Debut
2021-10-15 - 2023-05-01 | Spencer Museum of Art, University of Kansas, 1301 Mississippi St., Lawrence, KS, 66045, United States
Opening in fall of 2021, Debut will feature artwork from the Spencer Museum’s collection that has never been exhibited in our building since it opened in 1978. The eclectic artwork assembled is explored through seven broad thematic sections. Debut will remain on view for the duration of Phase II renovation and the complete reinstall of our fourth-floor collection galleries. As we undergo these transformative changes, Debut presents previously unseen works in conversation with more familiar art from the collection that is frequently used for teaching and research. This exhibition is supported by Friends of the Art Museum, KU Student Senate, and the Linda Inman Bailey Exhibitions Fund.
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In the Adjacent Possible
2022-04-05 10:00 - 2023-03-26 16:00 (America/Halifax) | John Michael Kohler Arts Center, 608 New York Avenue, Sheboygan, WI, 53081, United States
In the Adjacent Possible is a response to sociologist Ruha Benjamin’s suggestion to “imagine and craft the worlds you cannot live without, just as you dismantle the ones you cannot live within.”
Each of the five artists’ installations provides a vantage point for viewing the many potentialities that lie just beyond what we know. They conjure worlds that are not quite here, yet are within our grasp. They place us in the adjacent possible, a space where we can dream alternative ways of being in the world.
The exhibition forms a speculative architecture that explores myriad approaches to and understandings of proposed and promised strategies of living. These artists offer prospective blueprints of other worlds, often constructed from the remnants of our current one. Engaging issues of colonialism, feminism, queerness, identity, and stereotypes, In the Adjacent Possible suggests ways we can reimagine the present and explores the infinite horizon of opportunities at the boundaries of our reach.
https://www.jmkac.org/exhibition/in-the-adjacent-possible/
Image: In the Adjacent Possible artists (clockwise from upper left): Suchitra Mattai, Haleigh Nickerson, Yasmine K. Kasem, Nyugen E. Smith, and Jessica Campbell.
Tuesday, Wednesday, Friday 10 a.m. to 5 p.m.
Thursday 10 a.m. to 8 p.m. extended hours
Saturday and Sunday 10 a.m. to 4 p.m.
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Creative! Growth!
2022-05-21 10:00 - 2023-05-21 17:00 (America/Halifax) | John Michael Kohler Arts Center, 608 New York Avenue, Sheboygan, WI, 53081, United States
Creative! Growth! will be the first exhibition to consider the history of Creative Growth Art Center in Oakland, California.
Founded in 1974 by artist Florence Ludins-Katz (1912–1990) and her psychologist husband Elias Katz (1913–2008), Creative Growth emerged from the larger social, cultural, and political narratives associated with the Bay Area in the late 1960s and early 1970s—including the women’s, gay, and civil rights movements. The arts and disabilities movement, which championed the civil rights of disabled persons and fought against their marginalization in arts and culture, flourished during this era. The Katzes were among that movement’s most farsighted and committed advocates.
Creative! Growth! is curated by Matthew Higgs and will consider the organization’s history and legacy through the lens of the present. Now approaching its fiftieth anniversary, Creative Growth is the preeminent center for artists with disabilities in the United States, and has, in turn, become a model for similar centers nationally and internationally. At Creative Growth, the Katzes established a unique and fiercely independent environment where disabled individuals are empowered to explore their creativity at their own pace.
The staff at Creative Growth, almost exclusively practicing artists, are not teachers in any conventional sense, as no formal instruction takes place. Rather, the staff members work alongside the artists with disabilities, introducing them to new materials and processes, offering practical and technical assistance where necessary, and supporting their idiosyncratic approaches to self-expression.
Creative! Growth! will consider the organization’s history and legacy through the lens of the present. There are a number of discrete solo presentations by key artists who were—or remain—affiliated with Creative Growth, including Judith Scott (1943–2005), Dwight Mackintosh (1906–1999), William Scott, Dan Miller, Monica Valentine, Tony Pedemonte, Nicole Storm, and John Martin. Photographer and documentary filmmaker Cheryl Dunn will present a selection from her twenty-plus-year archives documenting the artists at Creative Growth.
https://www.jmkac.org/exhibition/creative-growth/
Image: Creative Growth studio interior. Courtesy of Creative Growth. Photo: Ben Blackwell.
Tuesday, Wednesday, Friday 10 a.m. to 5 p.m.
Thursday 10 a.m. to 8 p.m. extended hours
Saturday and Sunday 10 a.m. to 4 p.m.
