenstein greatly admired\, Mark Tobey\, demonstrate the formal and structural affinities between the two artists’ approach to composition. As a whole\, the installation will contextualize Falkenstein’s contributions to the canon of 20th-century abstraction among a survey of exemplary works by major midcentury American abstractionists. \nThough she spent a formative decade in Europe soaking up the independent spirit of Paris’ international avant-garde\, Falkenstein’s relationship to California was as longstanding as it was reciprocal. After a childhood in rural Oregon\, Falkenstein first established herself as an artist in northern California in the 1930s and 1940s; she studied art at UC Berkeley\, opened her first solo exhibition at San Francisco’s East-West Gallery in 1930 and studied under Alexander Archipenko and László Moholy-Nagy at Mills College in Oakland. In the 1940s she began teaching at the California School of Fine Arts (now the San Francisco Art Institute)\, and by the end of the decade\, she had been awarded multiple solo exhibitions at the San Francisco Museum of Modern Art\, the Crocker Art Museum\, the de Young Museum and the Santa Barbara Museum of Art. Falkenstein moved to Paris in 1950\, quickly falling in with fellow expatriate artists aligned with the influential French critic Michel Tapié. Her career continued to blossom during her time in Europe\, and the vibrant cultural environment combined with her material success allowed her to develop several different series simultaneously. She settled permanently in Venice\, California\, in 1963\, where she continued to expand her oeuvre over the next thirty years. Falkenstein exhibited regularly until her death in 1997 and completed numerous private and public commissions across California until the late 1980s\, when her declining physical health forced her to stop working on large-scale sculptures. \nMichael Rosenfeld Gallery began exhibiting the work of Claire Falkenstein in the late 1990s. Since then\, her work has consistently been a vital component of the gallery’s program\, and in 2014\, Michael Rosenfeld Gallery became the exclusive representative of The Falkenstein Foundation. In 2016 the gallery mounted Claire Falkenstein: A Selection of Works from 1955–1975 in conjunction with the artist’s career retrospective at the Pasadena Art Museum of California Art\, Beyond Sculpture. Two years later\, Michael Rosenfeld Gallery opened Claire Falkenstein: Matter in Motion to critical acclaim and published a beautifully designed catalogue featuring a tribute to Falkenstein by sculptor Lynda Benglis and the complete transcript of the artist’s final interview conducted by critic Paul J. Karlstrom. \n  Save   URL:https://artinamericaguide.com/event/michael-rosenfeld-gallery-at-fog-designart-2023/ LOCATION:Fort Mason Festival Pavilion\, 2 Marina Blvd\, San Francisco\, CA\, 94123\, United States CATEGORIES:Art Fair ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/01/FOG_2023_9.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Halifax:20230216T100000 DTEND;TZID=America/Halifax:20230219T180000 DTSTAMP:20260403T194925 CREATED:20230213T222613Z LAST-MODIFIED:20230217T175424Z UID:101830-1676541600-1676829600@artinamericaguide.com SUMMARY:Michael Rosenfeld Gallery at Frieze Los Angeles 2023 DESCRIPTION:Following the success of our inaugural presentation at Frieze LA last year\, Michael Rosenfeld Gallery is pleased to return to Los Angeles with a solo exhibition of works by Bob Thompson (1937–1966) organized in complement to the recent traveling retrospective Bob Thompson: This House Is Mine\, which concluded its nationwide tour at UCLA’s Hammer Museum in January. The gallery’s presentation at Frieze LA 2023 constitutes Michael Rosenfeld Gallery’s fifth show on Thompson and our first solo exhibition of the artist since acquiring the estate in 2019. The presentation at Frieze serves as a preview to an upcoming solo exhibition of the artist’s work that will be on view from April 1–May 26\, 2023\, in the gallery’s ground floor space in Chelsea.  \nSixteen major paintings and over thirty works on paper are on view at Michael Rosenfeld Gallery’s Booth A15\, constituting a succinct\, vibrant survey of Thompson’s visionary oeuvre. The works on view were executed between 1958\, the year the artist moved to New York\, and 1966\, the year he passed away in Rome\, providing a compelling synopsis of Thompson’s career. Both our Frieze presentation and the upcoming gallery show include works that have not been publicly exhibited in decades as well as several works that appeared in This House is Mine. \nIn a tragically brief life\, Bob Thompson created a complex body of work structured by his own symbolic lexicon\, fauvist palettes\, and compositional devices drawn from the European Old Master tradition. As inspired by the improvisational riffs of jazz as he was by the formal tropes of Goya\, Poussin\, and Tintoretto\, Thompson’s viscerally executed paintings conjure