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DTSTART;VALUE=DATE:20211015
DTEND;VALUE=DATE:20230502
DTSTAMP:20260403T140151
CREATED:20210830T210225Z
LAST-MODIFIED:20221026T173030Z
UID:86151-1634256000-1682985599@artinamericaguide.com
SUMMARY:Debut
DESCRIPTION: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. \n  Save  
URL:https://artinamericaguide.com/event/debut/
LOCATION:Spencer Museum of Art\, University of Kansas\, 1301 Mississippi St.\, Lawrence\, KS\, 66045\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220405T100000
DTEND;TZID=America/Halifax:20230326T160000
DTSTAMP:20260403T140151
CREATED:20220404T171932Z
LAST-MODIFIED:20220404T171932Z
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SUMMARY:In the Adjacent Possible
DESCRIPTION: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.” \nEach 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. \nThe 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. \nhttps://www.jmkac.org/exhibition/in-the-adjacent-possible/ \nImage: In the Adjacent Possible artists (clockwise from upper left): Suchitra Mattai\, Haleigh Nickerson\, Yasmine K. Kasem\, Nyugen E. Smith\, and Jessica Campbell. \nTuesday\, Wednesday\, Friday 10 a.m. to 5 p.m.\nThursday 10 a.m. to 8 p.m. extended hours\nSaturday and Sunday 10 a.m. to 4 p.m. \n  Save  
URL:https://artinamericaguide.com/event/in-the-adjacent-possible/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220521T100000
DTEND;TZID=America/Halifax:20230521T170000
DTSTAMP:20260403T140151
CREATED:20220404T171850Z
LAST-MODIFIED:20220404T171850Z
UID:93177-1653127200-1684688400@artinamericaguide.com
SUMMARY:Creative! Growth!
DESCRIPTION:Creative! Growth! will be the first exhibition to consider the history of Creative Growth Art Center in Oakland\, California. \nFounded 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. \nCreative! 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. \nThe 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. \nCreative! 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. \nhttps://www.jmkac.org/exhibition/creative-growth/ \nImage: Creative Growth studio interior. Courtesy of Creative Growth. Photo: Ben Blackwell. \nTuesday\, Wednesday\, Friday 10 a.m. to 5 p.m.\nThursday 10 a.m. to 8 p.m. extended hours\nSaturday and Sunday 10 a.m. to 4 p.m. \n  Save  
URL:https://artinamericaguide.com/event/creative-growth/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
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DTSTART;TZID=America/New_York:20220722T110000
DTEND;TZID=America/New_York:20240804T180000
DTSTAMP:20260403T140151
CREATED:20220622T153511Z
LAST-MODIFIED:20240229T212126Z
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SUMMARY:Evergreen: Art from the Collection
DESCRIPTION:Evergreen: Art from the Collection celebrates SJMA’s collection as both a gift to and a product of its community. This dedicated gallery space\, which provides long-term access to the Museum’s collection\, honors the community members who rallied together to establish the Museum; the artists who trust us to care for their visions; the generous donors who helped to build the collection; the generations of students who have visited; the volunteers and staff who have contributed; and the breadth of community experiences that give ongoing meaning to the works. \nLocated in the Museum’s historic building—formerly the city’s post office and library—Evergreen highlights the Museum’s growing collection and the numerous San José stories it tells. The gallery features such works as rafa esparza’s Yosi con Abuela (2021)\, a recently acquired portrait on adobe of the East San José poet and activist Yosimar Reyes with his grandmother. Also on view are Resident Alien (1988) by Hung Liu\, the beloved Bay Area artist and longtime friend of SJMA\, and Louise Nevelson’s monumental Sky Cathedral (1957–58)\, a centerpiece of the Museum’s collection. The gallery also includes access points to the free digital collection catalog 50×50: Stories of Visionary Artists from the Collection\, which highlights the stories and impact of artists in the Museum’s collection. \n  Save  
URL:https://artinamericaguide.com/event/evergreen-art-from-the-collection/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220903T110000
DTEND;TZID=America/Halifax:20230423T180000
DTSTAMP:20260403T140151
CREATED:20220511T143406Z
LAST-MODIFIED:20220511T143406Z
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SUMMARY:Kelly Akashi: Formations
DESCRIPTION: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. \nThrough 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. \nKelly 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. \n  Save  
URL:https://artinamericaguide.com/event/kelly-akashi-formations/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220919T103000
DTEND;TZID=America/Halifax:20230702T170000
DTSTAMP:20260403T140151
CREATED:20220922T113428Z
LAST-MODIFIED:20220922T113428Z
UID:98698-1663583400-1688317200@artinamericaguide.com
SUMMARY:Melanie A. Yazzie: Recent works
DESCRIPTION: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. \n  Save  
URL:https://artinamericaguide.com/event/melanie-a-yazzie-recent-works/
LOCATION:Glenn Green Galleries + Sculpture Garden\, 136 Tesuque Village Road\, Santa Fe (Tesuque)\, 87506\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Glenn Green Galleries + Sculpture Garden":MAILTO:info@glenngreengalleries.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20221014T100000
DTEND;TZID=America/Halifax:20230531T180000
DTSTAMP:20260403T140151
CREATED:20221111T202525Z
LAST-MODIFIED:20221111T202525Z
UID:100404-1665741600-1685556000@artinamericaguide.com
