BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Art in America Guide - ECPv6.7.0//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Art in America Guide X-ORIGINAL-URL:https://artinamericaguide.com X-WR-CALDESC:Events for Art in America Guide REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/New_York BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20220313T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20221106T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20230312T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20231105T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20240310T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20241103T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20250309T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20251102T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20260308T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20261101T060000 END:STANDARD TZID:America/Halifax BEGIN:DAYLIGHT TZOFFSETFROM:-0400 TZOFFSETTO:-0300 TZNAME:ADT DTSTART:20230312T060000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0300 TZOFFSETTO:-0400 TZNAME:AST DTSTART:20231105T050000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0400 TZOFFSETTO:-0300 TZNAME:ADT DTSTART:20240310T060000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0300 TZOFFSETTO:-0400 TZNAME:AST DTSTART:20241103T050000 END:STANDARD TZID:Asia/Seoul BEGIN:STANDARD TZOFFSETFROM:+0900 TZOFFSETTO:+0900 TZNAME:KST DTSTART:20230101T000000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/New_York:20220722T110000 DTEND;TZID=America/New_York:20240804T180000 DTSTAMP:20260406T080313 CREATED:20220622T153511Z LAST-MODIFIED:20240229T212126Z UID:94138-1658487600-1722794400@artinamericaguide.com 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/06/4l2a0282_1.jpeg GEO:37.3327419;-121.8905201 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=San Jose Museum of Art 110 S. Market Street San Jose CA 95113 United States;X-APPLE-RADIUS=500;X-TITLE=110 S. Market Street:geo:-121.8905201,37.3327419 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Halifax:20230318T100000 DTEND;TZID=America/Halifax:20240609T170000 DTSTAMP:20260406T080313 CREATED:20230316T154058Z LAST-MODIFIED:20230316T154058Z UID:102487-1679133600-1717952400@artinamericaguide.com 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:20260406T080313 CREATED:20230320T150548Z LAST-MODIFIED:20230320T150548Z UID:102492-1679133600-1717952400@artinamericaguide.com 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;TZID=America/Halifax:20230520T100000 DTEND;TZID=America/Halifax:20240421T160000 DTSTAMP:20260406T080313 CREATED:20230502T182207Z LAST-MODIFIED:20230502T182207Z UID:103170-1684576800-1713715200@artinamericaguide.com 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 ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2023/05/ex.sha_.2023.5011-1440x1920-1.png 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:20260406T080313 CREATED:20230623T161042Z LAST-MODIFIED:20230623T161042Z UID:104085-1686996000-1708876800@artinamericaguide.com 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/06/ap.sim_.2023.5004-1920x1279-1.jpg ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230728T110000 DTEND;TZID=America/New_York:20240225T180000 DTSTAMP:20260406T080313 CREATED:20230612T210525Z LAST-MODIFIED:20230612T211205Z UID:103922-1690542000-1708884000@artinamericaguide.com 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/06/2022.01_porterliliana_actualidades_3.jpeg GEO:37.3327419;-121.8905201 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=San Jose Museum of Art 110 S. Market Street San Jose CA 95113 United States;X-APPLE-RADIUS=500;X-TITLE=110 S. Market Street:geo:-121.8905201,37.3327419 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230811T110000 DTEND;TZID=America/New_York:20240225T180000 DTSTAMP:20260406T080313 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 GEO:37.3327419;-121.8905201 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=San Jose Museum of Art 110 S. Market Street San Jose CA 95113 United States;X-APPLE-RADIUS=500;X-TITLE=110 S. Market Street:geo:-121.8905201,37.3327419 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20230822 DTEND;VALUE=DATE:20240310 DTSTAMP:20260406T080313 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;VALUE=DATE:20230915 DTEND;VALUE=DATE:20240805 DTSTAMP:20260406T080313 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/05/eclipse-scaled.jpg ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230922T080000 DTEND;TZID=America/New_York:20240704T170000 DTSTAMP:20260406T080313 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:20260406T080313 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:20260406T080313 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:20260406T080313 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:20260406T080313 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:20240310T170000 DTSTAMP:20260406T080313 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:20260406T080313 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:20260406T080313 