a psychedelic allegory of his own experience. Often set in a pastoral countryside or dense woodlands\, Thompson’s scenes are populated by Madonnas and saints\, monstrous birds\, anthropomorphic donkeys\, shadowy men in fedoras\, and much\, much more. During the years he lived in New York\, the artist was deeply immersed in the avant-garde scene of Manhattan’s Lower East Side\, participating in Fluxus happenings\, befriending Beatniks such as Allen Ginsberg and LeRoi Jones\, and frequenting the city’s legendary jazz clubs\, including the 5 Spot and Slugs’ Saloon. \nA chance encounter with the work of German Expressionist Jan Müller (1922–1958) in the summer of 1958 set Thompson on a path to his mature style; Müller’s raw\, flatly rendered allegorical paintings were a revelation to Thompson\, and he sought out the artist’s widow Dodi Müller\, to learn more; she advised him to eschew extended study of contemporary art in favor of close consideration of the Old Masters. Thompson subsequently took advantage of every opportunity to sketch the works of Old and Modern masters in the U.S.\, visiting the Barnes Collection in Philadelphia and frequenting The Metropolitan Museum of Art. He also took several long sojourns in Europe with the aid of travel grants and\, after his career took off\, his own funds. Sketching daily at the Louvre and various historical sites in Spain and Italy provided the artist with a seemingly infinite supply of fodder for his increasingly complex and monumental compositions.  \nThe paintings and drawings on view at Frieze LA collectively represent the richness of Thompson’s oeuvre\, portraying myriad subjects and converging a broad range of art historical references. Among the sixteen works on canvas are Harvest Rest (1964) and The Golden Ass (1963)\, which reimagine Pieter Bruegel the Elder’s The Harvesters (1565) and a scene from Francisco de Goya’s Los Caprichos (1797–99)\, respectively. Among the selection of works on paper will be Thompson’s spontaneous line drawings of various musicians he observed at the downtown jazz venues he haunted\, including Cannonball Adderley\, Art Blakey\, Bob Cranshaw\, John Ore\, and Sonny Rollins. \n“Thompson understood the power of the works he used and their place in the history of art\,” writes curator Thelma Golden in the text accompanying Thompson’s 1998 retrospective at the Whitney Museum of American art\, which she and Judith Wilson curated. “Western art offered him something which he assumed was his right to use freely. He was also clear about his desire to make these works his own: inflect their vocabulary with his grammar; infuse the agreed-upon meanings with his intention. To claim them. To signify. …Thompson’s art lay not simply in the restatement\, but in the revision and replacement of these familiar passages—a philosophy that brings him into a direct affinity with his jazz musician contemporaries as well as with an entire generation of African American artists who followed his strategy.”   \nCurated by Diana Tuite for the Colby College Museum of Art (Waterville\, ME)\, Bob Thompson: This House Is Mine garnered widespread acclaim throughout its four-city national tour. The exhibition was the first solo exhibition of Thompson’s work at a museum since the 1998 Whitney show. Following its opening at the Colby Museum in July 2021\, This House is Mine traveled to the Smart Museum in Chicago\, the High Museum in Atlanta and the Hammer Museum in Los Angeles. A beautifully designed\, fully illustrated catalogue published in association with Yale University Press features an impressive group of contributors\, including curators Lowery Stokes Sims and Robert Cozzolino; art historians Adrienne L. Childs\, Bridget R. Cooks\, Jacqueline Francis\, and George Nelson Preston; and artists Henry Taylor\, Alex Katz\, and Rashid Johnson.  \nMichael Rosenfeld Gallery’s relationship with the work of Bob Thompson dates to 1996\, when the gallery took on representation of the estate and mounted Bob Thompson: Heroes\, Martyrs & Spectres at our 57th Street location. Three more solo exhibitions followed: Fantastic Visions (1999)\, Meteor in a Black Hat (2005)—which traveled to the Haggerty Museum of Art at Marquette University in Milwaukee—and Naked at the Edge: Bob Thompson\, which opened at the gallery’s current Chelsea location in 2015. The gallery published accompanying catalogues for the first three exhibitions\, featuring texts by the artist’s widow Carol Thompson and jazz critic Stanley Crouch. Following twenty-three years of representation\, Michael Rosenfeld Gallery acquired the Estate of Bob Thompson in 2019\, a monumental procurement that included all remaining works in the family’s possession\, numerous artist sketchbooks\, and the artworks’ intellectual property rights. \n  Save   URL:https://artinamericaguide.com/event/michael-rosenfeld-gallery-at-frieze-los-angeles-2023/ LOCATION:Frieze Los Angeles\, 3233 Donald Douglas Loop S\, Santa Monica\, CA\, United States CATEGORIES:Art Fair ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/02/02152023_MichaelRosenfeld_0004.