SUMMARY:In the Realm of the Senses: Selected Paintings of Victoria Lowe
DESCRIPTION: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. \n  Save  
URL:https://artinamericaguide.com/event/in-the-realm-of-the-senses-selected-paintings-of-victoria-lowe/
LOCATION:Steam Gallery at Sacred Heart University’s Discovery Science Center & Planetarium\, 4450 Park Avenue\, Bridgeport\, Connecticut\, 06604
CATEGORIES:Exhibition
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ORGANIZER;CN="Katharine T. Carter &amp%3B Associates":MAILTO:ktc@ktcassoc.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20221104T110000
DTEND;TZID=America/Halifax:20230709T180000
DTSTAMP:20260403T140151
CREATED:20220928T173425Z
LAST-MODIFIED:20220928T173425Z
UID:99160-1667559600-1688925600@artinamericaguide.com
SUMMARY:A Point Stretched: Views on Time
DESCRIPTION: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. \nMemories\, 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. \n  Save  
URL:https://artinamericaguide.com/event/a-point-stretched-views-on-time/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20221104T110000
DTEND;TZID=America/Halifax:20230709T180000
DTSTAMP:20260403T140151
CREATED:20221103T194011Z
LAST-MODIFIED:20230612T205936Z
UID:100238-1667559600-1688925600@artinamericaguide.com
SUMMARY:Sky Hopinka: Seeing and Seen
DESCRIPTION: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. \n  Save  
URL:https://artinamericaguide.com/event/sky-hopinka-seeing-and-seen/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20221130T100000
DTEND;TZID=America/Halifax:20230416T160000
DTSTAMP:20260403T140151
CREATED:20221201T212924Z
LAST-MODIFIED:20221201T212924Z
UID:100773-1669802400-1681660800@artinamericaguide.com
SUMMARY:Angela U. Drakeford: In bloom at the end of the world
DESCRIPTION:For her evocation of a sanctuary space\, In bloom at the end of the world\, Angela U. Drakeford calls forth stillness and rest. \nWith 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. \nIn 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. \nDrakeford 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. \nIn 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?” \nhttps://www.jmkac.org/exhibition/angela-u-drakeford-in-bloom-at-the-end-of-the-world/ \nImage: Angela U. Drakeford: In bloom at the end of the world installation view at the John Michael Kohler Arts Center\, 2022 \n  Save  
URL:https://artinamericaguide.com/event/angela-u-drakeford-in-bloom-at-the-end-of-the-world/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230116T120000
DTEND;TZID=America/Halifax:20230310T170000
DTSTAMP:20260403T140151
CREATED:20210916T194455Z
LAST-MODIFIED:20210916T194455Z
UID:79152-1673870400-1678467600@artinamericaguide.com
SUMMARY:Nancy Macko: The Fragile Bee
DESCRIPTION: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. \n  Save  
URL:https://artinamericaguide.com/event/nancy-macko-the-fragile-bee-3/
LOCATION:Midland Center for the Arts\, 1801 W. Saint Andrews\, Midland\, MI\, 48640\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Katharine T. Carter &amp%3B Associates":MAILTO:ktc@ktcassoc.com
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20230117
DTEND;VALUE=DATE:20230301
DTSTAMP:20260403T140151
CREATED:20230117T210440Z
LAST-MODIFIED:20230117T210440Z
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SUMMARY:Gregory Corn\, Alex Racine: Gravity & Grace
DESCRIPTION: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\nmetal\, 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. \nAlex 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. \nFor 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.” \nGregory 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.” \nFrom 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. \n\n\n\n  Save  
URL:https://artinamericaguide.com/event/gregory-corn-alex-racine-gravity-grace/
LOCATION:Woodward Gallery\, 132A Eldridge Street\, New York City\, NY\, 10002\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/01/Racine_Kindness_2023_closeup-scaled.jpg
ORGANIZER;CN="Woodward Gallery":MAILTO:art@woodwardgallery.net
GEO:40.7188679;-73.9915203
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Woodward Gallery 132A Eldridge Street New York City NY 10002 United States;X-APPLE-RADIUS=500;X-TITLE=132A Eldridge Street:geo:-73.9915203,40.7188679
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230117T100000
DTEND;TZID=America/Halifax:20230426T170000
DTSTAMP:20260403T140151
CREATED:20221214T203438Z
LAST-MODIFIED:20221214T203548Z
UID:100929-1673949600-1682528400@artinamericaguide.com
SUMMARY:A Masterpiece in the Making: Joaquín Sorolla’s Gouaches for the Vision of Spain
DESCRIPTION: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. \n(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) \n  Save  
URL:https://artinamericaguide.com/event/a-masterpiece-in-the-making-joaquin-sorollas-gouaches-for-the-vision-of-spain/
LOCATION:The National Arts Club\, 15 Gramercy Park South\, New York\, 10003\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/12/A1521-Navarra-y-Aragon-scaled.jpg
ORGANIZER;CN="The National Arts Club":MAILTO:info@thenationalartsclub.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230117T170000
DTEND;TZID=America/Halifax:20230317T170000
DTSTAMP:20260403T140151
CREATED:20230117T210524Z
LAST-MODIFIED:20230118T200549Z
UID:101429-1673974800-1679072400@artinamericaguide.com
SUMMARY:San Francisco Pop-Up
DESCRIPTION: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. \n  Save  
URL:https://artinamericaguide.com/event/san-francisco-pop-up/
LOCATION:Gallery 181\, 181 Fremont\, San Francisco\, CA\, 94105\, United States
CATEGORIES:Exhibition,Pop up
