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DTSTART;TZID=America/New_York:20220722T110000
DTEND;TZID=America/New_York:20240804T180000
DTSTAMP:20260403T151418
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:20230318T100000
DTEND;TZID=America/Halifax:20240609T170000
DTSTAMP:20260403T151418
CREATED:20230316T154058Z
LAST-MODIFIED:20230316T154058Z
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SUMMARY:Bosco Sodi: Origen
DESCRIPTION:Visit our galleries for FREE on Sundays. Check the visit page for all free admission opportunities at the Harvard Art Museums. \nA new installation of sculptures by Mexican-born artist Bosco Sodi (b. 1970) places 14 of the artist’s handmade clay spheres at the Harvard Art Museums and marks the first-ever presentation of art on the museums’ outdoor Broadway terrace. Sodi’s practice explores the earth’s elements\, marrying age-old traditions of sculpting clay with a contemporary vision of creating simple universal forms that prompt reflection. Drawing on centuries-old techniques passed through the Zapotec culture\, Sodi works with Oaxacan artisans\, using local clay to sculpt each sphere\, drying it outside for up to eight months\, and then firing it in a kiln built upon a beach. The resulting terracotta forms reveal the effects of nature’s forces—the sun\, sea air\, and fire—as demonstrated by the cracks\, chips\, and blackened and crusty patches that distinguish each sphere. In a first for a U.S. installation of the artist’s work\, Sodi will also unveil three gold-glazed spheres as part of his site-specific arrangement. Moving from outside to inside the museums\, these gold spheres connect to and engage with the meditative atmosphere evoked by the installation of Buddhist figures in Gallery 1610. \n  Save  
URL:https://artinamericaguide.com/event/bosco-sodi-origen/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/03/Bosco-Sodi.jpg
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230318T100000
DTEND;TZID=America/Halifax:20240609T170000
DTSTAMP:20260403T151418
CREATED:20230320T150548Z
LAST-MODIFIED:20230320T150548Z
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SUMMARY:Bosco Sodi: Origen
DESCRIPTION:Visit our galleries for FREE on Sundays. Check the visit page for all free admission opportunities at the Harvard Art Museums. \nA new installation of sculptures by Mexican-born artist Bosco Sodi (b. 1970) places 14 of the artist’s handmade clay spheres at the Harvard Art Museums and marks the first-ever presentation of art on the museums’ outdoor Broadway terrace. Sodi’s practice explores the earth’s elements\, marrying age-old traditions of sculpting clay with a contemporary vision of creating simple universal forms that prompt reflection. Drawing on centuries-old techniques passed through the Zapotec culture\, Sodi works with Oaxacan artisans\, using local clay to sculpt each sphere\, drying it outside for up to eight months\, and then firing it in a kiln built upon a beach. The resulting terracotta forms reveal the effects of nature’s forces—the sun\, sea air\, and fire—as demonstrated by the cracks\, chips\, and blackened and crusty patches that distinguish each sphere. In a first for a U.S. installation of the artist’s work\, Sodi will also unveil three gold-glazed spheres as part of his site-specific arrangement. Moving from outside to inside the museums\, these gold spheres connect to and engage with the meditative atmosphere evoked by the installation of Buddhist figures in Gallery 1610. \n  Save  
URL:https://artinamericaguide.com/event/bosco-sodi-origen-2/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/03/Bosco-Sodi-1.jpg
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230321
DTEND;VALUE=DATE:20240205
DTSTAMP:20260403T151418
CREATED:20221208T214310Z
LAST-MODIFIED:20221208T214310Z
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SUMMARY:Calling on the Past: Selections from the Collection
DESCRIPTION:Calling on the Past invites visitors to experience the Smart Museum’s collection anew\, through a sensory exploration of color\, texture\, and form. \nIn lieu of customary chronological or geographical divisions\, such as those that have often guided the display of the collection in the past\, this installation draws on the breadth and depth of the Museum’s holdings to situate key works side by side across centuries. From antiquities to contemporary painting and sculpture\, the cross-historical selection of objects speaks to the varied materials\, ideas\, and questions artists continue to explore\, while emphasizing the editing of history. \nCalling on the Past is inspired in part by art historian George Kubler’s seminal text The Shape of Time: Remarks on the History of Things (1962)\, which argues the art of the past is in constant conversation with the present. Kubler replaces the notion of art historical styles with the understanding that time is both linear and looped\, and artists have been revisiting the same sets of questions across the ages. Rather than emphasizing objects’ original context\, this exhibition inserts them into imaginative groupings\, unraveling historical hierarchies and encouraging us to see the collection with fresh eyes. \n  Save  
URL:https://artinamericaguide.com/event/calling-on-the-past-selections-from-the-collection/
LOCATION:Smart Museum of Art\, 5550 S. Greenwood Avenue\, Chicago\, IL\, 60637\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230520T100000
DTEND;TZID=America/Halifax:20240421T160000
DTSTAMP:20260403T151418
CREATED:20230502T182207Z
LAST-MODIFIED:20230502T182207Z
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SUMMARY:Sharing The Same Breath
DESCRIPTION:In her 2021 essay “A Family Reunion Near the End of the World\,” botanist Robin Wall Kimmerer contemplates our kinship with nature and proposes a road map for deepening our care and respect for all living things. \n“Being a relative\,” she writes\, “is more than shared blood from a common past. Real kinship arises when we realize that we have a common future\, that our fates are linked.” She goes on to suggest\, “Real kinship comes when you live it. It’s not a noun\, but a verb\, it’s not a thing\, it’s what you do.” \nThe cultivation of kinship with the living world is the foundation for Sharing the Same Breath. The exhibition brings together nine artists who consider the world’s complex web of relations through artworks that emphasize human\, nonhuman\, and interspecies forms of kinship and connectivity. These relationships are explored through a wide range of mediums including sculpture\, photography\, drawing\, video\, film\, and installation. Together the works form a kincentric viewpoint that challenges narratives of human exceptionalism and encourages us to regard our symbiotic relationship and shared fate with our more-than-human family with greater attention and care. \nArtists in the exhibition include Juan William Chávez\, David Freid\, Lindsey French\, Emilie Louise Gossiaux\, Nina Katchadourian\, Cannupa Hanska Luger\, Marie Watt\, William Wegman\, and Dyani White Hawk. \nImage: Emilie L. Gossiaux\, True Love Will Find You in the End\, 2021; polystyrene foam\, aluminum pipes\, papier-mâché\, epoxy resin\, and acrylic matte medium. Courtesy of the artist and Mother Gallery. Photo: Ronald Amstutz. \n  Save  
URL:https://artinamericaguide.com/event/sharing-the-same-breath/
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/New_York:20230617T100000
DTEND;TZID=America/New_York:20240225T160000
DTSTAMP:20260403T151418
CREATED:20230623T161042Z
LAST-MODIFIED:20230623T161042Z
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SUMMARY:Rose B. Simpson: Counterculture