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20230517 DTEND;VALUE=DATE:20230522 DTSTAMP:20260403T194925 CREATED:20230512T200714Z LAST-MODIFIED:20230516T141757Z UID:103471-1684281600-1684713599@artinamericaguide.com SUMMARY:Frieze New York 2023 DESCRIPTION:For Frieze New York 2023\, Michael Rosenfeld Gallery is pleased to present 1973\, a group exhibition featuring works created in the months leading up to and immediately following the U.S. Supreme Court’s decision of January 22\, 1973 in the case of Roe v. Wade. Widely understood as a major victory for the second-wave feminist movement that was then at its peak\, the ruling was a watershed moment for the nation and many artists were commensurately inspired by the empowerment it granted. Fifty years hence\, the revocation of the rights conferred by Roe has revealed the disproportionate measure of power wielded by an unelected group of judges acting on behalf of the minority of Americans who oppose such freedoms. Coming into artistic maturity in an era of overt social and institutional sexism\, the artists exhibited in 1973 levied their cultural cachet and risked the future of their careers to resist the dominant social and political powers in a variety of ways. \nForegrounding themes of physical compromise\, convalescence\, and psychic resilience\, Booth D11 features an interdisciplinary selection of works by a diverse roster of artists including Magdalena Abakanowicz (1930–2017)\, Hannelore Baron (1926–1987)\, Mary Bauermeister (1934–2023)\, Lee Bontecou (1931–2022)\, Jay DeFeo (1929–1989)\, Barbara Chase-Riboud (b.1934)\, Claire Falkenstein (1908–1997)\, Nancy Grossman (b.1940)\, Louise Nevelson (1899–1988)\, Betye Saar (b.1926)\, Alma Thomas (1891–1987)\, and Claire Zeisler (1903–1991). Ranging from the intimately personal to the grandly universal\, 1973 conveys a tangible sense of the manifold materials\, processes\, and iconographies engaged by this revolutionary generation of artists. Though not all of the works in the presentation are overtly political\, an undercurrent of feminist thought\, and political struggle is evident in each artists’ oeuvre and the exhibition as a whole. \nHighlights of 1973 include a standout example from Grossman’s celebrated series of leather-covered head sculptures\, Black (1973–74). Despite their masculine features\, Grossman refers to these sculptures as self-portraits\, as they convey the rage she felt in witnessing the violence sparked by the political and social movements of late 1960s\, when she created the first works in the series. Works such as Black further embody Grossman’s conception of the relationship between the individual and society\, evoking themes of disenfranchisement and suppression. The deliberate confusion of attributes traditionally coded as masculine or feminine was a common technique among the second-generation feminists\, often employed to expose the socially constructed origins of such categorizations. Similarly\, Mary Bauermeister’s Durchwanderung (Nature) (1973–74) is a commentary on the gendered preconceptions that often require women artists to neutralize their femininity in order to be taken seriously in an art world dominated by men. Comprising a sprawling installation of wooden spheres\, pencils\, and one of Bauermeister’s famed lens boxes\, the work opens onto a multitude of implications pertaining to the nature of visual perception\, framing\, and traditional symbols of biological sex (i.e.\, eggs and phalluses). \nMagdalena Abakanowicz’s large-scale textile work\, Kolo I (Orchidee I) (1973)\, likewise addresses prevailing conceptions of gender which reduce the nuances of identity to anatomical attributes of sex. Simultaneously referencing the vulva\, a flower\, and the interior of a tree in which the artist sought safety and solace as a child in Nazi-occupied Poland\, Abakanowicz transforms an understated sisal tondo into a testament to human fragility\, resilience\, and a celebration of the complexities of the natural world. A prime example of Louise Nevelson’s iconic assemblage sculptures\, Untitled (c.1973)\, also elevates objects and themes traditionally relegated to the realm of the home. Here the artist—who eschewed the feminist label\, insisting that she was “an artist who happens to be a woman”—gathers a deliberate selection of common wooden household objects uniformly coated in her signature matte black within an architecturally enclosed structure. By repurposing castoff materials that\, once assembled\, address profound themes such as love and death through a domestic lens\, Nevelson’s sculpture bucks the machismo stereotype associated with the abstract expressionists—especially sculptors working on a large scale. \nFinally\, a selection of drawings by Barbara Chase-Riboud dating to 1973 demonstrate the polymath’s stunning draftsmanship; trained as an