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 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20231118 DTEND;VALUE=DATE:20240311 DTSTAMP:20260406T080313 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 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20231118T100000 DTEND;TZID=America/New_York:20240616T170000 DTSTAMP:20260406T080313 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:20260406T080313 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 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20231207 DTEND;VALUE=DATE:20240401 DTSTAMP:20260406T080313 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:20260406T080313 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 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20231209 DTEND;VALUE=DATE:20240410 DTSTAMP:20260406T080313 CREATED:20231009T142251Z LAST-MODIFIED:20231129T200221Z UID:105479-1702080000-1712707199@artinamericaguide.com SUMMARY:Andy Warhol's Endangered Species\, From the Collections of Jordan D. Schnitzer and His Family Foundation DESCRIPTION:Andy Warhol’s Endangered Species is the first exhibit in the year-long series of three exhibitions hosted by the High Desert Museum. Drawn entirely from the Collections of Jordan D. Schnitzer and His Family Foundation\, the exhibit will include the complete portfolio of Warhol’s Endangered Species (1983) alongside selected highlights from his Marilyn series (1967) and Skull series (1976). A household name and pop icon\, Andy Warhol is best known for examining contemporary culture through images of commodification\, mortality\, and celebrity. \nSeen beside Warhol’s most celebrated images of Marilyn Monroe and the ubiquitous symbol of mortality\, Skulls\, Andy Warhol’s Endangered Species asks visitors to reflect on our need for actionable conservation. The megafauna portrayed in the Endangered Species series finds multiple commonalities with the Marilyn series\, asking visitors to examine ideas of posthumous idolization and our own responsibility to the most threatened species. \n  Save   URL:https://artinamericaguide.com/event/andy-warhols-endangered-species-from-the-collections-of-jordan-d-schnitzer-and-his-family-foundation/ LOCATION:High Desert Museum\, 59800 US-97\, Bend\, OR\, 97702\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2023/10/warholwebbanner_inside-1024x576-1.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Seoul:20231212T100000 DTEND;TZID=Asia/Seoul:20240310T180000 DTSTAMP:20260406T080313 CREATED:20240108T181109Z LAST-MODIFIED:20240108T181203Z UID:106445-1702375200-1710093600@artinamericaguide.com SUMMARY:Koo Bohnchang’s Voyages DESCRIPTION:Seoul Museum of Art (SeMA; General Director Choi Eunju) proudly presents Koo Bohnchang’s Voyages\, a retrospective by a key representative of contemporary Korean art\, Koo Bohnchang (b. 1953). \nKoo has played a crucial role in the foundation and development of contemporary Korean photography from the 1980s to the present. The artist stirred a sensation in the Korean photography and art world with his new concept and form of “making photo” in works presented in The New Wave of Photography (May 16 –June 17\, 1988\, Walkerhill Museum of Art\, Seoul)\, an exhibition he organized as a curator and showed in as one of the artists. The idea of photography taking off from its traditional role of recording or documenting\, to becoming an art form charged with subjective expressions that reflect attributes of various mediums like painting\, sculpture and print\, penetrates Koo’s entire oeuvre\, and opened new territories in Korean contemporary photography. \nThe exhibition includes over 500 works and 600 resource materials from 43 of the artist’s major series\, including his iconic Vessel\, Gold\, Interiors\, Soap\, and In the Beginning projects. \n  Save   URL:https://artinamericaguide.com/event/koo-bohnchangs-voyages/ LOCATION:Seoul Museum of Art\, 61\, Deoksugung-gil\, Jung-gu\, Seoul\, 04515\, Korea\, Republic of CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/01/Bohnchang-Koo-Moon-Rising-3-2006.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240105T100000 DTEND;TZID=America/New_York:20240217T180000 DTSTAMP:20260406T080313 CREATED:20231218T200323Z LAST-MODIFIED:20231218T200931Z UID:106310-1704448800-1708192800@artinamericaguide.com SUMMARY:"Going Our Way\," a group exhibition of paintings\, drawings\, and sculpture DESCRIPTION:The George Adams Gallery is pleased to present Going Our Way\, a group exhibition of paintings\, drawings\, and sculptures by Robert Arneson\, Joan Brown\, Roy De Forest\, Viola Frey\, M. Louise Stanley\, and William T. Wiley. Known for its enduring commitment to art from the San Francisco Bay Area\, the exhibition maintains the gallery’s tradition of championing the region’s artistic heritage. The artists included are connected through the unique influence of the Bay Area on their work\, and the title reflects each artist’s response to prevailing trends over a span of three decades. While they worked in different styles and across media\, the six artists are united in their rejection of the impersonal\, “objective” attitude