DESCRIPTION:The seven cast-concrete figures in Rose B. Simpson’s Counterculture are witnesses—reminders that the natural world is continuously watching humanity. Despite their over ten foot height\, the feminine-bodied forms show grace in their vigilance and space taking\, carrying necklaces made of ceramic beads instead of taking up weapons. \nSimpson’s sculptures are traveling to different sites across the country\, including the grounds of the Art Preserve\, where they will observe the seasons shift from summer to fall and into winter. Their presence suggests that we\, too\, should listen and humble ourselves to the natural world\, tuning into the ways in which we are responsible for the exploitation of our environment’s limited resources. \nIf we know something greater than ourselves is watching\, will we do things differently? \nCounterculture was created for and originally installed on the ancestral lands of the Stockbridge-Munsee Community Band of Mohican Indians\, in present-day Williamstown\, Massachusetts. The sculptures’ move to Wisconsin traces the path of forced removal experienced by the Stockbridge-Munsee Community\, which today is located on their reservation in northeastern Wisconsin\, with members also living in other parts of Wisconsin\, the United States\, and the world. \nImage: Rose B. Simpson\, Counterculture\, 2022; dyed concrete\, steel\, clay\, and cable; seven sculptures\, 128 x 24 x 11 in. each. Courtesy of the artist\, Jessica Silverman\, San Francisco\, and Jack Shainman Gallery\, New York. On view at Field Farm\, Williamstown\, MA\, June 2022–May 2023. Photo: Stephanie Zollshan. \nhttps://www.jmkac.org/exhibition/rose-b-simpson-counterculture/ \n  Save  
URL:https://artinamericaguide.com/event/rose-b-simpson-counterculture/
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/New_York:20230720T100000
DTEND;TZID=America/New_York:20240128T170000
DTSTAMP:20260403T151418
CREATED:20230703T154022Z
LAST-MODIFIED:20230703T154022Z
UID:104228-1689847200-1706461200@artinamericaguide.com
SUMMARY:Ellen Carey: Struck By Light
DESCRIPTION:Ellen Carey: Struck By Light \nThursday\, July 20\, 2023 —  Sunday\, January 28\, 2024 \n\n\n\n\n\nPart One: On view starting June 24 in the Helen T. and Philip B. Stanley Gallery \nPart Two: Opens July 20 in the Maximilian E. and Marion O. Hoffman Foundation Gallery \nThis two-part exhibition presents three decades of work by acclaimed Hartford-based artist Ellen Carey. \nSince the early 1990s\, artist Ellen Carey (b. 1952) has created experimental and abstract works that defy photographic conventions. Struck by Light represents the largest survey of Carey’s innovative photo-objects and lens-based artworks. Spanning 30 years of her prolific career\, the exhibition includes examples of her Photography Degree Zero (1996–2023) practice of Polaroid 20 X 24 lens-based images—including Pulls and Rollbacks—as well as her Struck by Light (1992–2023) series of camera-less photograms—Dings and Shadows—inspired by the earliest examples of paper photography. Collectively\, the works trace Carey’s enormous contributions to the field of photography through her pioneering explorations of light\, color\, and shadow\, and are drawn from the collections of the New Britain Museum of American Art and the artist. \nEllen Carey received her BFA from KCAI-Kansas City Art Institute (1971-1975) and her MFA (1976-1978) from SUNY@Buffalo (now UB). She is Associate Professor of Photography (1983-2023) Hartford Art School (HAS)-University of Hartford. \nA recent article written by Chris Wiley for The New Yorker (February 2023) sees the arc of her career as well as the solo exhibition Light Struck at Fox Talbot Museum (2023-2024)\, the home of photography in Lacock (England). \n  \nEllen Carey’s Artist Statement: \nPhotography changed our world. Now universal\, a photograph links a global humanity with our picture culture from each image to hundreds\, millions\, billions seen every day; we are visual. \nA Picture is a Poem without Words – Horace \nStruck by light is a phrase that sparks imagination\, tells of inspiration\, a metaphor for discovery\, to conceive something anew\, a rare feeling\, a brainstorm … Eureka! … says it all. Photography\, discovered in the 19th century\, is Greek – phōs for light\, graphis for drawing – light drawing. \nLight’s immateriality challenges its ‘camera operators’ today. Analog versus digital technologies double these challenges. Struck by light has multiple meanings for my experimental and lens-based works. It names my creative practice in photogram\, while Photography Degree Zero sees my Polaroid 20 X 24 works. Light\, wherever/whenever it strikes\, is to be free. \nStruck by Light is different in meaning for photographers. When light-sensitive paper/film is exposed to/struck by light\, if intentional\, a negative/film or image/paper is made; however\, if light strikes the paper/film\, accidentally it is “fogged” – darkened – light travels. Photographers are often called light travelers; I see my work in this context\, giving content to it. \nAll journeys have secret destinations of which the traveler is unaware – Martin Buber \nPhotographers use light in all different ways – silhouette\, shadow\, outline\, reflection; however\, I often cannot see light while I work [in the darkroom]\, leading me to wonder what the light does on its own. What are light’s first traces? \nLight finds my Catholic birth name – Celtic\, Gaelic\, Irish – a prescient gift from my parents; Ellen means light or bringer of light. Color is universal\, an artist’s universe\, in that universe is photography’s planet\, where light and color overlap and meet; it is called photographic color theory – RGBYMC – a palette that conceptually underscores my twin practices. \nStruck by Light is the DNA of my dual artistic endeavors\, a double helix with light and color\, photography within process\, that combines destiny and fate. When light becomes visible the photo-object speaks. My photographs say craquelure\, parabola\, hue\, abstract\, process\, minimal\, photogram\, light\, beauty\, color\, wonder\, invention\, innovation. \n  \n\n\n  Save  
URL:https://artinamericaguide.com/event/ellen-carey-struck-by-light/
LOCATION:New Britain Museum of American Art\, 56 Lexington Street\, New Britain\, CT\, 06052\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/06/1.Carey_Ellen_Crush-Pull-with-Hands-Penlights.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230728T110000
DTEND;TZID=America/New_York:20240225T180000
DTSTAMP:20260403T151418
CREATED:20230612T210525Z
LAST-MODIFIED:20230612T211205Z
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SUMMARY:Liliana Porter: Actualidades / Breaking News
DESCRIPTION:Liliana Porter’s surreal compositions using toys interrogate the boundaries between representation and reality. Liliana Porter: Actualidades / Breaking News is a focused presentation of Porter’s expansive conceptual practice\, highlighting her skilled evocation of poignant philosophical and political questions through otherwise simple gestures and miniature objects. \n  Save  
URL:https://artinamericaguide.com/event/liliana-porter-actualidades-breaking-news/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230811T110000
DTEND;TZID=America/New_York:20240225T180000
DTSTAMP:20260403T151418
CREATED:20230612T210525Z
LAST-MODIFIED:20230612T211224Z
UID:103924-1691751600-1708884000@artinamericaguide.com
SUMMARY:Nuts and Who’s: A Candy Store Sampler
DESCRIPTION:In the 1960s\, artists in Northern California embraced an attitude towards art-making that was irreverent\, bawdy\, and free-spirited\, which resonated with artists across the country who rejected the mainstream art world. Through objects primarily drawn from SJMA’s permanent collection\, this exhibition focuses on the convergence of these artists around the Candy Store Gallery\, and the cross-fertilization of ideas that resulted. \n  Save  