architect\, Chase-Riboud is also a poet\, novelist\, and sculptor who takes up distinct but intersecting subjects—often drawn from the history and literature—in each discipline she approaches. The drawings at Booth D11 are structured by the children’s game Hopscotch\, except in lieu of numbers and pebbles\, the artist illustrates large slabs of cut stone\, sinewy ropes\, and inscrutable texts\, alluding to the monuments and languages of ancient civilizations. Bestowing one work in the series with a print of her own lips—Hopscotch with a Kiss (1973)—Chase-Riboud presents an enigmatic group of compositions that speak to both the historical conditions of her personal identity\, corporeal presence\, and the universality of the human experience. \nCreated at a time of intense social and political upheaval\, the works on view in 1973 provide a snapshot of the era’s cultural ethos while taking on new valences of meaning in the wake of the Supreme Court’s decision of last year. As the U.S. returns to an era of forced pregnancy and unsafe abortions on what should have been the fiftieth anniversary of the federal protection of reproductive rights\, it is our hope that this tragic loss of bodily autonomy will be met with commensurate opposition to the social and governmental powers who have brought about this result. \n  Save   URL:https://artinamericaguide.com/event/frieze-new-york-2023/ LOCATION:Frieze New York\, Randall’s Island Park\, New York\, 10035\, United States CATEGORIES:Art Fair ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/05/Magdalena-Abakanowicz-1930–2017-Kolo-I-Orchidee-I-1973-woven-and-dyed-sisal-and-wool.jpg GEO:40.795813;-73.922517 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Frieze New York Randall’s Island Park New York 10035 United States;X-APPLE-RADIUS=500;X-TITLE=Randall’s Island Park:geo:-73.922517,40.795813 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Halifax:20230610T140000 DTEND;TZID=America/Halifax:20230610T160000 DTSTAMP:20260403T194925 CREATED:20230502T182207Z LAST-MODIFIED:20230502T182207Z UID:103173-1686405600-1686412800@artinamericaguide.com SUMMARY:Chelsea Connoisseur's "Midsummer Night's Dream" Champagne Soirée! Saturday June 10th 2PM - 4PM DESCRIPTION:AMSTERDAM WHITNEY GALLERY\, located at 210 Eleventh Avenue (between 24th & 24th Streets) – Chelsea\, New York City\, is proud to show in its\nJUNE 10-SEPTEMBER\, 2023 “Mid-Summer Night’s Dream” Exhibition\, contemporary Master Artists whose works explore the abstract\, figurative and natural worlds. With exhilarating paintings and acclaimed sculptures\, these renown artists exalt the realm of the aesthetic through brilliant coloration and dazzling form.  This special “Mid-Summer Night’s Dream” exhibition\, highlighted by the Gala Champagne Reception on Saturday\, June 10th\, from 2:00-4:00 pm\, offers a magical tribute which will enchant the senses of both art acquisitiors and art aficionados alike. Overflowing with an intoxicating  champagne toast to the prismatic wonders of the natural world\, this sparkling summer exhibition reflects a bubbling visual renewal of the visual realm. Noteworthy international and national masters incandescently define the cultural cross-section of the modern art world and pulsate with dynamic synergy and expressive artistic creativity. While rendering a visual lexicon of sophisticated\, eclectic and often joyful representations of the universe\, they globally shine the spotlight on a unique\, universal artistic language\, creating panoramas infused with creative spirit.\n  \n\n\n\n\nTOM ASHBOURNE\nNANCY BALMERT\nMARIE-GHISLAINE BEAUCE\nRONI LYNN DOPPELT\nGAYLE FAULKNER\nSUE GRAEF\nMACEY LIPMAN\nNERYS LEVY\nGEORGINA MACKEN\nKASANDRA McNEIL\nJOHN PETERS\nSADY PINEDA\nLUCA RIPAMONTI\n\n\n\n\n\n\nSALLY RUDDY\nMICHAEL SCHAFFER\nANDREA G. SNYDER\nJULIE REBY WAAS\nHUA YANG\n\n\n\n\n  Save   URL:https://artinamericaguide.com/event/chelsea-connoisseurs-midsummer-nights-dream-champagne-soiree-saturday-june-10th-2pm-4pm/2023-06-10/ LOCATION:Amsterdam Whitney Gallery\, 531 West 25th Street\, Ground Floor\, New York\, NY\, 10001\, United States CATEGORIES:Art Fair,Exhibition,Pop up ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2023/05/Screen-Shot-2023-05-02-at-12.49.14-PM.png ORGANIZER;CN="Amsterdam Whitney Gallery":MAILTO:amsterdamwhitney@aol.com GEO:40.7497243;-74.0044044 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Amsterdam Whitney Gallery 531 West 25th Street Ground Floor New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=531 West 25th Street\, Ground Floor:geo:-74.0044044,40.7497243 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230708T120000 DTEND;TZID=America/New_York:20230708T133000 DTSTAMP:20260403T194925 CREATED:20221205T221718Z LAST-MODIFIED:20230418T145529Z UID:100807-1688817600-1688823000@artinamericaguide.com SUMMARY:Creativity Exploration: Characters of Clay DESCRIPTION:This adult class will be held IN PERSON \nClasses are taught by award winning