that informed the dominant West Coast trends of Formalism\, Photorealism and New Abstraction. Instead\, each in their own way celebrates an intimate\, subjective\, and idiosyncratic autobiographical expression – an approach that the exhibition traces from their earliest work in the 1960s and continues through the 1970s and 1980s. \n  \nThe artists included in the exhibition all lived and worked in the San Francisco Bay Area. Arneson\, Brown and Frey were born in California\, while De Forest\, Stanley and Wiley all moved to the Bay Area to study art. Brown\, De Forest and Wiley attended the San Francisco Art Institute (then the California School of Fine Arts) while Arneson\, Frey and Stanley studied at the California College of Arts and Crafts. From the early 1960s through the 1980s Arneson\, De Forest and Wiley were on the faculty at the University of California\, Davis. Brown taught at UC Berkeley\, where she eventually chaired the Art Department. Frey and Stanley both taught at the California College of Arts and Crafts. Not to be overlooked\, Arneson\, Brown\, De Forest and Wiley were represented by the same galleries on both coasts. \n  \nThe educational and professional connections between the exhibited artists highlight the collaborative and supportive environment that flourished in the Bay Area during this period. Their shared experiences at institutions (such as the San Francisco Art Institute and the California College of Arts and Crafts)\, as well as their subsequent roles as educators\, highlight the symbiotic relationship between their artistic development and the nurturing community they helped cultivate. \nRobert Arneson (b. 1930\, Benicia\, California\, d. 1992\, Benicia\, California)\, is known as one of the pre-eminent American sculptors of his generation. Arneson earned his BFA from the California College of Arts and Crafts and his MFA in ceramics from Mills College. He founded the ceramics program at the University of California\, Davis where he would remain on faculty for nearly thirty years. In the early 1960s\, Arneson developed an irreverent and humorous approach to sculpture\, later dubbed as “Funk.” He used self-portraiture as a method to examine the human condition: a theme present throughout his work until the end of his life. Arneson exhibited widely during his career and is recognized as a key figure in the re-consideration of ceramics as a sculptural medium. His work can be found in the collections of the San Francisco Museum of Modern Art; Metropolitan Museum of Art\, New York; Hirshhorn Museum and Sculpture Garden\, Washington D.C.; and Museum of Contemporary Art\, Chicago\, Illinois\, among others. He has been the subject of several traveling retrospectives\, in 1974\, organized by the Museum of Contemporary Art\, Chicago; in 1986-87\, organized by the Des Moines Art Center\, Iowa\, and posthumously in 1993\, at the Fine Arts Museum of San Francisco\, California. \n  \nJoan Brown (b. 1938\, San Francisco\, California\, d. 1990\, Puttaparthi\, India) is considered a leading figure in the second generation of the Bay Area Figurative movement. Early on in her career\, she received praise for dense Abstract Expressionist paintings\, however she ultimately pivoted from the style in favor of autobiographical\, figurative paintings. Her portraits and self-portraits were painted in a purposefully flat and colorful style. Brown earned both her BFA and MFA at the California College of Arts and Crafts and was a professor emeritus at UC Berkeley. Brown’s work is represented in many institutional collections across the country\, including the Museum of Modern Art\, New York; the Hirshhorn Museum and Sculpture Garden\, Washington D.C.; and the Crystal Bridges Museum of American Art\, Arkansas. Her work is currently on tour in her most comprehensive retrospective to date. It opened at the San Francisco Museum of Modern Art\, California in 2022 before traveling to the Carnegie Museum of Art\, Philadelphia. Its last stop will be at the Orange County Museum of Art\, California\, where it will be on view from February 1 – May 7\, 2024. \n  \nRoy De Forest (b. 1930\, North Platte\, Nebraska\, d. 2007\, Vallejo\, California) was a painter\, sculptor\, and educator\, and is considered a major contributor to both the Funk art and Nut art movements. De Forest earned his BA from the California School of Fine Arts and his MFA from San Francisco State University. De Forest was a professor at UC Davis for nearly three decades. He is known for his paintings depicting richly colored and textured fantasy worlds containing flat\, stylized landscapes in juxtaposition with cartoon-like animals and human figures. He exhibited widely during his lifetime\, and was the subject of two major retrospectives\, one in 1974\, and posthumously in 2017\, organized by the Oakland Museum\, California. His work can be found in major public collections internationally\, including the San Francisco Museum of Modern Art\, California; the Whitney Museum of American Art\, New York; and the Art Institute of Chicago\, Illinois\, among others. \n  \nViola Frey (b. 