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Evergreen: Art from the Collection
2022-07-22 11:00 - 2024-08-04 18:00 (America/New_York) | San Jose Museum of Art, 110 S. Market Street, San Jose, CA, 95113, United States
Evergreen: Art from the Collection celebrates SJMA’s collection as both a gift to and a product of its community. This dedicated gallery space, which provides long-term access to the Museum’s collection, honors the community members who rallied together to establish the Museum; the artists who trust us to care for their visions; the generous donors who helped to build the collection; the generations of students who have visited; the volunteers and staff who have contributed; and the breadth of community experiences that give ongoing meaning to the works.
Located in the Museum’s historic building—formerly the city’s post office and library—Evergreen highlights the Museum’s growing collection and the numerous San José stories it tells. The gallery features such works as rafa esparza’s Yosi con Abuela (2021), a recently acquired portrait on adobe of the East San José poet and activist Yosimar Reyes with his grandmother. Also on view are Resident Alien (1988) by Hung Liu, the beloved Bay Area artist and longtime friend of SJMA, and Louise Nevelson’s monumental Sky Cathedral (1957–58), a centerpiece of the Museum’s collection. The gallery also includes access points to the free digital collection catalog 50×50: Stories of Visionary Artists from the Collection, which highlights the stories and impact of artists in the Museum’s collection.
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Kelly Akashi: Formations
2022-09-03 11:00 - 2023-04-23 18:00 (America/Halifax) | San Jose Museum of Art, 110 S. Market Street, San Jose, CA, 95113, United States
Kelly Akashi is known for her materially hybrid works that are compelling both formally and conceptually. Originally trained in analog photography, the artist is drawn to fluid, impressionable materials and old-world craft techniques, such as glass blowing and casting, candle making, bronze and silicone casting, and rope making. Encompassing a selection of artworks made over the past decade, Kelly Akashi: Formations is the first major exhibition of the artist’s work, and will feature a newly commissioned series in which Akashi explores the inherited impact of her family’s imprisonment in a Japanese American incarceration camp during World War II.
Through evocative combinations that seem both familiar and strange, Akashi cultivates relationships among a variety of things to investigate how they can actively convey their histories and potential for change. She often pairs hand-blown glass or wax forms with unique and temporally specific bronze casts of her own hand, each a unique record of the slow-changing human body. Akashi’s interest in time—embedded in the materiality of many of her processes—has led her to study fossils and botany, locating humankind within a longer geological timeline.
Kelly Akashi: Formations is the first major exhibition and catalog of Akashi’s work. The exhibition will be on view from September 3, 2022—April 23, 2023 in San Jose before touring nationally.
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Melanie A. Yazzie: Recent works
2022-09-19 10:30 - 2023-07-02 17:00 (America/Halifax) | Glenn Green Galleries + Sculpture Garden, 136 Tesuque Village Road, Santa Fe (Tesuque), 87506, United States
Melanie Yazzie works a wide range of media that include printmaking, painting, sculpting, and ceramics, as well as installation art. Her art is accessible to the public on many levels and the main focus is on connecting with people and educating people about the contemporary status of one indigenous woman and hoping that people can learn from her experience. Her subject matter is significant because the serious undertones reference native post-colonial dilemmas. Her work often brings images of women from many indigenous cultures to the forefront. Thus her work references matrilineal systems and points to the possibility of female leadership. “There are many layers to the works and within the story, many discover that our history is varied and deep. It is made clear that there are many indigenous peoples in the world and we all have different stories and it sometimes has a sad connection to mainstream society. Often misunderstood and overlooked are the ways in which we can all learn from each other and make a better world.” She has been represented by Glenn Green Galleries since 1993.
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SPACES Spotlight: Vollis Simpson
2022-10-02 08:00 - 2023-02-19 17:00 (America/Halifax) | John Michael Kohler Arts Center, 608 New York Avenue, Sheboygan, WI, 53081, United States
In the mid-1980s, retired repairman Vollis Simpson (1919–2013) began using his collection of old farm equipment to construct monumental whirligigs in the fields around his Lucama, North Carolina, home. The site became a tourist attraction, enticing visitors to his rural property. In 2010, the nearby town of Wilson announced a plan to work with Simpson to move, restore, and reinstall thirty of the sculptures in a new park in its unpopulated downtown district. Kohler Foundation, Inc., joined the project in 2016. After the restoration, the Arts Center was the recipient of several Simpson works, including the large piece installed in front of the Art Preserve. Since the park’s opening, Wilson has experienced a revitalization, with over $3 million annually brought in by associated tourism.
This spotlight features the work of several photographers, including Larry Harris, and documents the evolution of Simpson’s whirligigs from a private passion to a source of communal pride and benefit.