URL:https://artinamericaguide.com/event/nuts-and-whos-a-candy-store-sampler/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/06/2006.27.02_gilhoolydavid_no10sampler_FV-scaled.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20230822
DTEND;VALUE=DATE:20240310
DTSTAMP:20260403T151418
CREATED:20230726T223546Z
LAST-MODIFIED:20230726T223546Z
UID:104559-1692662400-1710028799@artinamericaguide.com
SUMMARY:Jeffrey Gibson: They Teach Love\, From the Collections of Jordan D. Schnitzer and His Family Foundation
DESCRIPTION:Jeffrey Gibson asks us to co-envision a future and to move toward it. Ceaselessly prioritizing collective imagination as a tool toward manifestation and realization\, the artist has stated\, “Don’t accept the circumstances you are in; acknowledge that you are in them and then find a future.” \n\n\nThis major exhibition is devoted to one of today’s foremost artists\, whose vibrant interdisciplinary practice combines sculpture and painting\, beadwork and video\, words and images\, incorporating rawhide\, tipi poles\, sterling silver\, wool blankets\, jingles\, fringe\, and sinew—materials that refer to American Indian cultures toward the adornment of quotidian objects such as punching bags\, flags\, banners\, and illuminated signs. Gibson\, who is of Mississippi Choctaw and Cherokee heritage\, combines aspects of Indigenous art and culture with modernist traditions\, navigating and disrupting the expectations placed upon Native artists working within the contemporary art world. At the root of his enterprise lies a core value—objects\, and people alike\, carry the potential for radical transformation. \nExclusively curated from the collections of Jordan D. Schnitzer and His Family Foundation\, They Teach Love presents a sweeping survey of over 35 objects across a span of fifteen years. Beginning with examples of the artist’s earliest engagements with printmaking\, our exhibition proceeds to include photography\, painting\, and sculpture\, as well as recent forms that express his foray into performance\, installation\, and video\, as well as contemporary adornment in fashion. The latter direction is reflective of intertribal powwows as well as the dance clubs where Gibson found safe spaces as a teenager. \nThe exhibition’s centerpiece is an expansive and immersive work titled To Name An Other which is comprised of 51 screen printed elk hide drums and 50 wearable garments. Originally commissioned as a performance by the Smithsonian’s National Portrait Gallery\, in 2019\, To Name An Other marks a turning point in the artist’s career whereby Gibson has increasingly sought out collective-based projects and performances to activate the communities he works within. This idea is especially appropriate when considering Jeffrey Gibson’s work\, as he pushes to create affinity—collaboration is at the heart of his recent social practice. Working and learning together may aid to decolonize our minds and institutions\, revealing a future we wish to inhabit. \n\n  Save  
URL:https://artinamericaguide.com/event/jeffrey-gibson-they-teach-love-from-the-collections-of-jordan-d-schnitzer-and-his-family-foundation/
LOCATION:Jordan Schnitzer Museum of Art WSU\, 1535 Wilson Rd\, Pullman\, WA\, 99164\, United States
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230908T180000
DTEND;TZID=America/Halifax:20240211T170000
DTSTAMP:20260403T151418
CREATED:20221215T164955Z
LAST-MODIFIED:20230816T213243Z
UID:101080-1694196000-1707670800@artinamericaguide.com
SUMMARY:Justin Favela: Ruta Madre
DESCRIPTION:The Contemporary Art Museum St. Louis (CAM) announces a new solo exhibition of works by Las Vegas-based artist Justin Favela. Known for his vivid large-scale murals and sculptures\, Favela will create a new site-specific installation inspired by lowrider culture and St. Louis’ connection to Route 66. The installation will feature the artist’s bold\, colorful designs and signature hand-cut paper technique on the Museum’s 60-foot Project Wall. The exhibition will also include a new video work as part of CAM’s outdoor Street Views projection\, on view from dusk to midnight every night. Justin Favela: Ruta Madre will be on view at CAM from September 8\, 2023–February 11\, 2024. \nFavela’s creative practice explores notions of authenticity\, place\, and identity through the use of familiar materials. Drawing inspiration from traditional Mexican or Latin American craft\, specifically piñata making\, Favela uses paper and glue to create dynamic and monumental forms. His piñata-like sculptures and installations become vibrant symbols of Latinx joy and visibility. Informed by his own Mexican-Guatemalan American upbringing\, Favela’s colorful and often humorous works aim to critique cultural stereotypes and create public dialogue around what it means to be Latinx in the US.  \nAs part of the exhibition programming for Ruta Madre\, Favela and his family will present a Family Fiesta at CAM during the fall exhibition season\, inviting hundreds of guests to participate in traditional Mexican and Guatemalan games and activities. In keeping with the artist’s socially-engaged practice\, Favela frequently activates his artwork by hosting Family Fiestas at museums and in unexpected locations. These public performances of the artist’s own family celebrations are designed to attract new museum audiences and draw attention to institutional inclusion efforts. \nThis exhibition is generously supported in part by the National Endowment for the Arts\, Nancy and Kenneth Kranzberg\, and the Whitaker Foundation. Street Views is generously supported by Gateway Foundation and the Whitaker Foundation. The artist talk is sponsored by the Robert Lehman Foundation. \nJustin Favela: Ruta Madre is organized for the Contemporary Art Museum St. Louis by Misa Jeffereis\, Associate Curator. \nImage: Justin Favela\, Valley of Oaxaca\, after José María Velasco\, 2018. Paper and glue on board\, 42 x 63 1/4 inches. Courtesy the artist. Photo courtesy The Berman Museum of Art. \n  Save  
URL:https://artinamericaguide.com/event/justin-favela/
LOCATION:Contemporary Art Museum St. Louis\, 3750 Washington Boulevard\, St. Louis\, MO\, 63108\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Contemporary Art Museum St. Louis":MAILTO:info@camstl.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230908T180000
DTEND;TZID=America/Halifax:20240211T170000
DTSTAMP:20260403T151419
CREATED:20221215T164956Z
LAST-MODIFIED:20230816T213714Z
UID:101076-1694196000-1707670800@artinamericaguide.com
SUMMARY:Hajra Waheed: A Solo Exhibition