instructor\, Lark Keeler. \n\nInspired by the hybrid creatures and characters from the imaginations of Leonora Carrington and Sophie Woodrow\, make your own creation using clay and play. Advanced reservations are required\, space is limited. \n  \nCreativity Exploration adult workshops promote the benefits of creative exploration and the mind-to-body experience. Studies have shown that 45 minutes of creative activity a day reduces stress and offers mental clarity and relaxation. In addition to producing a sense of well-being\, sessions expand participants’ perceptions of forms\, while increasing brain connectivity through visual and cognitive stimulation. The workshop is led by educator Lark Keeler\, a specialist in mindfulness education. \n  \nCreativity Exploration is sponsored by the Charles P. Ferro Foundation \n\n  Save   URL:https://artinamericaguide.com/event/creativity-exploration-set-sail/ LOCATION:NSU Art Museum\, 1 E Las Olas Blvd\, Fort Lauderdale\, FL\, 33301\, United States CATEGORIES:Art Fair,Event,Exhibition ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/12/Event-Image_-CE-July-1.jpg ORGANIZER;CN="nsu art museum":MAILTO:reservations@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;TZID=America/Halifax:20230715T100000 DTEND;TZID=America/Halifax:20230715T170000 DTSTAMP:20260403T194925 CREATED:20230522T153842Z LAST-MODIFIED:20230522T153842Z UID:103547-1689415200-1689440400@artinamericaguide.com SUMMARY:Midsummer Festival of the Arts DESCRIPTION:Mark your calendars for the Midsummer Festival of the Arts 2023 in Sheboygan\, Wisconsin. \nSaturday\, July 15\, 2023\n10:00 a.m.–5:00 p.m. \nSunday\, July 16\, 2023\n10:00 a.m.–4:00 p.m. \nFree Admission \n100 Artist Booths • Live Music • Exhibitions • Demonstrations • Art Making • Food Trucks \nNow in its fifty-third year\, the Midsummer Festival of the Arts has been a Sheboygan tradition for finding special works of art and meeting their makers. One hundred artist booths will feature paintings\, photographs\, jewelry\, wearables\, wood carvings\, ceramics\, glass\, leather goods\, textiles\, and more. \nThis event also offers live music and performances\, hands-on art making\, demonstrations\, food\, and fun on the grounds of the John Michael Kohler Arts Center and Sheboygan’s City Green. \nhttps://www.jmkac.org/event/midsummer-festival-of-the-arts-15/ \nImage: Midsummer Festival of the Arts\, July 16\, 2022. \n  \n  Save   URL:https://artinamericaguide.com/event/midsummer-festival-of-the-arts/2023-07-15/ LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States CATEGORIES:Art Fair ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/05/se.mfa_.2022.0018-1920x1281-1.jpg ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20230907 DTEND;VALUE=DATE:20230911 DTSTAMP:20260403T194925 CREATED:20230816T174529Z LAST-MODIFIED:20230831T144605Z UID:104835-1694044800-1694390399@artinamericaguide.com SUMMARY:Allan Wexler at Independent 20th Century DESCRIPTION:Jane Lombard Gallery is pleased to present a solo booth with Allan Wexler for  the 2023 edition of Independent 20th Century Art Fair.  A trained architect\, Wexler has been producing functional absurdities for over fifty years that bridge and interrogate distinctions between human activity and the built environment. Featuring diverse works spanning media from drawing to sculpture\, the presentation will center on themes of connectivity\, constructedness\, and ritual. In tandem with the booth presentation\, Coffee Seeks its Own Level\, a work that epitomizes the main tenets of Wexler’s practice\, will be activated in Booth B8 on September 7 from 4PM – 6PM. \nFascinated by the seemingly infinite ritualistic details of the Japanese tea ceremony\, Wexler created Coffee Seeks Its Own Level as a way to investigate the social implications of performative ritual. Working with group dynamics\, Wexler often utilizes a set group of four as a recurring motif in his work. As Wexler explains\, “It is about four people at the table drinking coffee simultaneously. Because the coffee cups are connected by tubing\, when one gets raised\, the unleveling causes the coffee to overflow the other three cups. It is about playing with coordination among the guests. The remnants of such performances remain as stains of the white tablecloth” (1). \nWith wit and ingenuity\, the selected works investigate the ways in which the day-to-day objects of our environment mediate social activity. They often stage delicate\, unexpected interactive sites as catalysts for interpersonal connectivity. Some works highlight the isolating capacity of certain tasks while others create a sense of fragility that forces participants to navigate the environment together. 