Image: Vollis Simpson, untitled (detail), n.d.; metal, paint, and reflectors; 300 x 144 x 144 in. John Michael Kohler Arts Center Collection, gift of Kohler Foundation Inc.
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Sky Hopinka: I’ll Remember You as You Were, Not as What You’ll Become
2022-10-08 10:00 - 2023-02-19 17:00 (America/Halifax) | John Michael Kohler Arts Center, 608 New York Avenue, Sheboygan, WI, 53081, United States
An elegy to the late Native American poet Diane Burns, Sky Hopinka’s I’ll Remember You as You Were, Not as What You’ll Become is a meditation on mortality, reincarnation, and the forms the transcendent spirit takes while descending upon landscapes of life and death The film continues Hopinka’s exploration of the ways his indigenous homeland, language, and identity interconnect.
In his carefully composed and thickly layered film, Hopinka weaves together original and found images and sounds to form a visual and aural montage that is sublime and otherworldly, yet grounded in reality. Archival footage of Burns—a poet known for challenging Native American stereotypes—is punctuated with powwow dancers filmed by Hopinka, and ethnographic texts on Ho-Chunk concepts of rebirth and the afterlife written by American anthropologist Paul Radin. The rhythmic sound of Sacred Harp singing and ambient electronic music form the film’s soundtrack.

Image: Sky Hopinka, I’ll Remember You as You Were, Not as What You’ll Become, 2016; HD video; 00:12:31. Image copyright of the artist, courtesy of the Video Data Bank at the School of the Art Institute of Chicago, www.vdb.org.
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Questionable Foods By Kathleen Elliot
2022-10-12 09:00 - 2023-02-25 18:00 (America/Halifax) | Texas A&M James R. Reynolds Art Gallery, Texas A&M University, College Station, Texas, 77843
Assessing our consumption culture requires an escape from the constant stream of advertising we digest daily. Questionable Foods provides a fresh perspective and starts the conversation on America’s relationship with food and the food industry.

Reflective both in nature and in form, the glass sculptures of Kathleen Elliot reimagine the way we look at food and its packaging. The bright colors, text, and materials used in her collage works lend themselves to intriguing artwork due to their intended appeal to buyers. Taken out of the grocery store context, these snacks, wrappers and boxes begin to transform before our eyes.

Kathleen Elliot’s ability to adapt everyday food into artistic sculptures makes her artwork immersive and unique. Brightly colored food packages are given voices of their own and allowed to interact in new ways with us the customers who regularly purchase such products.

In Questionable Foods, Kathleen Elliot makes use of glass to create sculptures but also produces collage pieces that work together to share the message of Questionable Foods. This exhibit will have visitors rethinking their role as consumers and contemplating the effect of food on American society.
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In the Realm of the Senses: Selected Paintings of Victoria Lowe
2022-10-14 10:00 - 2023-05-31 18:00 (America/Halifax) | Steam Gallery at Sacred Heart University’s Discovery Science Center & Planetarium, 4450 Park Avenue, Bridgeport, Connecticut, 06604
Consistent though this body of work is a concern with energy in its many forms and the viewer’s deep emotional response to color. The paintings have their origin in the artist’s childhood experience of stargazing with a telescope, and the feeling of sublime connectedness to things beyond the physical environment and conscious comprehension. The desire to relive that feeling inspires her to create these painted atmospheres. They are free of narrative or subject matter, and like poetry offer the viewer a door through which they may enter to experience the depth of their own imagination.
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A Point Stretched: Views on Time
2022-11-04 11:00 - 2023-07-09 18:00 (America/Halifax) | San Jose Museum of Art, 110 S. Market Street, San Jose, CA, 95113, United States
A Point Stretched: Views on Time presents artworks that stretch, warp, and compact the viewer’s sense of time. By highlighting works that endeavor to conceive of time in unusual, mutable, and unfixed ways, the exhibition challenges the histories we tell and the expectations we hold for the future. From Chitra Ganesh’s work blending truth and fantasy to depict the full range of a woman’s life to Maia Cruz Palileo’s kaleidoscopic representation of Filipino history and Ala Ebtekar’s epic print-based work inspired by the moon, artists in the exhibition propose timelines without hierarchies of past, present, and future.