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/01/Sarah-Meyohas-SME.19721-original-scaled.jpg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230119
DTEND;VALUE=DATE:20230312
DTSTAMP:20260403T140151
CREATED:20230113T193302Z
LAST-MODIFIED:20230225T193051Z
UID:101415-1674086400-1678579199@artinamericaguide.com
SUMMARY:Tula Telfair: From a Distance
DESCRIPTION: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. \n  Save  
URL:https://artinamericaguide.com/event/tula-telfair-from-a-distance/
LOCATION:Forum Gallery\, 475 Park Avenue\, New York\, NY\, 10022\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/01/The-Contemporary-Sublime-email.jpg
ORGANIZER;CN="Forum Gallery":MAILTO:kevin@forumgallery.com
GEO:40.7619753;-73.9701328
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Forum Gallery 475 Park Avenue New York NY 10022 United States;X-APPLE-RADIUS=500;X-TITLE=475 Park Avenue:geo:-73.9701328,40.7619753
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230128
DTEND;VALUE=DATE:20231002
DTSTAMP:20260403T140151
CREATED:20230123T193027Z
LAST-MODIFIED:20230123T193027Z
UID:101496-1674864000-1696204799@artinamericaguide.com
SUMMARY:Andrea Chung: if they put an iron circle around your neck I will bite it away
DESCRIPTION:In a new multiroom installation\, artist Andrea Chung confronts the legacy and trauma of slavery from the perspective of an Afrofuturist utopia. \nFor 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. \nChung’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. \nImage: Andrea Chung\, Filthy Water Cannot Be Washed\, 2017; cyanotype and watercolor; 88 x 240 in. Courtesy of the artist. \n  Save  
URL:https://artinamericaguide.com/event/andrea-chung-if-they-put-an-iron-circle-around-your-neck-i-will-bite-it-away/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/01/ex.chu_.2023.5006.jpg
ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230128
DTEND;VALUE=DATE:20230326
DTSTAMP:20260403T140151
CREATED:20230126T194316Z
LAST-MODIFIED:20230202T174625Z
UID:101633-1674864000-1679788799@artinamericaguide.com
SUMMARY:Harold Cousins: Forms of Empty Space
DESCRIPTION: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. \n  Save  
URL:https://artinamericaguide.com/event/harold-cousins-forms-of-empty-space/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/01/2-Harold-Cousins-2023-Installation-view-15-RS.jpg
ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
GEO:40.7460874;-74.0076191
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Michael Rosenfeld Gallery 100 11th Ave New York NY New York United States;X-APPLE-RADIUS=500;X-TITLE=100 11th Ave:geo:-74.0076191,40.7460874
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230128
DTEND;VALUE=DATE:20230319
DTSTAMP:20260403T140151
CREATED:20230622T214649Z
LAST-MODIFIED:20230622T214649Z
UID:104069-1674864000-1679183999@artinamericaguide.com
SUMMARY:Aldo Chaparro "That elusive sentiment"
DESCRIPTION: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. \nAldo 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. \nChaparro’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. \n\nThis tendency to jump from one language to another has generated in him a constant concern about\nthe 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. \n\nChaparro 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. \n\nAldo 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. \n  Save  
URL:https://artinamericaguide.com/event/aldo-chaparro-that-elusive-sentiment/
LOCATION:madison gallery\, 320 South Cedros Ave Suite 200\, Solana Beach\, CA\, 92075\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/06/HIGHres©delmarphotographics-858-4619909-1-scaled.jpg
ORGANIZER;CN="madison gallery":MAILTO:info@madisongalleries.com
GEO:32.9889566;-117.2694946
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=madison gallery 320 South Cedros Ave Suite 200 Solana Beach CA 92075 United States;X-APPLE-RADIUS=500;X-TITLE=320 South Cedros Ave Suite 200:geo:-117.2694946,32.9889566
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230131T110000
DTEND;TZID=America/New_York:20230728T170000
DTSTAMP:20260403T140151
CREATED:20230110T165222Z
LAST-MODIFIED:20230110T165222Z
UID:101392-1675162800-1690563600@artinamericaguide.com
SUMMARY:When We All Stand
DESCRIPTION: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. \nThe 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. \nAdmission is free. \nGallery Hours: \nEmily Lowe Gallery\nBehind Emily Lowe Hall\, South Campus \nTuesday-Friday\, 11 a.m.-4 p.m. • Saturday and Sunday\, noon-4 p.m. \n  Save  
URL:https://artinamericaguide.com/event/when-we-all-stand/
LOCATION:Emily Lowe Gallery at Hofstra University\, 112 Hofstra University\, Hempstead\, NY\, 11549\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2023/01/When-We-all-Stand-Flyer-1.31.23-7.28.23.png
ORGANIZER;CN="Hofstra University Museum of Art":MAILTO:museum@hofstra.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230201T100000
DTEND;TZID=America/Halifax:20230415T170000
DTSTAMP:20260403T140151
CREATED:20230315T135415Z
LAST-MODIFIED:20230315T162306Z
UID:102347-1675245600-1681578000@artinamericaguide.com
SUMMARY:“Waterflames & Walking on Water” Art by Makoto Fujimura
DESCRIPTION: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. \nThese 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 \n  Save  
URL:https://artinamericaguide.com/event/waterflames-walking-on-water-art-by-makoto-fujimura/
LOCATION:The Martha Berry Museum\, 24 Veterans Memorial HWY\, Rome\, GA\, 30161\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2023/03/95-Fujimura-Exhibit-digital-post-Instagram.png
ORGANIZER;CN="Oak Hill &amp%3B The MArtha Berry Museum":MAILTO:oakhill@berry.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230202