4 Collars Sewn Into A Tablecloth\, 1991\, conflates the solitary\, routine act of dressing oneself with the spontaneity and company of communal dining. The nature of the work implies a contradictory isolating sense of community: dinner guests are connected at the seams yet physically restricted\, sewn into place. The drawing 4 Handled Broom\, 1991\, on the other hand\, visually transforms the mindless solitude of sweeping into an intentional symbiotic act as one envisions the collective coordination required to effectively operate such a tool. \nWexler’s fabricated scenes are strange and unconventional\, urging viewers to consider similarly unconventional means of collaborative problem-solving. At the same time\, viewers are encouraged to seek and acknowledge the constructedness and absurdity of those entrenched daily activities that are arbitrarily deemed ‘normal.’ Described as a “radical deconstructor of habitation\,” Wexler aims to do just that – to look more deeply into what surrounds us and to reconsider and question the actions we tend to perform without a second thought (2). Understanding Wexler’s practice is an exercise in recontextualization\, “my work is about finding poetry in something that seems purely functional. I take an object\, destroy its function\, and play with it until I discover a new function” (3).  Wexler exposes the conceptual world that informs our lived experiences\, questions the conditions of its construction and turns it on its head. \nAbout Allan Wexler\nAllan Wexler (b. 1949) has worked in the fields of architecture\, design\, and fine art for fifty years. In the late 1960s he was an early member of the group of architects and artists who questioned the perceived divide between art and the design disciplines. They called themselves non-architects or paper architects. Wexler earned his Bachelor of Fine Arts (1971) and his Bachelor of Architecture (1972) from RISD and his Master of Architecture from Pratt Institute (1976). \nWexler is a recipient of a Guggenheim Fellowship (2016)\, is a Fellow of the American Academy in Rome\, and a winner of both a Chrysler Award for Design Innovation and the Henry J. Leir Prize from the Jewish Museum. He has executed public art commissions at several locations\, including Hudson River Park (2006)\, Atlantic Terminal\, Long Island Railroad (2009)\, and Pratt Institute (2008\, 2012). He has exhibited nationally and internationally including La Arsenale\, Biennale Architettura\, Venice\, Italy; The Contemporary Jewish Museum\, San Francisco\, CA; Museum of Contemporary Art Chicago\, Chicago\, IL; Walker Art Center\, Minneapolis\, MN; Mattress Factory\, Pittsburgh\, PA; Parrish Art Museum\, Southampton\, NY; San Francisco Museum of Art\, San Francisco\, CA; Karl Ernst Osthaus Museum\, Hagen\, GE; De Cordova Museum and Sculpture Park\, Lincoln\, MA; The Jewish Museum\, New York\, NY; among many others. Wexler currently teaches at Parsons School of Design in New York City. \nIn 2017 Lars Müller published Absurd Thinking: Between Art and Design\, a book on Wexler’s work and creative process. The book features projects developed across the artist’s career that mediate the gap between fine and applied art using the mediums of architecture\, sculpture\, photography\, painting\, and drawing. \nAbout Jane Lombard Gallery\nJane Lombard Gallery has an established reputation for bringing to the forefront artists who work within a global perspective/aesthetic relevant to the social and political climate of today. The gallery seeks to promote both emerging and mid-career artists in a variety of media – painting\, sculpture\, installation\, and film – in the US\, Europe\, and Asia. Founded in 1995 in Soho as Lombard Freid projects\, the gallery later moved to Chelsea\, first to 26th Street\, and later to 19th Street in 2010. The gallery is now located in Tribeca at 58 White St. \n(1) Allan Wexler\, interviewed by Vladimir Belogolovsky\, ‘Artist Allan Wexler uses hand tools to pull ideas out of his head\,’ STIRWorld\, February 7\, 2022\, n.p. Retrieved from https://www.stirworld.com/think-columns-artist-allan-wexler-uses-hand-tools-to-pull-ideas-out-of-his-head\n(2) Michele Calzavara\, ‘Meditations on Habitation\,’ in Absurd Thinking: Between Art and Design\, 287.\n(3) Wexler\, interviewed by Vladimir Belogolovsky\, ‘Artist Allan Wexler uses hand tools\,’ n.p. \nImage: Allan Wexler\, Coffee Seeks Its Own Level\, 1990. Coffee cups\, saucers\, vinyl tubing\, fabric\, dimensions variable. \n  Save   URL:https://artinamericaguide.com/event/allan-wexler-at-independent-20th-century/ LOCATION:Battery Maritime Building\, 10 South Street\, New York\, NY\, 10005\, United States CATEGORIES:Art Fair ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/08/1990.Coffee-seeks-its-own-level11.jpg ORGANIZER;CN="Jane Lombard Gallery":MAILTO:info@janelombardgallery.