Memories, dreams, and reality blend in these galleries, as mold creeps across TV screens, apple orchards grow among discarded solar panels, and melting wax measures time. Generational, ecological, and cosmic time vibrate concurrently as long-ago ecologies and distant possible futures intertwine. Embracing scales of time from the microbiological to the interstellar, these artworks position our human existence within broader timescales to challenge our assumptions about human history, agency, and possibility in relation to the world—and universe—around us. Drawing from the Museum’s permanent collection and beyond, the exhibition also includes works by Diana Al-Hadid, Harold Edgerton, David Huffman, Kahlil Robert Irving, Ranu Mukherjee, Patrick Nagatani, Sam Richardson, and Gail Wight, among others.
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Sky Hopinka: Seeing and Seen
2022-11-04 11:00 - 2023-07-09 18:00 (America/Halifax) | San Jose Museum of Art, 110 S. Market Street, San Jose, CA, 95113, United States
The artworks of Sky Hopinka, a member of the Ho-Chunk Nation and a descendant of the Pechanga Band of Luiseño Indians, traverse the legacies of colonial oppression and Native resistance through meditations on the continuities between past and present. A new film by Hopinka was commissioned as part of Visualizing Abolition, an art initiative of the Institute of the Arts and Sciences at University of California, Santa Cruz and San José Museum of Art.
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Angela U. Drakeford: In bloom at the end of the world
2022-11-30 10:00 - 2023-04-16 16:00 (America/Halifax) | John Michael Kohler Arts Center, 608 New York Avenue, Sheboygan, WI, 53081, United States
For her evocation of a sanctuary space, In bloom at the end of the world, Angela U. Drakeford calls forth stillness and rest.
With books, comfortable seating, bird song recordings, and an abundance of plants that fill the gallery, Drakeford prioritizes an atmosphere that allows for processing grief of all kinds—including loss of memories, cultural traditions, and communal support.
In bloom at the end of the world will be on view during colder months, when gray skies and dormant outdoor plants can be seen through the windows of the Glass Gallery, where Drakeford’s immersive installation resides. The strong contrast between the outdoor surroundings and the inviting interior acts as a reminder for the warmth and growth to come—both environmentally and personally. The promise of this comfort stimulated by nature and prioritizing wellbeing, however, requires time to witness the processes of rejuvenation.
Drakeford will lead a series of workshops at JMKAC focusing on tending to plants and grief (view artist page below for details). Attendees will be guided in cultivating their own awareness of changes in themselves as well as in plants that surround them every day. Workshops will include exploring processes of wellness, communication, and self-love as they too grow and form roots. Therapeutic groups will also be invited to meet in the gallery to discuss death and strategies to understand loss.
In bloom at the end of the world is part of JMKAC’s Ways of Being theme, wherein artists ask, “What if?” Through the interplay of invitation and engagement, Drakeford posits, “What if we took respite?”
https://www.jmkac.org/exhibition/angela-u-drakeford-in-bloom-at-the-end-of-the-world/
Image: Angela U. Drakeford: In bloom at the end of the world installation view at the John Michael Kohler Arts Center, 2022
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Gail Winbury: The Girl Who Drew Memories
2022-12-03 14:00 - 2023-02-25 17:00 (America/Halifax) | Elizabeth de C. Wilson Museum Southern Vermont Arts Center, 860 Southern Vermont Arts Center Dr, Manchester, VT, 05255, United States
“The Girl Who Drew Memories situates Gail Winbury’s art at the intersection of vulnerability and creativity. Her large-scale abstract paintings and prolific collage work transform what is often inexpressible into resonant narratives in visual form, expanding how we make sense of our memories, emotions, and lived experiences. This extensive solo exhibition of Winbury’s work will fill both galleries of the Wilson Museum. Original poetry composed by local writers in response to her work will further animate the galleries as will an interactive makers space where visitors can engage directly in the playful process of collage.”
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Lee Mullican: The Nest Revived
2023-01-12 - 2023-02-25 | James Cohan, 52 Walker Street, New York, NY, 10013, United States
Exhibition
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Roses, Ruffs, and Reflections | Alicia Brown, Claire Partington, Tony Scherman
2023-01-12 08:00 - 2023-02-26 17:00 (America/Halifax) | Winston Wächter Fine Art, 530 W 25th St, New York, New York, 10001
Winston Wächter Fine Art, New York is pleased to present “Roses, Ruffs, and Reflections”, a group exhibition featuring works by Alicia Brown, Claire Partington, and Tony Scherman. Each artist employs traditional techniques and historical styles in distinctly different ways that continues the conversation of the deep-rooted constructs of power and oppression that have been seen throughout generations. The works are hauntingly hopeful and carry the strength of persistence, wrapped together with a bit of humor in their visions for the future.