DTEND;VALUE=DATE:20230523
DTSTAMP:20260403T140151
CREATED:20221118T195037Z
LAST-MODIFIED:20221118T195037Z
UID:100526-1675296000-1684799999@artinamericaguide.com
SUMMARY:The Art of Food
DESCRIPTION: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. \nIn 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. \n\n\nThrough 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. \n\n  Save  
URL:https://artinamericaguide.com/event/the-art-of-food-3/
LOCATION:Oklahoma Contemporary Arts Center\, 11 NW 11th Street\, Oklahoma City\, OK\, 73103\, United States
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230203
DTEND;VALUE=DATE:20230515
DTSTAMP:20260403T140151
CREATED:20230228T161135Z
LAST-MODIFIED:20230228T161135Z
UID:101992-1675382400-1684108799@artinamericaguide.com
SUMMARY:Positive Fragmentation: From the Collections of Jordan D. Schnitzer and His Family Foundation
DESCRIPTION:For many artists\, the act of creation begins with one of destruction as they dissect shape\, color\, perspective\, text\, idea\, or stereotype. For some\, the result is enough: pulling apart and fragmenting images and ideas exposes what lies beneath or heralds the inherent value of each part. Other artists assemble fragments to create a new whole defined by its different parts. This exhibition explores the impulses that drive these creative approaches in the work of contemporary artists. \nPositive Fragmentation: From the Collections of Jordan D. Schnitzer and His Family Foundation includes over 180 prints drawn from the Collections of Jordan D. Schnitzer and His Family Foundation\, each a work by a contemporary artist who employs fragmentation in different ways. \n  Save  
URL:https://artinamericaguide.com/event/positive-fragmentation-from-the-collections-of-jordan-d-schnitzer-and-his-family-foundation/
LOCATION:Taubman Museum of Art\, 110 Salem Avenue SE\, Roanoke\, VA\, 24011\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/02/Positive-Fragmentation-Eskenazi-install-7-2048x1367-1.jpg
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;VALUE=DATE:20230211
DTEND;VALUE=DATE:20230701
DTSTAMP:20260403T140151
CREATED:20221118T195037Z
LAST-MODIFIED:20230208T161324Z
UID:100528-1676073600-1688169599@artinamericaguide.com
SUMMARY:Storywork: The Prints of Marie Watt
DESCRIPTION:Marie Watt (Seneca\, b. 1967) is one of the country’s most celebrated contemporary artists whose work draws on personal experience\, indigenous traditions\, proto-feminism\, mythology and art history. Drawing on the collections of Jordan D. Schnitzer and His Family Foundation and the University of San Diego\, Marie Watt Prints will present a mid-career retrospective of Watt’s work as a printmaker\, accompanied by a fully illustrated catalogue. \nOver the course of her career\, residencies at the Crow’s Shadow Institute of the Arts\, the Sitka Center for Art and Ecology\, and the Tamarind Institute have afforded Watt the opportunity to collaborate with master printers in producing ambitious print series. Whether working in lithography\, woodcut\, or etching\, the medium of print has served for Watt as a laboratory for large-scale pieces and concepts. In each of her prints Watt demonstrates a tactile appreciation for the particular qualities of wood\, copper\, or stone\, aiming to achieve in her words a “familiarity and intimacy” with the material that adds a layer of thematic resonance to her work. \n\nImage: Marie Watt\, Skywalker/Skyscraper\n2022\, reclaimed blankets\, reclaimed cedar\, steel I-beam.\n100 x 30 x 30 inches.\nCollection of the Jordan Schnitzer Family Foundation.\nPhoto: Kevin McConnell. \n\n  Save  
URL:https://artinamericaguide.com/event/storywork-the-prints-of-marie-watt-2/
LOCATION:Johnson Museum of Art – Cornell University\, 114 Central Ave\, Ithaca\, NY\, 14853\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/11/Watt-Skywalker.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230211T100000
DTEND;TZID=America/Halifax:20230707T170000
DTSTAMP:20260403T140151
CREATED:20230302T190315Z
LAST-MODIFIED:20230302T190315Z
UID:102027-1676109600-1688749200@artinamericaguide.com
SUMMARY:Otis Houston Jr.: My Name is My Word (in response to Jesse Howard)
DESCRIPTION:Otis Houston Jr. (born 1954) is best known for his public performances and installation work on FDR Drive by New York’s East River\, where he has been working since 1997. His site-specific installations and performances include writing\, poetry\, singing\, found objects\, and fruit\, which are used as both props and materials. A series of spray-painted towels and canvases succinctly express Houston’s beliefs and protests. His work often addresses racism\, poverty\, and addiction\, while promoting messages of health\, love\, and self-acceptance. \n  \nClose to a half century prior\, in the 1950s\, a landowner in Fulton\, Missouri\, Jesse Howard (1885–1983)\, began filling twenty acres with hand-painted signs and objects that communicated his views. The signs\, often whitewashed\, present meticulously ruled\, lettered\, and composed biblical verse\, religious and patriotic decrees\, and social commentary. This accumulation of text-based sculptures came to be called Sorehead Hill. Over time\, countless drivers passed the site\, and it became a destination for visitors worldwide. \n  \nDespite the geographic and cultural separations\, both men prioritized free speech\, using signs to communicate their worldviews and concerns. \n  \nHouston’s life in Harlem prompts viewers to understand that their spiritual\, physical\, and emotional health is indivisible from their broader community. In stark contrast\, Howard’s mid-century rural Missouri community led him to a more individualized relationship to religion and politics. The sites chosen and methods of communication implanted by each artist demonstrate a desire to provoke the passerby. \n  \nFrom October 3–7\, 2022\, Houston was at the John Michael Kohler Arts Center\, making new work for his two-part exhibition Otis Houston Jr.: My Name is My Word. While in Sheboygan\, he spent time with Howard’s work. Houston produced several signs in direct response to the encounter\, which are on view in this second iteration of the exhibition. The first iteration of the show was presented at the Arts Center from October 3\, 2022–January 14\, 2023. \nImage: Otis Houston Jr.: My Name is My Word installation view at the Art Preserve\, 2023. \n  Save  