DESCRIPTION:The Contemporary Art Museum St. Louis (CAM) announces a major solo exhibition of new and existing works by Montréal-based artist Hajra Waheed. Marking the first solo exhibition of Waheed’s work in the United States\, the presentation will include video\, sound installation\, painting\, and works on paper including newly commissioned works. The exhibition offers the first definitive consideration of the artist’s practice in the country and will be accompanied by a major exhibition catalog published by the Museum. Hajra Waheed: A Solo Exhibition will be on view at CAM from September 8\, 2023–February 11\, 2024. \nWaheed’s multidisciplinary practice explores the legacies of colonial and state violence with a uniquely poetic approach and engagement with the world. Weaving between the intimate and infinite constellations of the communities of which she is a part\, her works in the exhibition—while rooted in the historical—imagine new possibilities towards a radically collective future. The artist’s work has been shown internationally and has received major recognition; recently\, Waheed received the 2022 Outstanding Achievement Award from the Hnatyshyn Foundation in Ottawa\, Canada and the 2023 Sharjah Biennial 15 Prize in Sharjah\, United Arab Emirates.  \nWaheed’s exhibition will include Hum (2020)\, the artist’s immersive\, 16-channel musical composition and sound installation. Originally commissioned for Lahore Biennale 02 and staged for Portikus in Frankfurt in 2020\, Hum will be re-created by the artist specifically for CAM’s galleries this fall as part of its US debut. This key work\, whose title translates to “We” in Urdu\, reflects on international solidarity movements that emerged in the second half of the 20th century through processes of decolonization in the Global South. The composition features eight hummed songs of resistance from South\, Central\, West Asia\, and Africa. The exhibition will also include a new series of sculptures\, drawings\, and painted works on paper commissioned for this exhibition alongside recent works including video and sculpture.  \nHajra Waheed: A Solo Exhibition will be accompanied by a major exhibition publication featuring a conversation between Wassan Al-Khudhairi and the artist as well as guest essays from writer\, translator\, and educator Rayya Badran and writer and editor H.G. Masters. Designed by Marquand Books and distributed by D.A.P.\, the catalog will be published by CAM and released in fall 2023. \nHajra Waheed: A Solo Exhibition is organized for the Contemporary Art Museum St. Louis by Wassan Al-Khudhairi\, former Ferring Foundation Chief Curator\, with Misa Jeffereis\, Associate Curator.\n \nMajor support for Hajra Waheed: A Solo Exhibition is provided by The Andy Warhol Foundation for the Visual Arts and the Conseil des arts et des lettres du Québec. This exhibition is generously supported in part by the National Endowment for the Arts\, The Strive Fund\, and the Whitaker Foundation. Hum was made possible with the generous support of the Lahore Biennial Foundation and Portikus\, Frankfurt. The artist talk is sponsored by the Robert Lehman Foundation. \nImage: Hajra Waheed\, Hum\, 2020. Multi-channel sound installation with custom speaker casings\, 36 minutes\, 17 seconds. Installation view\, Portikus\, Frankfurt\, Germany (July 11–September 6\, 2020). Courtesy the artist. Photo courtesy Diana Pfammatter. \n  Save  
URL:https://artinamericaguide.com/event/hajra-waheed/
LOCATION:Contemporary Art Museum St. Louis\, 3750 Washington Boulevard\, St. Louis\, MO\, 63108\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Contemporary Art Museum St. Louis":MAILTO:info@camstl.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230908T180000
DTEND;TZID=America/Halifax:20240211T170000
DTSTAMP:20260403T151419
CREATED:20221215T164956Z
LAST-MODIFIED:20230816T213449Z
UID:101078-1694196000-1707670800@artinamericaguide.com
SUMMARY:Dominic Chambers: Birthplace
DESCRIPTION:The Contemporary Art Museum St. Louis (CAM) announces an exhibition of new works by Dominic Chambers\, the first in the artist’s hometown of St. Louis. The exhibition brings together a series of new large-scale paintings and sculpture by the artist\, a rising star in the art world who has recently been featured on Forbes magazine’s “30 Under 30” list as one of the most promising artists of his generation. As part of the exhibition\, CAM will also produce the first exhibition catalog of Chambers’ work. Dominic Chambers: Birthplace will be on view at CAM from September 8\, 2023–February 11\, 2024. \nChambers is known for his vibrant\, evocative paintings that depict Black subjects in moments of contemplation and leisure. Consistent throughout his oeuvre is the rich interior lives of his subjects. At times restful and meditative\, and other times scholarly and curious\, his subjects are almost always spirited away by the magic of reading and respite. In his luminous and deeply absorbing paintings\, Chambers has explored contemporary concerns around race\, personal and imagined narratives\, and the complexity of one’s interior life. As an artist and writer\, Chambers often draws inspiration from critical voices within the Black literary canon—particularly the writings of W. E. B. Du Bois\, Octavia Butler\, and Zora Neale Hurston. These influences take visual form in Chambers’ surreal landscapes and psychologically arresting portraits that present meditations on stillness and a radical interiority for his figures. \nIn Birthplace\, Chambers recalls the spaces which facilitated his inner awakening as an artist and nurtured his imagination. Classrooms\, playgrounds\, libraries\, and basketball courts are all represented within the exhibition\, and each holds significant meaning to the artist’s origin story. The works are invitations to reflect upon and celebrate environments essential to our social development and collective imagination. \nThis exhibition is generously supported in part by George Wells\, Barbara and Richard Rothschild\, Anonymous\, Ferring Family Foundation\, Ann R. Ruwitch and John Fox Arnold\, and the Whitaker Foundation. The exhibition publication is underwritten by the Jessica and Kelvin Beachum Family Collection. Special thanks to Lehmann Maupin. The artist talk is sponsored by the Robert Lehman Foundation. \nDominic Chambers: Birthplace is organized for the Contemporary Art Museum St. Louis by Wassan Al-Khudhairi\, former Ferring Foundation Chief Curator. \nImage: Dominic Chambers\, Fairground Park (the shadowy place)\, 2022. Oil on linen\, 84 x 72 inches. Courtesy the artist and Lehmann Maupin\, New York\, Hong Kong\, Seoul\, and London. Photo courtesy Daniel Kukla. \n  Save  
URL:https://artinamericaguide.com/event/dominic-chambers/
LOCATION:Contemporary Art Museum St. Louis\, 3750 Washington Boulevard\, St. Louis\, MO\, 63108\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Contemporary Art Museum St. Louis":MAILTO:info@camstl.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230915
DTEND;VALUE=DATE:20240805
DTSTAMP:20260403T151419
CREATED:20240522T193730Z
LAST-MODIFIED:20240522T193730Z
UID:108579-1694736000-1722815999@artinamericaguide.com
SUMMARY:Composing Color: Paintings by Alma Thomas
DESCRIPTION:The Smithsonian American Art Museum has the largest public collection of works by Alma Thomas in the world. Thomas’s art first entered SAAM’s collection in 1970. The museum acquired more than a dozen works during the artist’s lifetime\, and thirteen that were bequeathed to the museum by Thomas after her death. Composing Color: Paintings by Alma Thomas draws on these extensive holdings to offer an intimate view of Thomas’s evolving practice during her most prolific period\, 1959 to 1978. \nIn her work\, color can be symbolic and multisensory\, evoking sound\, motion\, temperature\, even scent. Her abiding source of inspiration was nature—whether seen through her kitchen window or from outer space. Organized around the artist’s favored themes of Space\, Earth\, and Music\, this show invites you to see the world through Alma Thomas’s eyes. She often assigned titles to her own paintings that connect natural phenomena\, like flowers or a sunset\, with song. In her art\, nature and music are treated as twin expressions of a fundamental life force or spirit. \nConsciously oriented toward the future\, she embraced the technological and social changes of the twentieth century. Her artistic evolution from academic painting to abstraction reflected this forward-facing attitude—her belief in the need for “a new art representing a new era.” \n\n  Save  
URL:https://artinamericaguide.com/event/composing-color-paintings-by-alma-thomas/