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230907T000000 DTEND;TZID=America/New_York:20230910T000000 DTSTAMP:20260403T194925 CREATED:20230907T201515Z LAST-MODIFIED:20230908T164251Z UID:105163-1694044800-1694304000@artinamericaguide.com SUMMARY:Michael Rosenfeld Gallery at The Armory Show - Booth 313 DESCRIPTION:For our fifteenth consecutive year\, Michael Rosenfeld Gallery returns to The Armory Show 2023 with a presentation of major twentieth and twenty-first century artworks that reflect the gallery’s core commitment to expand the canon of American art. Our booth will be anchored with important masterworks by Benny Andrews\, Milton Avery\, Hannelore Baron\, Richmond Barthé\, Mary Bauermeister\, William Baziotes\, Romare Bearden\, Harry Bertoia\, John Biggers\, Paul Cadmus\, Robert Colescott\, Harold Cousins\, Beauford Delaney\, Claire Falkenstein\, Jared French\, Sam Gilliam\, Michael Goldberg\, Adolph Gottlieb\, Nancy Grossman\, Charles Howard\, Blanche Lazzell\, Norman Lewis\, Conrad Marca-Relli\, Alfonso Ossorio \, Agnes Pelton\, Irene Rice Pereira\, Anne Ryan\, Esphyr Slobodkina\, Lenore Tawney\, Pavel Tchelitchew\, Alma Thomas\, Bob Thompson\, Helen Torr\, Jack Tworkov\, Charmion von Wiegand\, Stuart Walker\, William T. Williams\, and Hale Woodruff. \n  Save   URL:https://artinamericaguide.com/event/michael-rosenfeld-gallery-at-the-armory-show-booth-313/ LOCATION:The Armory Show at the Javits Center\, 11th Avenue at 35th Street\, New York\, NY\, NY\, 10001\, United States CATEGORIES:Art Fair ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/09/Benny-Andrews-1930-2006-Howardena-1978-oil-and-graphite-on-canvas-with-painted-fabric-collage.jpg GEO:40.7564465;-74.0015064 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=The Armory Show at the Javits Center 11th Avenue at 35th Street New York NY NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=11th Avenue at 35th Street:geo:-74.0015064,40.7564465 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230907T180000 DTEND;TZID=America/New_York:20230907T210000 DTSTAMP:20260403T194925 CREATED:20230825T144036Z LAST-MODIFIED:20230831T144736Z UID:104997-1694109600-1694120400@artinamericaguide.com SUMMARY:Manneken Press at Art On Paper DESCRIPTION:Join Manneken Press at Art on Paper\, New York City’s celebrated\, medium-driven fair\, returning to downtown Manhattan’s Pier 36 during September 2023’s Armory Art Week with 100 galleries featuring top modern and contemporary paper-based art.\n\n\n\n\n\n\n\n  Save   URL:https://artinamericaguide.com/event/manneken-press-at-art-on-paper/2023-09-07/ LOCATION:Pier 36\, 299 South Street\, New York City\, NY\, 10002\, United States CATEGORIES:Art Fair ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/08/lonely_as_a_cloud_1.jpg ORGANIZER;CN="Art Market Productions":MAILTO:info@amp.events END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20231101 DTEND;VALUE=DATE:20231106 DTSTAMP:20260403T194925 CREATED:20231101T181848Z LAST-MODIFIED:20231102T201854Z UID:105863-1698796800-1699228799@artinamericaguide.com 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/11/ADAA-2023-View-1.jpg GEO:40.7679446;-73.9662489 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Park Avenue Armory 643 Park Avenue New York NY 10065 United States;X-APPLE-RADIUS=500;X-TITLE=643 Park Avenue:geo:-73.9662489,40.7679446 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20231104T190000 DTEND;TZID=America/New_York:20231104T230000 DTSTAMP:20260403T194925 CREATED:20231016T200559Z LAST-MODIFIED:20231016T200559Z UID:105609-1699124400-1699138800@artinamericaguide.com 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/10/Swoon-AlbrightKnox-129.jpg ORGANIZER;CN="Taubman Museum of Art":MAILTO:Snelson@taubmanmuseum.org GEO:37.272629;-79.938573 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Taubman Museum of Art 110 Salem Avenue SE Roanoke VA 24011 United States;X-APPLE-RADIUS=500;X-TITLE=110 Salem Avenue SE:geo:-79.938573,37.272629 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20231206T110000 DTEND;TZID=America/New_York:20231210T180000 DTSTAMP:20260403T194925 CREATED:20231205T195652Z LAST-MODIFIED:20231206T164239Z UID:106138-1701860400-1702231200@artinamericaguide.com 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/12/Thomas-128.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:20231206T110000 DTEND;TZID=America/New_York:20231210T180000 DTSTAMP:20260403T194925 CREATED:20231205T195652Z LAST-MODIFIED:20231206T164054Z UID:106140-1701860400-1702231200@artinamericaguide.com 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/12/Falkenstein-228e.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:20231207T080000 DTEND;TZID=America/New_York:20231207T170000 DTSTAMP:20260403T194925 CREATED:20231207T151007Z LAST-MODIFIED:20231207T151024Z UID:106158-1701936000-1701968400@artinamericaguide.com 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/12/web_jane_lombard.jpg ORGANIZER;CN="Jane Lombard Gallery":MAILTO:info@janelombardgallery.com END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20240117 DTEND;VALUE=DATE:20240122 DTSTAMP:20260403T194925 CREATED:20240117T171459Z LAST-MODIFIED:20240118T213452Z UID:106711-1705449600-1705881599@artinamericaguide.com 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/01/Pelton-001.