URL:https://artinamericaguide.com/event/otis-houston-jr-my-name-is-my-word-in-response-to-jesse-howard/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2023/03/ap.hou_.2023.0004.png
ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230211T120000
DTEND;TZID=America/Halifax:20230507T170000
DTSTAMP:20260403T140151
CREATED:20230123T193426Z
LAST-MODIFIED:20230127T160739Z
UID:101523-1676116800-1683478800@artinamericaguide.com
SUMMARY:PRISCILLA HEINE: Buoyant Abandon
DESCRIPTION:Priscilla Heine: Buoyant Abandon opens Saturday February 11\, 2023 at the Southern Vermont Arts Center in Manchester\, Vermont and runs through Sunday May 7\, 2023. \nBending the corners of space with vibrant pigments and tumultuous brushwork\, Priscilla Heine defines the world of memories and shifting dimensions. The power of the whole becomes apparent in the same way that the melody of a single flower embodies the fulsome magic of a botanical orchestra. The sense of blossoming is palpable in Heine’s work and this gradual unspiraling of peace and pleasure evokes a comforting embrace\, a warm meal\, and at times\, an excitement for what is found and a tranquil acceptance for what is gone. \nMore about the artist: www.priscillaheine.com \n  Save  
URL:https://artinamericaguide.com/event/priscilla-heine-buoyant-abandon/
LOCATION:Elizabeth de C. Wilson Museum Southern Vermont Arts Center\, 860 Southern Vermont Arts Center Dr\, Manchester\, VT\, 05255\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/01/Priscila-Heine-2022.jpg
ORGANIZER;CN="Cross Contemporary Art Projects":MAILTO:crosscontemporaryprojects@gmail.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230214T110000
DTEND;TZID=America/Halifax:20230616T170000
DTSTAMP:20260403T140151
CREATED:20230110T165222Z
LAST-MODIFIED:20230110T165222Z
UID:101396-1676372400-1686934800@artinamericaguide.com
SUMMARY:The Barack Obama Presidency: Hope and Change
DESCRIPTION:The exhibition focuses on issues and topics from the Obama administration: 2008 and 2012 elections\, Great Recession\, Health Care\, Immigration\, Wars in Afghanistan and Iraq\, Combating Terrorism\, Climate Change and the Environment\, and Race Relations. The exhibition includes photographs\, facsimile documents\, and objects on loan from the National Archives and Records Administration (NARA) and the Barack Obama Presidential Library.  Editorial cartoons by Mike Keefe\, Steve Kelley\, and Signe Wilkinson further illustrate the themes. In addition\, items related to the Presidential Debates at Hofstra University in 2008 and 2012\, on loan from the University Archives\, will be on view. \nThe Hofstra University Museum of Art’s programs are made possible by the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature. \nAdmission is free. \nGallery Hours: \nDavid Filderman Gallery\nJoan and Donald E. Axinn Library\, Ninth Floor\, South Campus \nTuesday-Friday\, 11 a.m.-4 p.m. • Saturday and Sunday\, noon-4 p.m. \n  Save  
URL:https://artinamericaguide.com/event/the-barack-obama-presidency-hope-and-change/
LOCATION:David Filderman Gallery at Hofstra University\, 112 Hofstra University\, Hempstead\, New York
CATEGORIES:Exhibition
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ORGANIZER;CN="Hofstra University Museum of Art":MAILTO:museum@hofstra.edu
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20230216
DTEND;VALUE=DATE:20230326
DTSTAMP:20260403T140151
CREATED:20230123T193523Z
LAST-MODIFIED:20230123T193523Z
UID:101505-1676505600-1679788799@artinamericaguide.com
SUMMARY:Camille Billops: Mirror\, Mirror
DESCRIPTION:Camille Billops\nMirror\, Mirror\nFebruary 16 – March 25\, 2023\nOpening reception: February 16\, 2023\, 6:00-8:00 pm \nRYAN LEE is pleased to announce Mirror\, Mirror\, a solo exhibition of works by the multidisciplinary artist\, filmmaker\, and activist Camille Billops. Featuring a series of ceramic mirrors\, etchings\, and drawings\, this is the first significant solo presentation of Billops’s later work.  \nInfused with experiences of travels abroad\, including globally informed artistic practices\, Billops first began forging space for her art and activism in the 1960s in New York. A pioneering member of the emerging black artists movement\, her work and activism were entwined\, engaging with civil rights alongside exclusionary systems of the art industry at large.  