LOCATION:Smithsonian American Art Museum\, 750 9th St. N.W.\, Washington\, DC\, 20001\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230921
DTEND;VALUE=DATE:20240205
DTSTAMP:20260403T151419
CREATED:20230201T165309Z
LAST-MODIFIED:20230901T200248Z
UID:101662-1695254400-1707091199@artinamericaguide.com
SUMMARY:Ruth Duckworth: Life as a Unity
DESCRIPTION:When Ruth Duckworth arrived in Chicago from London to teach at the University of Chicago’s Midway Studios in 1964\, she planned to stay for a year. Instead\, she lived in the city for nearly fifty years until her death in 2009—half her life. It is strange\, then\, that she is still primarily known as a “British studio potter\,” rather than as an innovative Chicago sculptor\, deeply engaged in the natural world and responding to artistic developments in the U.S. in the 1960s and 70s. \nThis monographic exhibition—the first since a 2006 retrospective—makes use of art historical advances of the last several decades to examine Duckworth’s Chicago work in a new light. Duckworth referred to herself not as a potter or ceramicist\, but as a sculptor with clay. The exhibition takes her at her word\, foregrounding her sculptural production. It traces the influence of geomorphology and the nascent environmental movement in her work\, beginning with her commission to create a complete environment of clay tiles in the vestibule of the newly built Hinds Geophysical Laboratory\, moving through her monumental tile mural Clouds Over Lake Michigan\, into wall works in high relief\, Mama Pots\, and clay sculptures. \n  Save  
URL:https://artinamericaguide.com/event/ruth-duckworth-life-as-a-unity/
LOCATION:Smart Museum of Art\, 5550 S. Greenwood Avenue\, Chicago\, IL\, 60637\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230921
DTEND;VALUE=DATE:20240205
DTSTAMP:20260403T151419
CREATED:20230616T185555Z
LAST-MODIFIED:20230616T185555Z
UID:103975-1695254400-1707091199@artinamericaguide.com
SUMMARY:Smart to the Core: Poetry is Everything
DESCRIPTION:What is poetry and why do we do it? \nThis exhibition examines the practice of poetry as a form of communication\, linguistic innovation\, political performance\, and embodied presence—considering how poetry can be a lens for understanding humanity. Ranging from an ancient fragment of papyrus to contemporary video works\, this diverse collection of objects speaks to themes of memory\, kinship\, revolution\, and play\, as well as translation and adaptation over time. And\, as a visual arts exhibition\, foregrounds poetry’s adjacencies to other forms of making. \nOrganized by the Smart Museum of Art’s Feitler Center for Academic Inquiry\, Poetry is Everything is the third iteration of “Smart to the Core\,” a collaborative series of exhibitions that are simultaneously designed for teaching in the University of Chicago’s celebrated Core undergraduate curriculum and curated to make that curriculum accessible to broader publics. This exhibition was particularly inspired by\, and curated for\, the Humanities Division course “Poetry and the Human.” Throughout the exhibition\, around 200 first-year students will interpret the artworks on view in tandem with the global set of readings associated with their course—transforming the Museum into their classroom. \n  Save  
URL:https://artinamericaguide.com/event/smart-to-the-core-poetry-is-everything/
LOCATION:Smart Museum of Art\, 5550 S. Greenwood Avenue\, Chicago\, IL\, 60637\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230922T080000
DTEND;TZID=America/New_York:20240704T170000
DTSTAMP:20260403T151419
CREATED:20240522T193731Z
LAST-MODIFIED:20240522T193731Z
UID:108577-1695369600-1720112400@artinamericaguide.com
SUMMARY:Carrie Mae Weems: Looking Forward\, Looking Back
DESCRIPTION:This focused exhibition pairs two projects by Carrie Mae Weems—a major multimedia installation\, Lincoln\, Lonnie\, and Me – A Story in 5 Parts\, and eight photographs from the series Constructing History—that explore the relationship of memory to history and of memory as it is mediated through performance\, photography\, or video. \nWeems invites others to step back in time. Lincoln\, Lonnie\, and Me–A Story in 5 Parts (2012) is a multimedia installation that transforms the gallery into a nineteenth-century illusionistic theater. This complex work brings to life episodes from the American Civil War to the present\, accompanied by a soundtrack that evokes the constitutional promise of equality\, along with projections of recurring racial and gender difference that make achieving it so elusive. It is accompanied by eight photographs from her series Constructing History (2008). Weems worked with college students to restage iconic photographs from World War II to the civil rights era and beyond. Taking on these poses\, a new generation simultaneously enacts and witnesses past moments of strength\, pain\, and progress in the present. \n  Save  
URL:https://artinamericaguide.com/event/carrie-mae-weems-looking-forward-looking-back/
LOCATION:Smithsonian American Art Museum\, 750 9th St. N.W.\, Washington\, DC\, 20001\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/05/Weems-scaled.jpg
ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230929
DTEND;VALUE=DATE:20240311
DTSTAMP:20260403T151419
CREATED:20230726T223546Z
LAST-MODIFIED:20230726T223546Z
UID:104566-1695945600-1710115199@artinamericaguide.com
SUMMARY:Positive Fragmentation: From the Collections of Jordan D. Schnitzer and His Family Foundation
DESCRIPTION:Positive Fragmentation: From the Collections of the Jordan D. Schnitzer and His Family Foundation will feature more than 180 prints by contemporary women artists who employ a strategy of fragmentation in their artistic process. \n\n\nSome of the works focus their attention on the human body\, as in Louise Bourgeois’s Anatomy series (1990) or Wangechi Mutu’s Histology of the Different Classes of Uterine Tumors (2006). The later combines glossy fashion magazine photographs with medical illustrations to reimagine patriarchal stereotypes as powerful female avatars who stare back at oppressive social norms. Other artists like Nicola López and Sarah Morris leverage their experiences of the contemporary city to rearrange elements of the urban landscape to better capture the vibrancy of daily life. With a highly conceptual approach\, Jenny Holzer’s Inflammatory Essays (1979–82) isolates fragments of bold and sometimes confrontational statements to subvert the rigid ideologies from which they borrow. \nA notable strength of the exhibition is its focus on women artists of color who have been underrepresented in the museum’s permanent collections and in its exhibition program. Artists like Mickalene Thomas challenge historical narratives by creating compositions that echo those of nineteenth-century European painters but through wholly novel techniques and media\, combining woodblock\, screen-printing\, and digital photography. Wendy Red Star\, an indigenous American artist of the Crow Nation\, creates colorful\, often playful prints that nonetheless convey the struggles of indigenous marginalization and the legacy of European colonization on the continent by combining appropriated indigenous motifs with images of everyday life on the reservation. Ethiopian-born Julie Mehretu creates large-scale abstract compositions that speak to the traditions of European and American abstraction while compounding these histories with contemporary global concerns regarding climate change and migration. \nDerived from the Collections of Jordan D. Schnitzer and His Family Foundation—one of the largest private print collections in the world—the exhibition is presented by the National Museum of Women in the Arts (NWMA) in partnership with the American University Art Museum. It was originally curated by Virginia Treanor\, Associate Curator\, and Kathryn Wat\, Deputy Director for Art\, Programs\, and Public Engagement and Chief Curator at the NWMA. A fully illustrated catalogue will accompany the exhibition. \n\n  Save  