In Imaginary Homelands, Alicia Brown celebrates the perseverance of migrants who have left their home countries either voluntarily or by force. Brown uses portraiture to tell the stories of friends and family from Jamaica residing in the United States. She combines elements from Jamaican culture including native plants, animals, objects, symbols, and idioms with elements from Western art and history. In doing so, Brown examines the duality of who a subject was in their homeland and who they become in order to adapt and survive in a foreign culture. Objects such as Elizabethan ruff collars evoke narratives of power, control, and social status, while native Caribbean plants create an environment of home. In these powerful portraits, Brown celebrates the ingenuity with which immigrants both adapt to and shape their adopted homes.
Claire Partington’s mixed-media ceramic sculptures draw from both traditional and contemporary art practices. Referencing portraiture conventions from throughout art history as well as contemporary social media, Partington humorously comments on constructs of gender and power. Echo and Narcissus are a pair of sculptures inspired by Greek Mythology. Echo, a mountain nymph who could only repeat the last word that she heard and Narcissus, who fell in love with his own reflection, are depicted as teenagers absorbed in their phones. These porcelain and earthenware figures reference not only antiquity but fashionable sculpture from the 18th century. In these and other works, Partington playfully mixes up imagery from antiquity, social media, art history, folklore, and fashion to prompt questions about interpretation and narrative, particularly about women, and particularly about power.
Tony Scherman works in the ancient technique of encaustic by layering wax, oil paint, and pigments to build deeply expressive paintings. His series, For all the wise women persecuted as “witches”, is dedicated to women throughout history to the present day who have been punished for their wisdom, progressiveness, or determination. Each piece depicts two roses, illuminated in an ethereal yellow-green light against a swirling dark ground. The flowers stand out against a depth of darkness as petals, leaves, and other elements play and shift along the surface of the painting. The roses are a tribute, a hopeful beacon of perseverance against the oppression of forward-thinking women.
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Roses, Ruffs, and Reflections | Alicia Brown, Claire Partington, Tony Scherman
2023-01-12 10:00 - 2023-02-26 18:00 (America/Halifax) | Winston Wächter Fine Art, 530 W 25th St, New York, New York, 10001
Winston Wächter Fine Art, New York is pleased to present “Roses, Ruffs, and Reflections”, a group exhibition featuring works by Alicia Brown, Claire Partington, and Tony Scherman. Each artist employs traditional techniques and historical styles in distinctly different ways that continues the conversation of the deep-rooted constructs of power and oppression that have been seen throughout generations. The works are hauntingly hopeful and carry the strength of persistence, wrapped together with a bit of humor in their visions for the future.
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Nancy Macko: The Fragile Bee
2023-01-16 12:00 - 2023-03-10 17:00 (America/Halifax) | Midland Center for the Arts, 1801 W. Saint Andrews, Midland, MI, 48640, United States
Nancy Macko’s exhibition includes the installation Honey Teachings: In the Mother Tongue of the Bees, 2014. This wall installation is composed of 104 hexagonal wooden panels displaying bee imagery. Sometimes statements about the bees are included: “Worker bees are born to serve the greater good.” Installed on the wall, the individual panels look very much like a hive, completing the implicit metaphor of the project. Her botanicals are remarkable visions of the hidden intimacies of nature, while her bee imagery is both beautiful and indicative of a larger purpose. In addition, also included is an earlier multi-paneled work, The Honeycomb Wall, 1994, comprised of 92 hexagonal panels that include mixed media, printmaking,digital images and vinyl phrases. Macko’s works also include fine art prints and her photographs are clearly related to the 2007 suite of etchings entitled In the Garden of the Bee Priestess. These prints combine abstract, decorative imagery with specific depictions of bees and flora, thus bridging some of the interests of 1980s Pattern art with a more contemporary view. In Nirvana for the Future: The Divine Reading Lesson Series (2011), Macko employs hive imagery and combines it with a regularly appearing image, an arrow-like shape which stands in for an ancient matriarchal goddess. These prints are highly skilled, eclectic gatherings of images taken across time, across cultures and across geographies.
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Gregory Corn, Alex Racine: Gravity & Grace
2023-01-17 - 2023-02-28 | Woodward Gallery, 132A Eldridge Street, New York City, NY, 10002, United States
Happy New Year! Woodward Gallery springs into 2023 with a two-person, dynamic, three-dimensional exhibition by Sculptors, Gregory Corn and Alex Racine. The human condition is modeled in
metal, ceramic, and gravity. Corn’s three “dancers” spin in juxtaposition to their heavy medium and weightlessness. Racine’s expressive hands offer graceful gestures and cultural commentary.