Throughout her life\, her artwork drew from these themes\, from the ever-presence of racism to gender dynamics\, black culture\, and personal narrative and history. \n“All my work is about the celebration of family\, my private stories and personal vision\,” shared Billops in a 1985 interview published in ISSUE\, A Journal for Artists. Referencing the Kaohsiung drawings – originally made in Kaohsiung\, Taiwan\, three of which are featured in this exhibition – she shares that the characters are in fact her and her husband\, James V. Hatch\, after a “magnificent fight.” \nBillops was not only comfortable turning the intimate outward\, she was strategic about it\, using exposé as a tactic to confront the follies and failures of life\, and resolutely unafraid to include her own. For a 2012 show\, Billops had commented that her art is “about ‘victory over obscurity and ignorance\, and confirmation of herself.’” In this sense\, we are able to grasp a fuller picture of the artist\, whose activism and committed preservation of black arts and culture is as large a part of her legacy and impact as her work is. Her output\, holistically\, is perseverance – at once personal and collective. \nBillops’s sense of self-confirmation through self-portraiture\, refrained in the Kaohsiung drawings\, is inherent to the nature of her later mirror series. Begun in the early 2000s and completed in 2011\, these metaphorically reflective works are likewise literal presentations of the viewer\, placing us squarely within the contexts of the frame. \nIn some\, the mirrors’ ceramic-frame illustrations are figurative\, as in Untitled (Checkered) (2003)\, where cartoonish characters engage in a mock-Americana tableau evoking a realm of behaviors from suspicious to blithe. In White Woman with US Flags (2011)\, the denotation may be more literal\, but the style breaks molds with its looseness of form\, as variously proportioned pieces of ceramic dance across the frame. The artwork is detailed with American flags placed amidst the other ceramic pieces\, each painted with a shadowy fist raised in silhouette against the stripes. \nAlso included are her Mondo Negro series of lithographs. This presentation of works\, shown together for the first time\, honors Billops’s canonical output as an artist-activist. In five variations\, Billops portrays in bold\, slanting lines\, characters and snakes at times falling and at times burning in abstracted landscapes portraying a “black world.”  The series continues to bring her perceptive artwork into conversation not only with its own multimedia contexts\, but also with those broader contexts that are presciently resonant within them.  \n  \n  \nCamille Billops (b. 1933\, Los Angeles\, CA – d. 2019\, New York\, NY) was an influential artist and filmmaker whose staunch activism and profound belief in the power of memory and representation made her a pillar of the Black New York-based artist community from the 1960s until her death in 2019. As an artist\, Billops came into her own within the converging contexts of the 1960s civil rights movement and New York’s emerging Black artists movement. She has unapologetically drawn from her life experiences\, family histoy\, and community to carve out a space for her voice to be heard. Her work primarily touches upon themes of racism—which she considered ever present throughout society—gender dynamics\, Black culture\, and personal narrative. \nIn 2022\, Billops was included in the landmark group exhibition Just Above Midtown\, 1974 to the Present at the Museum of Modern Art\, NY\, a retrospective focusing on the historic Just Above Midtown gallery. Billops’s and her husband James Hatch’s documentary filmmaking is currently the subject of a major solo retrospective A String of Pearls: The Films of Camille Billops & James Hatch at the Brooklyn Academy of Music\, organized by Third World Newsreel. Billops’s work has also been featured in numerous solo and group exhibitions at Featherstone Center for the Arts\, PA (2022); Georgia Museum of Art\, GA (2019); Brooklyn Museum\, NY (2017); and Institute of Contemporary Art\, MA (2017)\, among other institutions. Billops’s work is in the collections of the Boston Museum of Fine Arts\, MA; Cleveland Museum of Art\, OH; Detroit Institute of Arts\, MI; Georgia Museum of Art\, GA;  Library of Congress\, DC; Minneapolis Institute of Art\, MN; Museum of Modern Art\, NY; Das Schubladenmuseum\, Bern; Studio Museum in Harlem\, NY; and Yale University Art Gallery\, CT\, among others.  \n  \n  \nAbout RYAN LEE\nFounded in 2013 by Mary Ryan and Jeffrey Lee\, RYAN LEE has established itself as a welcoming place of discovery and dialogue for art ranging from postwar to contemporary. Led by two partners of different generations and backgrounds with over six decades of combined experience\, RYAN LEE is committed to presenting innovative and unexpected exhibitions across all spectrums of art practices\, including painting\, video\, sculpture\, and performance. The gallery takes chances on a wide variety of boundary-pushing artists; their work is inherently experimental and pushes political\, cultural\, material\, and technical boundaries. In addition\, RYAN LEE has\, throughout its history\, demonstrated its long-standing interest and dedication to feminist\, Black\, and Asian American\, as well as queer narratives in the twentieth and twenty-first centuries. \n  Save  
URL:https://artinamericaguide.com/event/camille-billops-mirror-mirror/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230216T100000
DTEND;TZID=America/Halifax:20230325T180000
DTSTAMP:20260403T140151
CREATED:20230204T001814Z
LAST-MODIFIED:20230204T001814Z
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SUMMARY:Living Arrangements: A Group Exhibition