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240118T080000 DTEND;TZID=America/New_York:20240121T170000 DTSTAMP:20260403T194925 CREATED:20240117T171458Z LAST-MODIFIED:20240119T151849Z UID:106716-1705564800-1705856400@artinamericaguide.com 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/01/CrCp09-new-scaled.jpg ORGANIZER;CN="George Adams Gallery":MAILTO:info@georgeadamsgallery.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240215T170000 DTEND;TZID=America/New_York:20240218T210000 DTSTAMP:20260403T194925 CREATED:20240206T153024Z LAST-MODIFIED:20240206T153024Z UID:106930-1708016400-1708290000@artinamericaguide.com 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/02/IFPDA-49_Logo_Date_v3.jpg ORGANIZER;CN="IFPDA Fine Art Print Fair":MAILTO:info@ifpda.org GEO:40.7679446;-73.9662489 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Park Avenue Armory 643 Park Avenue New York NY 10065 United States;X-APPLE-RADIUS=500;X-TITLE=643 Park Avenue:geo:-73.9662489,40.7679446 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20240229 DTEND;VALUE=DATE:20240304 DTSTAMP:20260403T194925 CREATED:20240226T153841Z LAST-MODIFIED:20240302T224904Z UID:107208-1709164800-1709510399@artinamericaguide.com 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/02/Frieze-LA-Installation-View-16.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20240411 DTEND;VALUE=DATE:20240415 DTSTAMP:20260403T194925 CREATED:20240411T184453Z LAST-MODIFIED:20240411T184453Z UID:107856-1712793600-1713139199@artinamericaguide.com 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/04/Jonson-0013.jpg ORGANIZER;CN="Expo Chicago":MAILTO:info@helwasergallery.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240610T100000 DTEND;TZID=America/New_York:20240616T200000 DTSTAMP:20260403T194925 CREATED:20240530T195611Z LAST-MODIFIED:20240530T195611Z UID:108640-1718013600-1718568000@artinamericaguide.com 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/05/VOLTA_ANNOUCEMENT_EDIT-01.jpg GEO:40.7127753;-74.0059728 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=31 Mercer Street New York NY 10013 United States;X-APPLE-RADIUS=500;X-TITLE=31 Mercer Street:geo:-74.0059728,40.7127753 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240611T080000 DTEND;TZID=America/New_York:20240616T170000 DTSTAMP:20260403T194925 CREATED:20240529T152347Z LAST-MODIFIED:20240605T205616Z UID:108625-1718092800-1718557200@artinamericaguide.com 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/05/HVB.20989-1-scaled.jpeg ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240904T170000 DTEND;TZID=America/New_York:20240909T170000 DTSTAMP:20260403T194925 CREATED:20240816T021549Z LAST-MODIFIED:20240816T021549Z UID:109645-1725469200-1725901200@artinamericaguide.com 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/08/VOLTA-NYC_mobilebanner.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20240906 DTEND;VALUE=DATE:20240909 DTSTAMP:20260403T194925 CREATED:20240902T171528Z LAST-MODIFIED:20240902T171528Z UID:109790-1725580800-1725839999@artinamericaguide.com 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/08/BBC.jpg ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com GEO:40.7564465;-74.0015064 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=The Armory Show at the Javits Center 11th Avenue at 35th Street New York NY NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=11th Avenue at 35th Street:geo:-74.0015064,40.7564465 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20241009T080000 DTEND;TZID=America/New_York:20241013T170000 DTSTAMP:20260403T194925 CREATED:20240718T182532Z LAST-MODIFIED:20240718T182532Z UID:109274-1728460800-1728838800@artinamericaguide.com 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/ 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:20260403T194925 CREATED:20240722T191430Z LAST-MODIFIED:20240722T191430Z UID:109275-1728460800-1728838800@artinamericaguide.com 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/ CATEGORIES:Art Fair ORGANIZER;CN="James Cohan":MAILTO:info@jamescohan.com END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20241029 DTEND;VALUE=DATE:20241103 DTSTAMP:20260403T194925 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/10/Charles-White-1918–1979-Leadbelly-1975.jpg ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com GEO:40.7679446;-73.9662489 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Park Avenue Armory 643 Park Avenue New York NY 10065 United States;X-APPLE-RADIUS=500;X-TITLE=643 Park Avenue:geo:-73.9662489,40.7679446 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20241030T080000 DTEND;TZID=America/New_York:20241103T170000 DTSTAMP:20260403T194925 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/ CATEGORIES:Art Fair ORGANIZER;CN="James Cohan":MAILTO:info@jamescohan.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20241203T110000 DTEND;TZID=America/New_York:20241208T200000 DTSTAMP:20260403T194925 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/ 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 END:VCALENDAR