Alex Racine’s ceramic sculptures employ the power of words and palmistry. The human palm has lines in it that represent language, so the artist naturally thought to sculpt words. The openings in his elegant hands encourage the viewer to also explore the inside, consider how hands articulate, and how we may interpret character from the lines and configurations of the palm of a person’s hand. Walkie-Talkie and Basic Instinct are after the human body. The fingers become a blend of leg and arm anatomy. The crossed fingers in Basic Instinct conjure the iconic cultural moment in the 1992 film of the same title.
For Racine, his Dog is reminiscent of youthful shadow puppets. Conversely, God is the mischievous, fun relationship with the shadow puppet and his play on its letters. Love is the hand gesture for sign language. Kindness is two hands joined creating one heart— especially relevant at this time when more kindness is needed. Incorporating a sixth finger as an optical illusion, Racine nods to early Warhol drawings, saying, “When I close my eyes, I feel like I have a 6th finger. I like that the sculpture becomes something and does something…it is like a third eye.”
Gregory Corn’s sculptures utilize metal, stone, and wire to harness the delicate balance between highly- dense materials and gravity. Tall, sturdy, steel structures are held together, masterfully, by smaller pieces. Heavy objects dangle from wires and gently sway. When knocked on, each piece also “sings” differently, as Corn describes. Corn’s three sister pieces, Yellow Dancer, Orange Dancer, and Red Dancer exemplify human behavior, symbolizing the complex inner mechanisms of bodies, minds, and spirits. Like real dancers, each of the three sculptures are physically sound —strong— and yet, incredibly graceful. The fourth piece, Marionette, resembles a puppet. A heavy mountain-shaped stone is held off the ground by a complex array of cable wires, latches, and steel bars. Large, red-detailed, rectangular beams act like bones for the larger sculpture. This balance, Gregory Corn explains, represents humanity, as, in his own words: “The weight we carry holds us together.”
From January throughout February 2023, this exhibition is presented at Woodward Gallery in our street- level windows 24/7, by private appointment, and as an online exhibition and Viewing Room on Artsy.net.

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A Masterpiece in the Making: Joaquín Sorolla’s Gouaches for the Vision of Spain
2023-01-17 10:00 - 2023-04-26 17:00 (America/Halifax) | The National Arts Club, 15 Gramercy Park South, New York, 10003, United States
The National Arts Club is proud to partner with the Hispanic Society Museum and Library in presenting this landmark exhibition commemorating the Valencian master Joaquín Sorolla y Bastida. The exhibition, which opens during Master Drawings Week, features the work of the Valencian master Joaquín Sorolla y Bastida—the preeminent artist in Spain at the turn of the 20th century—on the occasion of of the centennial year of his death. On view are Sorolla’s rarely seen preparatory sketches for the paintings in the HSM&L’s Sorolla Gallery, Vision of Spain. This is the first time the works are being exhibited in the U.S.
(Image: Courtesy of The Hispanic Society of America, New York. Joaquín Sorolla y Bastida, Sketch for the Provinces of Spain. Sevilla. The Bullfighters, ca. 1912-1913, Gouache on paper)
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San Francisco Pop-Up
2023-01-17 17:00 - 2023-03-17 17:00 (America/Halifax) | Gallery 181, 181 Fremont, San Francisco, CA, 94105, United States
Marianne Boesky Gallery is pleased to present a pop-up exhibition at Gallery 181—The Art Program at 181 Fremont—in San Francisco featuring works by Pier Paolo Calzolari, the Haas Brothers, Sarah Meyohas, and Frank Stella. The gallery’s first presentation of this scale in San Francisco will coincide with the city’s beloved FOG Design+Art Fair. Both Frank Stella and the Haas Brothers have been shown and collected extensively in San Francisco—Stella’s work is in the collection of SFMOMA, and his most recent career-spanning retrospective was on view at the de Young Museum in 2016. The pop-up will also feature Pier Paolo Calzolari and Sarah Meyohas—for both artists, this will be their first time showing in San Francisco.
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Tula Telfair: From a Distance
2023-01-19 - 2023-03-11 | Forum Gallery, 475 Park Avenue, New York, NY, 10022, United States
Forum Gallery presents Tula Telfair: From a Distance (January 19 – March 11, 2023), an exhibition of twenty-four oil on panel paintings in an intimate scale, a departure for the Artist best known for her grand-scale, heroic landscapes. In From a Distance, each 24 x 18 inch painting evokes the birds-eye view captured from an airplane window or a mountain peak.