DESCRIPTION:Kathryn Markel Fine Arts is pleased to announce “Living Arrangements”\, a group exhibition of 20 artists who work in a wide variety of media and styles.  They are united by one theme – the simple\, universal image of the flower.  This exhibition serves as a foretaste of the optimism of Spring but also\, and primarily\, is a fascinating study in how one simple motif can become the impetus for such a wide variety of art. \n  \nThroughout art history\, the flower has symbolized so much – the inevitability of change\, of death as well as life\, decay as well as beauty. Flowers have represented innocence or vanity\, home life and hospitality\, or the consoling presence of nature in grief. And too\, the artists in this exhibition continue to use the floral motif in wildly different ways. \n  \nFor some artists\, the flower image is just the excuse for a painting\, and or deep looking. For others it’s an anthropomorphized personality with agency of its own. It can be a result of decorative patterning or a representation of domesticity. Several artists see it as the expression of a fertile natural world\, for others it’s the expression of an endangered one. \n  \nStephanie Anderson’s (www.stephanieandersonart.com) beautiful watercolor depicts imaginary birds and lizards interacting in an impossibly lush floral environment. Surreal nature thrives in her imaginary world. Julia Blume (www.julia-blume-art.com) breaks down the false human/nature dichotomy by creating wall sculptures of floral growth and fertility from man-made materials of plastic and acrylic. Avital Burg (www.avitalburg.com) paints objects of daily life. In this painting the messy profusion of a floral bouquet is the excuse to play with an impasto\, energetic painted surface. \n  \nTiffany Calvert (ww.tiffanycalvert.com) uses artificial intelligence to create the classic historical floral painting and then combines this printed image with hand painted oil flowers to emphasize the tension between the hand and the pixel.  JoAnne Carson (www.joannecarson.com) paints imaginary gardens based on the exuberance of her real one. As she says\, “These invented worlds are portals into a universe of alternative biology.” Jared Deery (www.jareddeery.com) creates stories\, in which his flower characters connect and disconnect in various ways\, all within an atmosphere of decorative beauty.  Loren Eiferman (www.loreneifermanart.com) obsessively creates sculptures by connecting hundreds of pieces of found wood.  The image for this wall sculpture comes from the painting of a flower in the mysterious 15th century Voynich Manuscript. \n  \nLizzie Gill (www.lizziegill.com) uses the abstracted floral image to create scenes of domesticity.  Her muted palette combined with the use of image transfer place her environments in a nostalgic past.  For Eric Hibit (www.erichibit.com) the flower becomes the starting point for dense mark-making in multiple layers to emphasize the sensuality of the painted surface.  The image\, always based on nature\, is a riot of color\, pattern\, and pleasure. Anna Lise Jensen’s (www.spaceallover.org) collage practice uses papers of different textures and patterns to create a monster of growth – a mysterious hybrid fungus-like plant\, primly upright in a decorative vase. \n  \nCalder Kamin’s (www.calderkamin.com) practice of making amazing hybrid flower/animals from plastic junk\, supports her mission of expanding projects involving creative reuse throughout her community. Tess Michalik (www.tessmichalik.com) bases her very sensual\, lyrical paintings on the patterns of 17th and 18th century textile design in the service of a sensual ornamentation. Anne Muntges\, (www.annemuntges.com) has an obsessive drawing practice that encompasses everything in her life\, including domestic flower arrangements. Her still life sculpture combines solidity with linearity in a weird reality. \n  \nDaniel Murphy (www.danielmurphy.studio) captures the essence of flower with the most minimal means – a seemingly simple sculpture of pigmented paper and brass in an elegant flourish. For Tucker Nichols (www.tuckernichols.com\,) as well as being the springboard for an inventive use of color and pattern\, the flower heals. Throughout the pandemic he donated hundreds of small flower paintings to anyone who was sick. \nFor Denise Regan\, (www.markelfinearts.com/artists/75-denise-regan/works/) decorative floral patterning provides a backdrop to aggressive flower arrangements that seem to leap out of her painting in a childlike frenzy. \n  \nAurora Robson’s (www.aurorarobson.com) large scale site specific abstract sculptures made out of plastic debris\, serve to highlight the importance of intercepting the plastic waste stream. Petal-like shapes suggest natural growth and vitality through the use of a material that will never be recycled back to nature. \n  \nMary Jo Vath (www.maryjovath.com) paints the objects around her. As a result of deep looking and deep painting\, her floral arrangements acquire an almost mystical heft\, and surreal presence. T Kelly Wilson also paints the flower from observation\, but his loose\, highly considered gestural strokes capture an essence of color and movement as opposed to a realistic depiction. And last\, but not least\, Lauren Whearty (www.laurenwhearty.com) paints familiar daily objects in a breezy\, painterly fashion\, placing them in combinations that create implied narratives and surprising connections. \n\n  Save  
URL:https://artinamericaguide.com/event/living-arrangements-a-group-exhibition/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230217T100000
DTEND;TZID=America/Chicago:20230910T170000
DTSTAMP:20260403T140151
CREATED:20220708T163336Z
LAST-MODIFIED:20220708T163336Z
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SUMMARY:Awful Bigness