URL:https://artinamericaguide.com/event/positive-fragmentation-from-the-collections-of-jordan-d-schnitzer-and-his-family-foundation-2/
LOCATION:Bellevue Arts Museum\, 510 Bellevue Way NE\, Bellevue\, WA\, 98004\, United States
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231007
DTEND;VALUE=DATE:20240219
DTSTAMP:20260403T151419
CREATED:20231027T173258Z
LAST-MODIFIED:20231027T173258Z
UID:105856-1696636800-1708300799@artinamericaguide.com
SUMMARY:Bea Fremderman: Weeds Compared to Flowers
DESCRIPTION:In a bay on the Atlantic Ocean\, the tides slowly expose closed landfills littering coastal zones with Depression-era glass\, soles of shoes\, and conglomerations of inorganic and organic materials. Artist Bea Fremderman collects discarded detritus from this shoreline\, imagining personas of those who may have used or cast the objects away. \nAfter a deep cleaning process\, Fremderman assembles her gatherings in a technique similar to that used for making stained-glass windows or Tiffany lamps. The sculptures are then internally illuminated\, emanating the textures of their parts and refracting forms and color resulting in an immersive installation. \nThrough the re-presentation and re-creation of waste\, the work visualizes human interconnection with disposable objects\, the Earth\, and our unknown future. \n  \nImage: Bea Fremderman\, installation view of the exhibition Barren Island at Prairie Gallery in Chicago\, 2021. Photo courtesy of Prairie Gallery. \n  Save  
URL:https://artinamericaguide.com/event/bea-fremderman-weeds-compared-to-flowers/
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/2023/10/ex.fre_.2023.5007-2400x1600-1.jpg
ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231014
DTEND;VALUE=DATE:20240408
DTSTAMP:20260403T151419
CREATED:20230726T223547Z
LAST-MODIFIED:20230726T223547Z
UID:104557-1697241600-1712534399@artinamericaguide.com
SUMMARY:Strange Weather: From the Collections of Jordan D. Schnitzer and His Family Foundation
DESCRIPTION:Strange Weather: From the Collections of Jordan D. Schnitzer and His Family Foundation features contemporary art works which illuminate and reframe the boundaries of bodies and the environment. \n\n\n“By and by all trace is gone\, and what is forgotten is not only the footprints but the water too and what is down there. The rest is weather. Not the breath of the disremembered and unaccounted for\, but wind in the eaves\, or spring ice thawing too quickly. Just weather.” -Toni Morrison \nStrange Weather: From the Collections of Jordan D. Schnitzer and His Family Foundation features contemporary art works which illuminate and reframe the boundaries of bodies and the environment. The artworks included in the exhibition span five decades\, from 1970-2020\, and are drawn together for how they creatively call attention to the impact and history of forced migrations\, industrialization\, global capitalism\, and trauma on humans and the contemporary landscape. \nWeather can refer to both subtle and violent atmospheric conditions in a given place and time. The influential artists in the exhibition utilize a range of aesthetic strategies\, including abstraction\, portraiture\, figurative painting\, landscape\, and installation\, to explore the current atmospheric strangeness. Julie Mehretu’s three prints created as a response to the aftermath of Hurricane Katrina in 2005 render abstract an intricate cartography of a rapidly changing climate. Kehinde Wiley’s large-scale painting\, The World Stage: Marechal Floriano Peixoto II\, 2009 monumentalizes issues of identity and nature. Nicola Lopez’s constructed collage monoprints show startlingly dystopian urban landscapes\, with iron structures and vibrant colors. Wendy Red Star’s photographic series\, “Four Seasons\,” links weather patterns to the consumption and commodification of Native American culture. Together\, these and other works make the body and the land legible as paired sites of contestation\, offering profound insights about the connections between aesthetics\, history and our tempestuous climate. \nArtists include Carlos Almarez\, Carlos Amorales\, Leonardo Drew\, Joe Feddersen\, Hock E Aye Vi Edgar Heap of Birds\, James Lavadour\, Nicola Lopez\, Hung Liu\, Julie Mehretu\, Wendy Red Star\, Alison Saar\, Lorna Simpson\, Kiki Smith\, Charles Wilbert White\, Kehinde Wiley\, and Terry Winters. Concurrent with Strange Weather\, a capsule exhibition of the works of Glenn Ligon from the Collections of Jordan D. Schnitzer and His Family Foundation will be on view. \nStrange Weather is curated by Dr. Rachel Nelson\, director\, Institute of the Arts and Sciences\, UC Santa Cruz in collaboration with Professor Jennifer González\, History of Art and Visual Culture\, UC Santa Cruz. \n\n  Save  
URL:https://artinamericaguide.com/event/strange-weather-from-the-collections-of-jordan-d-schnitzer-and-his-family-foundation-2/
LOCATION:Jordan Schnitzer Museum of Art – University of Oregon\, 1430 Johnson Lane\, Eugene\, OR\, 97403\, United States
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231020
DTEND;VALUE=DATE:20240226
DTSTAMP:20260403T151419
CREATED:20230720T181716Z
LAST-MODIFIED:20230720T181716Z
UID:104505-1697760000-1708905599@artinamericaguide.com
SUMMARY:Forest of Dreams: Contemporary Tree Sculpture
DESCRIPTION:Forest of Dreams will explore various associations and dimensions of trees—among them metaphorical\, ecological\, mythological\, and personal. This upcoming exhibition will feature works from artists in the permanent collection\, such as Louise Bourgeois\, Michele Oka Doner\, and Ai Weiwei\, as well as several artists never before exhibited here including Nick Cave and Rona Pondick. \n  Save  
URL:https://artinamericaguide.com/event/forest-of-dreams-contemporary-tree-sculpture/
LOCATION:Frederik Meijer Gardens & Sculpture Park\, 1000 East Beltline Ave NE\, Grand Rapids\, MI\, 49525\, United States
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231111T110000
DTEND;TZID=America/New_York:20240128T170000
DTSTAMP:20260403T151419
CREATED:20230823T152458Z
LAST-MODIFIED:20230823T152458Z
UID:104958-1699700400-1706461200@artinamericaguide.com
SUMMARY:Hanako O’Leary: Izanami
DESCRIPTION:Seattle artist Hanako O’Leary’s ceramic objects embrace visual storytelling\, interweaving Shinto mythology and contemporary feminist ideologies. Raised by her Japanese mother and American father in the Midwest\, O’Leary traveled yearly to her maternal home\, Japan’s Setonaikai Islands. Influenced by these experiences\, as well as folkloric Japanese imagery\, the artist bridges her identities and matriarchal lineages to narrate her own “American story.” \nThe first solo museum presentation of O’Leary’s work\, this exhibition marks the culmination of the artist’s multiyear series of ceramic vessels and masks named for the Shinto goddess of creation and death\, Izanami\, meaning “she who invites.” Izanami’s story in the Shinto pantheon is short-lived: after giving birth to many goddesses and gods\, she dies during childbirth and is trapped in the underworld for eternity. However\, the artist revives and reinterprets Izanami’s legacy\, “embracing the mystical feminine realm in its entirety and celebrating the right to create or destroy what lies within our own underworld.” \nThe series enacts a new mythos inspired by ancient relics and fertility icons\, Noh theater traditions\, and Eastern spirituality. Its vessels chronicle Izanami’s descent through the underworld\, and the masks provide protection as she rules over the gods and spirits of that realm. In her artwork\, O’Leary mines the story’s dualities—life and death and the triumphs and tragedies of femininity—to surface the ways the centuries-old myth resonates with her personal\, contemporary narrative. \n  Save  