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Andrea Chung: if they put an iron circle around your neck I will bite it away
2023-01-28 - 2023-10-01 | John Michael Kohler Arts Center, 608 New York Avenue, Sheboygan, WI, 53081, United States
In a new multiroom installation, artist Andrea Chung confronts the legacy and trauma of slavery from the perspective of an Afrofuturist utopia.
For this work, Chung activates the possibility of a new world, a “Black Atlantis” called Drexciya, to subvert the horrors of the transatlantic slave trade. Drexciya is an underwater world populated by the amphibious offspring of women thrown from slave ships during the Middle Passage. It was conceived by the eponymous and enigmatic electronic music duo active in Detroit in the 1990s and early 2000s.
Chung’s installation is a meditation on the laws of Black physics. It highlights the ways Black people relate and respond to time and space in order to navigate a world full of dangerous and harmful systems. Within her evocation of this watery realm we can inhabit imagined pasts, presents, and futures to craft alternative realities forged by liberation, adaptation, resilience, defiance, and survival.
Image: Andrea Chung, Filthy Water Cannot Be Washed, 2017; cyanotype and watercolor; 88 x 240 in. Courtesy of the artist.
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Harold Cousins: Forms of Empty Space
2023-01-28 - 2023-03-25 | Michael Rosenfeld Gallery, 100 11th Ave, New York, NY, New York, United States
Michael Rosenfeld Gallery is pleased to announce Harold Cousins: Forms of Empty Space, the first solo exhibition of the artist’s work in the United States in fifteen years. Comprising thirty metal sculptures executed between 1951 and 1975 as well as a group of related works on paper, the presentation is the gallery’s first exhibition dedicated to Harold Cousins (1916–1992) since taking on representation of the artist’s estate in 2020. Beginning with his first mature metal sculptures, Harold Cousins: Forms of Empty Space charts the formation and evolution of Cousins’ major sculpture series, including his forests, drawings in space, Gothic cathedrals, and plaiton works.
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Aldo Chaparro "That elusive sentiment"
2023-01-28 - 2023-03-18 | madison gallery, 320 South Cedros Ave Suite 200, Solana Beach, CA, 92075, United States
San Diego, December 8, 2022 – Madison Gallery is pleased to welcome Aldo Chaparro to San Diego for his solo exhibition: That elusive sentiment. This marks Chaparro’s first project and collaboration with Madison Gallery. The artist will be in attendance the evening of January 28, 2023 in celebration of the opening.
Aldo Chaparro is a Mexican artist born in 1965 who divides his time between Mexico City, Monterrey, Lima, Madrid, Paris, and Southern California. He distributes his time among them, seeking to generate a more intimate and deep connection with the cities where he develops his projects.
Chaparro’s work is based on the interactions between materials and disciplines, from curatorship, film, public art, architecture, industrial and editorial design, to music, sculpture, painting and installation.

This tendency to jump from one language to another has generated in him a constant concern about
the processes in art and the connection that these disciplines have with broader areas of society. In this way, his work has become a testimony of various processes, discarding in some way the idea that the value of the work is in the resulting object and its strict relationship with the art world.

Chaparro is best known for his use of sculpture and painting to explore form in post-industrial ways. The most obvious is the concept of sumi-e in Zen, or the aesthetic in which simplicity and the idea of maximum effect is created with minimum means. For Chaparros work, this simplicity of mediums is used to explore purity and the eternal nature of his subjects. Under the influence of artists such as Michelangelo Pistolleto, Robert Morris, and Jorge Luis Borges reflection and mirroring have been key points of his investigation.

Aldo Chaparro’s work is included in the collections of the The Jumex Foundation/Mexico, The Coppel Collection/Mexico, The CIFO – Cisneros Fontanals Art Foundation/Miami, FL/The Helga de Alvear Foundation, Spain/ Pontificia Universidad Católica de Lima/ Peru, Simon de Pury/ UK, The Douglas Baxter Collection/New York, Pierre Huber Collection/Switzerland and the Jorge Perez Museum Collection/Miami, FL.
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David Bradford: Cities
2023-01-31 11:00 - 2023-02-25 18:00 (America/Halifax) | Bowery Gallery, 547 W 27TH ST Suite 508, New York, NY, 10001, United States
Exhibition Dates: January 31 – February 25, 2023
Reception: Thursday, February 2nd, 5-8 PM
Gallery Talk: Saturday, February 25th, 4PM
Bowery Gallery is pleased to present recent paintings by David Bradford.
His recent works are executed in acrylic and burlap on panel. They use a language of color/light, compressed space, scale changes, and frontality. Building from these abstract elements, they reference cities, gardens, landscapes, and objects. The paintings seek, to quote Cezanne, “A harmony that is parallel to nature”.