DESCRIPTION:Clyfford Still spent his childhood and adolescence in the West and saw how the boundless plains could offer generous bounty in times of plenty or pitilessly starve in dust and wind. In an interview\, he referred to that experience as one that taught him to respect the “awful bigness of the land\, the men and the machines.” In subsequent years\, he worked on an enormous scale\, and each time\, he had to confront the awful bigness of the vast expanse of blank canvas. \nOrganized by the Clyfford Still Museum’s associate curator\, Bailey Placzek\, in collaboration with CSM’s director\, Joyce Tsai\, Awful Bigness fills the Museum’s largest\, skylit galleries and celebrates Still’s biggest\, most ambitious works. This installation follows a chronological display of Still’s works in CSM’s first four rooms\, which overviews Still’s groundbreaking path to abstraction. \n  Save  
URL:https://artinamericaguide.com/event/awful-bigness/
LOCATION:Clyfford Still Museum\, 1250 Bannock St.\, Denver\, CO\, 80204\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Clyfford Still Museum":MAILTO:press@clyffordstillmuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230217T110000
DTEND;TZID=America/Halifax:20230325T170000
DTSTAMP:20260403T140151
CREATED:20230208T230549Z
LAST-MODIFIED:20230208T230549Z
UID:101803-1676631600-1679763600@artinamericaguide.com
SUMMARY:Looking At You Looking At Me | A Group Exhibition
DESCRIPTION:The Contemporary Art Modern Project is pleased to present our latest exhibition: Looking at You Looking at Me\, a group exhibition wherein three Miami-based artists from different generations explore the symbiotic relationship between their place in the world and their relationships with themselves. External parties may assume a woman’s attention to her image is in vain\, but the truth is women are often forced to be hyper-aware because of society’s obsession with ideals and standards of what is woman. The above claim is supported in John Berger’s Ways of Seeing\, where he states: “a woman must continually watch herself. She is almost continually accompanied by her own image of herself. Whilst she is walking across a room or whilst she is weeping at the death of her father\, she can scarcely avoid envisaging herself walking or weeping.” Artists Laetitia Adam-Rabel\, Silvana Soriano\, and Analea Adam-Rabel take the concept of the “female gaze” and approach it in different manners; One portrays the gaze through complex subversion of color and form\, another through digitally manipulating images of herself\, and the other fantasizing about the girl she is becoming. \n  \nIn her collages\, Silvana Soriano depicts stories with a technique that can be examined as repurposing or redefining. While she is repurposing paper and textile\, she is also redefining the space. The uniform but organic shapes give these scenes movement\, as if the viewer is able to witness in real time the story or vignette presented. Each presence captures the space and viewer with actual clothing\, whether owned by the artist or a loved one\, using familiar textures to draw one in. The central figure in Across The Board speaks loudest to a woman’s self-perception in a public space. Here\, Soriano portrays the silhouette of a woman’s back\, the reflection of her face and another blurred silhouette standing in front of them. Who is recognizing whom? While bringing the gaze within herself she is not acting in vain but attending to her own image. \n  \nAs an artist working in a variety of media\, from photography and sculpture\, to printmaking and painting\, Laetitia Adam-Rabel is constantly rediscovering herself. Art is often a therapeutic measure to understand her own feelings and let go. Laeti’s If I Were a Fashion Figure is a collection of designs she created herself using her experiences as a former Parsons student and knowledge of the fashion industry. Soon her desire to embody fashion turned from designing to modeling. After some rejection\, it became hard to sit with the image of herself. In IIWAFF 1\, she portrays a version of her bare body holding her own perfectly smooth skin. Tapping into the young woman she once was as the woman she currently is\, Laeti is also sitting with old versions of herself and accepting them. \n  \nMany little girls dream of a version of themselves\, which sometimes begins as a mermaid or princess. Analea has been drawing mermaids since she was one; creativity is second nature to her coming from a family of artists. In a short time\, an abundance of knowledge and creative intuition has been passed on to her. While she watches and learns art from her mother\, she\, without knowing it\, is taking her mother’s pain and turning it into something new and beautiful. Analea’s self portrait shows viewers that at the young age of four\, she is already perceiving herself. She and her expressions mean something and through art she is able to share a version of herself that she imagines. \n  \nWomen are constantly being perceived by others while living in a society where they are told what to wear\, how to feel and even their sexual orientation. Our identities are constantly shape-shifting\, transforming from child to woman\, friend to mother\, all based around how we look to others and what we can do for them rather than ourselves. At the end of the day\, once we strip away all of the -isms\, we go to bed with perceptions of our innerselves; past\, present\, future and all. \n  \nCurated by Chloe Fabien. \n\n\n\n\n\n\n\n\n\n\n\n\nLooking at You Looking at Me is available for viewing in our North Miami gallery at 791 NE 125th St. from February 17–March 725 2023. \n  \nFor more information\, please reach out to hello@thecampgallery.com \n\n\n  Save  
URL:https://artinamericaguide.com/event/looking-at-you-looking-at-me-a-group-exhibition/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="The Contemporary Art Modern Project":MAILTO:hello@thecampgallery.com
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