URL:https://artinamericaguide.com/event/hanako-oleary-izanami/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/08/Hanako-Venus-Jar-2-I-Accept-low-res.jpg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231111T110000
DTEND;TZID=America/New_York:20240310T170000
DTSTAMP:20260403T151419
CREATED:20230823T152458Z
LAST-MODIFIED:20230823T152458Z
UID:104956-1699700400-1710090000@artinamericaguide.com
SUMMARY:Antonio M. Gómez: LINEAJES
DESCRIPTION:The work of Tacoma percussionist\, producer\, and educator Antonio M. Gómez (born 1971\, Brownsville\, Texas) pursues the interwoven histories of world music. Relating his practice to the experience of mestizaje—a mixed identity formed at the intersection of cultures—Gómez explores musical ties between the Americas\, the Mediterranean\, West Africa\, and the Silk Road through his ensemble performances and teaching. LINEAJES interrupts the gilded display of oil paintings in the Frye Salon exhibition with a visual and sonic presentation of his work\, foregrounding an intercultural artistic heritage long obscured by the Western canon. \nThe exhibition features a custom-built tarima—a traditional Mexican percussive platform that amplifies the sounds of dancers’ feet—and a global array of instruments drawn from Gómez’s extensive collection. Live performances by the artist’s Trio Guadalevin and other invited ensembles supplement recorded soundscapes playing continuously within the exhibition space. Specially invited by Gómez\, street artist Angelina “179” Villalobos creates a mural of vines twisting behind and beyond the paintings in Frye Salon\, evoking the proliferation of the cultural lineages that crisscrossed the globe to give rise to modern art and music. \nFrom the Middle Eastern ancestry of the modern guitar to the influence of the West African conga in the Americas\, the history of music revealed in LINEAJES challenges simplified notions of Western Civilization and offers a beautifully complex narrative. \n  Save  
URL:https://artinamericaguide.com/event/antonio-m-gomez-lineajes/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/08/TG-Requena-Drum-credit-G-Davidson-Gomez-scaled.jpg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231111T110000
DTEND;TZID=America/New_York:20241027T170000
DTSTAMP:20260403T151419
CREATED:20230823T152458Z
LAST-MODIFIED:20230823T152458Z
UID:104954-1699700400-1730048400@artinamericaguide.com
SUMMARY:Frye Salon
DESCRIPTION:Frye Salon features over one-hundred paintings from the Frye Art Museum’s Founding Collection hung floor to ceiling—a display mode referred to as a salon-style hang. The installation approximates the dramatic viewing experience enjoyed by visitors to Charles and Emma Frye’s Seattle home in the first decades of the twentieth century. \nThe Fryes developed their passion for art at the World’s Columbian Exposition\, a world’s fair held in Chicago in 1893. The experience greatly influenced the painterly subjects and artists the young couple collected for years to come. Over the next four decades\, they purchased canvases by an international roster of artists from Europe and the United States. As children of German immigrants\, the Fryes focused particularly on works by German artists. \nThe couple displayed the collection in private living quarters and a purpose-built gallery attached to their home in First Hill. Major philanthropic supporters of music\, the Fryes also hosted concerts and charitable events in their gallery. Concurrent exhibition LINEAJES pays homage to this model of cross-disciplinary engagement\, inviting local percussionist Antonio M. Gómez to activate the space with musical interventions and a mural painted on the walls behind the Salon works. \n  Save  
URL:https://artinamericaguide.com/event/frye-salon/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/08/4994-1.jpg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231116
DTEND;VALUE=DATE:20240311
DTSTAMP:20260403T151419
CREATED:20230726T223546Z
LAST-MODIFIED:20231201T182117Z
UID:104567-1700092800-1710115199@artinamericaguide.com
SUMMARY:David Hockney: Perspective Should be Reversed\, Prints from the Collections of Jordan D. Schnitzer and His Family Foundation
DESCRIPTION:David Hockney: Perspective Should be Reversed\, Prints from the Collections of Jordan D. Schnitzer and His Family Foundation reflects Hockney’s exploration of visual perception\, through historical modes of representation\, technology\, and multiples (printmaking). Hockney’s innovative and whimsical approaches to perspective offer viewers a lens to deeply engage in an ever-changing world and think about new ways of seeing. \n\n\nDrawn from the  collections of Jordan D. Schnitzer and  His  Family Foundation\,  Perspective Should be Reversed is a major exhibition surveying the groundbreaking prints of acclaimed British artist David Hockney (b. 1937).  These selections reflect Hockney’s career-long exploration into new ways of thinking about art\, perception\, and the visual world\, and offers viewers a thoughtful new look at one of the most influential and popular artists of the past several decades. With over 140 colorful prints\, collages\, photographic\, and  iPad drawings in a variety of media and dimensions from over six decades of the artist’s production (1954–2022)\, this is the largest North American retrospective exhibition of David Hockney’s career in print. \n\n\nInstallation image courtesy of the Honolulu Museum of Art and the Jordan Schnitzer Family Foundation.  \n  Save  
URL:https://artinamericaguide.com/event/david-hockney-perspective-should-be-reversed/
LOCATION:Honolulu Museum of Art\, 900 South Beretania Street\, Honolulu\, HI\, 96814\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/07/HoMA_David-Hockney_Perspectives-Should-Be-Reversed_Exhibition-Photography_Nov_16_23-46.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20231118
DTEND;VALUE=DATE:20240311
DTSTAMP:20260403T151419
CREATED:20230726T223546Z
LAST-MODIFIED:20230726T223546Z
UID:104569-1700265600-1710115199@artinamericaguide.com
SUMMARY:The Art of Food: From the Collections of Jordan D. Schnitzer and His Family Foundation
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: From the Collections of Jordan D. Schnitzer and His Family Foundation 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. \n\n\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. \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-from-the-collections-of-jordan-d-schnitzer-and-his-family-foundation/
LOCATION:The Baker Museum\, 5833 Pelican Bay Blvd\, Naples\, FL\, 34108\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231118T100000
DTEND;TZID=America/New_York:20240616T170000
DTSTAMP:20260403T151419
CREATED:20231116T171127Z
LAST-MODIFIED:20231116T171127Z
UID:105967-1700301600-1718557200@artinamericaguide.com
SUMMARY:Cloth as Land: HMong Indigeneity
DESCRIPTION:On view November 18–June 16\, 2024 \nIndigeneity—a state of being Indigenous and originating from a specific place; encompassing displaced minorities whose ancestral homelands have been lost due to colonialism\, yet preserved in the continuity of cultures\, identities\, and kinship. \nHMong Indigeneity lives in textiles: vibrant\, breathing pieces of cloth shaped by HMong hands to illustrate ancestral landmarks and homelands. Here\, lines converge to form patterns and an aesthetic of kin that replace teb chaws—land\, country\, and place—as pathways for Indigeneity to reside. \nCentering the voices of three HMong-American artists\, Cloth as Land investigates a place for HMong Indigeneity within contemporary HMong art. Curated by Pachia Lucy Vang\, the exhibition features textiles from JMKAC’s collection and newly commissioned works by artists Ger Xiong/Ntxawg Xyooj\, Pao Houa Her\, and Tshab Her. \n  Save  