“The use of burlap as a pictorial element helps me to work in an improvisational way – sometimes by merging objects and space, or by redefining the boundaries of objects, or by breaking up objects entirely. There is a tension between things observed in nature and the need to improvise, to transform, to invent.”
– David Bradford

David Bradford has taught painting at Skidmore College, Springfield College, and Western CT State University. He has shown his work regularly at Bowery Gallery and also at the Flynn Gallery in Greenwich CT, the Washington Art Association Gallery in Washington, CT, and the White Plains Public Library Gallery. He lives in upstate NY.
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The Long View: Creativity Over Time
2023-01-31 11:00 - 2023-02-25 18:00 (America/Halifax) | Blue Mountain Gallery, 547 W 27th St, Suite 200, New York, NY, 10001, United States
“The Long View” celebrates past and current work and the varied ways the artists understand the continuities and transformations in their work over time.
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When We All Stand
2023-01-31 11:00 - 2023-07-28 17:00 (America/New_York) | Emily Lowe Gallery at Hofstra University, 112 Hofstra University, Hempstead, NY, 11549, United States
The exhibition, When We All Stand, focuses on the collective power of the arts to address complex issues in society and demonstrates the ability of art and artists to chart a path for social change. Artists often lead the charge and expose truths that may otherwise be ignored. The artists in this exhibition take a stand and call out injustices through their art and activism on issues such as immigration, gender, reproductive rights, mass incarceration, voting rights, racial bias, gun violence and promises unfulfilled. They take action by creating national campaigns for justice, organizing public art protests, connecting with their local community, or joining forces with national organizations. Some make demands on government, politicians, policies, or institutions while others make demands on society and individuals to join them in the fight for justice; still others focus on cultural development as a process that cultivates democracy and unity. They all combine the making of art with public service that has a grassroots approach in the hope of mobilizing their communities and the nation to ignite movement, create awareness, and inspire others to stand with them. Artists included in the exhibition are Emma Amos, Molly Crabapple and the Equal Justice Initiative, For Freedoms, Miguel Luciano, Michele Pred, Hank Willis Thomas, and Sophia Victor.
The Hofstra University Museum of Art’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.
Admission is free.
Gallery Hours:
Emily Lowe Gallery
Behind Emily Lowe Hall, South Campus
Tuesday-Friday, 11 a.m.-4 p.m. • Saturday and Sunday, noon-4 p.m.
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“Waterflames & Walking on Water” Art by Makoto Fujimura
2023-02-01 10:00 - 2023-04-15 17:00 (America/Halifax) | The Martha Berry Museum, 24 Veterans Memorial HWY, Rome, GA, 30161, United States
Oak Hill & The Martha Berry Museum and Berry’s Center for Integrity and Leadership (BCIL) are excited to host art by leading contemporary artist Makoto Fujimura. The exhibit features works from Fujimura’s “Waterflames” and “Walking on Water” painting series done as elegies after traumatic disasters, among other paintings to capture a comprehensive nature of his art.
These works integrate the language of Japanese art of 16th to 17th Century with the Modernist works of Mark Rothko and Arshile Gorky, together into a contemporary expression. Nihonga (Japanese style painting using pulverized minerals and gold and silver) materials are transmuted into contemporary expression of Fujimura’s as “slow art”. To learn more about the artist, visit www.makotofujimura.com
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The Art of Food
2023-02-02 - 2023-05-22 | Oklahoma Contemporary Arts Center, 11 NW 11th Street, Oklahoma City, OK, 73103, United States
Featuring more than 100 works in a variety of media from the renowned collections of Jordan D. Schnitzer and His Family Foundation, The Art of Food showcases how some of the most prominent artists of the twentieth and twenty-first centuries have considered this universal subject. Organized thematically, this exhibition uses an artistic lens to examine food beyond its purpose as body fuel.
In its most prosaic sense, food is a physical necessity for survival, yet its overall significance transcends beyond mere sustenance. Food is integral to our communities, relationships, cultures and languages. People interact with food on varying levels. Some of us grow it; more of us buy it. We transform it by cutting, cooking and dressing it with spices, marinades and garnishes. We use food as an intermediary to connect with others through holiday meals, business lunches, dates and more. We fight over food. We deny food to others as a tool of suppression and cultural erasure. We fear for our health, feeding a growing global population and the effects of climate change on food production.

Through the works of artists such as Enrique Chagoya, Damien Hirst, Hung Liu, Analia Saban, Lorna Simpson and Andy Warhol, it becomes clear why food is a recurring subject in art, ever since the spark of human creativity was ignited thousands of years ago.

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