URL:https://artinamericaguide.com/event/cloth-as-land-hmong-indigeneity/
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/2023/11/Cloth-as-Land-1200x1380-1.png
ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231203
DTEND;VALUE=DATE:20240325
DTSTAMP:20260403T151419
CREATED:20231204T195923Z
LAST-MODIFIED:20231204T195923Z
UID:106113-1701561600-1711324799@artinamericaguide.com
SUMMARY:Helen Frankenthaler: Works from the Collections of Jordan D. Schnitzer and His Family Foundation
DESCRIPTION:Helen Frankenthaler: Works from the Collections of Jordan D. Schnitzer and His Family Foundation presents a curated selection of the work of Helen Frankenthaler drawn completely from the collection of the Jordan Schnitzer Family Foundation. \n\n\nA towering figure in American painting of the 20th century\, Helen Frankenthaler (1928-2011) was one of first major abstract expressionist painters to develop a unique technique of painting that married a fluid paint process with the warp and weft of the canvas so that they became one and the same\, fusing color and movement into an emotional whole. Her lyrical abstractions of sensuous color\, light\, and space both enlighten and enrich the viewer’s sensibilities with their unity and immediacy of effect. \nWhen Frankenthaler turned to printmaking in 1963\, she brought the same independence of spirit and challenging of convention to the process-bound world of the print atelier – as her stain and poured technique had been to painting – in order to create new methodologies of production to capture the act of spontaneous expression. Curated by Bruce Guenther\, the exhibition presents a cross section of her work in the four major print media – woodcuts\, intaglio\, lithographs\, and screenprints – that showcases her innovation and original contribution to printmaking. Drawn from the collections of Jordan D. Schnitzer and His Family Foundation\, the exhibition is especially rich in woodcuts\, which was the last of the four print media picked up by Frankenthaler and the one in which she virtually reinvented the process to incorporate the vital energy and flux of her signature paintings. The woodblocks are considered her most original contribution to printmaking and some of the most beautiful prints made. \n\n  Save  
URL:https://artinamericaguide.com/event/helen-frankenthaler-works-from-the-collections-of-jordan-d-schnitzer-and-his-family-foundation/
LOCATION:Oregon Jewish Museum and Center for Holocaust Education\, 724 NW Davis St.\, Portland\, OR\, 97209\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20231207
DTEND;VALUE=DATE:20240401
DTSTAMP:20260403T151419
CREATED:20231206T223052Z
LAST-MODIFIED:20240328T181308Z
UID:106151-1701907200-1711929599@artinamericaguide.com
SUMMARY:Margaret Morrison Objects of Desire
DESCRIPTION:Woodward Gallery celebrates this Winter Season with Margaret Morrison’s newest one-woman exhibition\, Objects of Desire\, marking the gallery’s return to its secondary location and launching its 30th Anniversary year! Oil paintings\, some previously exhibited in museums around the world\, are gathered for this solo exhibition\, together for the very first time. \nTuscany is Margaret Morrison’s second home and place of great inspiration. Nearly every summer\, Morrison wanders through the antique markets of Arezzo\, Cortona\, and Lucca\, Italy searching for inspiration. She often finds tables laden with sumptuous offerings of silver\, crystal\, and collectibles. Morrison explains that there are tables piled high with forgotten trinkets and discarded items that fascinate her with their accidental beauty. Monumental paintings from her Antiques series inspired by these observations will premiere in Objects of Desire. \nMargaret Morrison’s oil paintings are so realistic that they appear to be photographs. Her large-scale works are chock full of detail to behold. Shiny treasures reflect within one another or glisten with sugary lusciousness in her unique table settings. \nConsidering life from a child’s point of view\, Morrison believes that life becomes mysterious and magical all over again. Previously featured at the Art in Embassy program\, in Tel Aviv\, Israel\, and at the NYU Kimmel Vitrines in Manhattan\, New York\, larger-than-life marbles from her joyous Playtime series will be presented as part of Objects of Desire. \nMorrison’s decadent sweet treats have been featured at the Imperial Centre Museum\, in Rocky Mount\, North Carolina. Lightheartedly\, Margaret Morrison blames her father for her sweet tooth. She recalls her youth time family visits to the drive-in movie theater including ritual stops at the local drug store where her father would purchase several bags of candy. She vividly remembers the shiny wrappers\, the seductive packaging\, and the incalculable thrill of sweet pleasure. Indulge in delights from this Candy series\, premiering in New York City for Objects of Desire. \n  Save  
URL:https://artinamericaguide.com/event/margaret-morrison-objects-of-desire/2023-12-07/
LOCATION:Woodward Gallery at Downtown Association\, 60 Pine Street\, NYC\, 60 Pine Street\, 3rd Floor\, New York\,\, NY\, 10005\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/12/MM-installation-2-scaled.jpg
ORGANIZER;CN="Woodward Gallery":MAILTO:art@woodwardgallery.net
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231208
DTEND;VALUE=DATE:20261207
DTSTAMP:20260403T151419
CREATED:20240522T193731Z
LAST-MODIFIED:20240522T193731Z
UID:108575-1701993600-1796601599@artinamericaguide.com
SUMMARY:Isaac Julien: Lessons of the Hour — Frederick Douglass
DESCRIPTION:Sir Isaac Julien’s moving image installation Lessons of the Hour (2019) interweaves period reenactments across five screens to create a vivid picture of nineteenth-century activist\, writer\, orator\, and philosopher Frederick Douglass. Through critical research\, fictional reconstruction\, and a marriage of poetic image and sound\, Julien asserts Douglass’ enduring lessons of justice\, abolition\, and freedom that remain just as relevant today. \nLessons of the Hour features passages from Douglass’ key speeches\, including the titular “Lessons of the Hour\,” “What to the Slave Is the Fourth of July?” and “Lecture on Pictures.” \nJulien weaves together reenacted scenes from Douglass’ life and lectures\, filming at his historic home in Washington\, DC\, and a restaged studio of famed Black photographer J.P. Ball (1825–1904) as he makes a portrait of Douglass. Images of contemporary Baltimore—the city where Douglass was enslaved and escaped from bondage in 1838—including footage of fireworks and protests in 2015 following the death of Freddie Gray\, Jr. while in police custody\, are interspersed as the struggle to make good on America’s promise of equality continues. \nLessons of the Hour was jointly acquired by SAAM and the National Portrait Gallery in 2023. The 28-minute work debuted for Washington audiences December 8\, 2023\, and remains on public view through the 250th anniversary of the founding of the United States in 2026. \n  Save  
URL:https://artinamericaguide.com/event/isaac-julien-lessons-of-the-hour-frederick-douglass/
LOCATION:Smithsonian American Art Museum\, 750 9th St. N.W.\, Washington\, DC\, 20001\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/05/isaac-julien-1-scaled.jpg
ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu
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END:VCALENDAR