1933\, Lodi\, California\, d. 2004\, Oakland\, California) was an artist known for her monumental ceramic sculptures\, smaller figural groupings\, and plates\, though her practice also encompassed painting\, drawing\, and photography. She received her BFA from the California College of Arts and Crafts and her MFA from Tulane University. Frey returned to the California College of Arts and Crafts as a professor in 1965\, ultimately becoming chair of the ceramics program. Frey’s artistic style is characterized by an emphasis on the human figure\, a robust visual vocabulary\, and energetic color and line. Her work has been exhibited extensively and is included in the Metropolitan Museum of Art\, New York; the Smithsonian American Art Museum\, Washington\, D.C.; and the Los Angeles County Museum of Art\, California\, among others. \n  \n\n Louise Stanley (b. 1942\, Charleston\, West Virginia) is known for work that explores narratives of both current and fictitious events and often incorporates social commentary and satire. She moved to the San Francisco Bay Area in 1965\, where she received her BFA and MFA in painting from the California College of Arts and Crafts. She often employs “real” space juxtaposed with caricature to create an edgy effect. Similarly\, she utilizes humor to connect with darker themes. Stanley’s involvement in the Women’s Artist movement inspired paintings relating to gender issues and sexual politics in the art world. She developed an alter ego who frequently appears in her paintings as an “Archetypal Artist”. Most recently\, her work reflects research she conducted during her travels in Europe\, where she led and organized the “Art Lover’s Tours” for 14 years. Her work has been exhibited widely throughout California\, such as the Marin Museum of Contemporary Art; Richmond Art Center; and California College of Arts\, among others. Stanley currently lives and works in Emeryville\, California.\n\n  \nWilliam T. Wiley (b. 1937\, Bedford\, Indiana\, d. 2021\, Kentfield\, California) was a multidisciplinary artist and educator known for his experimental approach and open personality. He was a key contributor to the Funk movement\, and his interest in Americana led to his work being coined “Dude Ranch Dada.” While he initially focused on sculptures and assemblages\, he is best known for dense landscapes and interior scenes overlaid with humorous text. Wiley exhibited widely throughout his career and his work can be found in the collections of the Museum of Modern Art\, New York; San Francisco Museum of Modern Art\, California; and the Art Institute of Chicago\, Illinois\, among others. \n  \n  Save   URL:https://artinamericaguide.com/event/going-our-way/ LOCATION:George Adams Gallery\, 38 Walker Street\, New York\, NY\, 10013\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/12/Going-Our-Way-Email-Announce-Image.jpg ORGANIZER;CN="George Adams Gallery":MAILTO:info@georgeadamsgallery.com GEO:40.7503804;-74.003922 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=George Adams Gallery 38 Walker Street New York NY 10013 United States;X-APPLE-RADIUS=500;X-TITLE=38 Walker Street:geo:-74.003922,40.7503804 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240110T110000 DTEND;TZID=America/New_York:20240223T170000 DTSTAMP:20260406T080313 CREATED:20231222T195601Z LAST-MODIFIED:20231222T195601Z UID:106350-1704884400-1708707600@artinamericaguide.com SUMMARY:A New Look at Sculpture Exhibition DESCRIPTION:This exciting exhibition at the John Natsoulas Gallery features the sculptures of John Buck\, Shaun Burner\, Deborah Butterfield\, Franceska Gamez\, Arthur Gonzalez\, Ken Little\, Manuel Neri\, and Michael Stevens. Come see stunning examples of works by each of these world-renown artists.  \n  \nOpening on January 10\, the exhibition\, titled A New Look at Sculpture\, showcases figurative sculptures by world class artists\, who each sensitively address humanist themes. The show will be open until February 23\, 2024. Featuring diverse sculptures\, made from bronze\, plaster\, wood\, and ceramic\, this exhibit offers the opportunity for close examination of the varied textures and forms these artists achieve. Large-scale sculptures like Deborah Butterfield’s over-life-size bronze horse and Shaun Burner’s and Franceska Gamez’s The Guardian speak to how expanding dimensions can convey the artists’ unique perspective. The exhibit highlights how unique material choices\, such as Michael Steven’s and John Buck’s use of wood or Ken Little’s repurposing of discarded shoes\, lend their works distinctive personality to reveal their inner worlds. A look at the importance of teacher and student relationships\, demonstrated through the juxtaposition of the works of Manuel Neri and Arthur Gonzalez highlights the continual evolution of sculpture in modern and contemporary art. \n  \nThe exhibition’s opening reception is to be held on Friday\, January 12 from 7-9:00 PM. It will feature live music and free refreshments. The John Natsoulas Gallery is proud to also host a panel discussion with exhibition curator Sarah Poisner and artists Shaun Burner\, Franceska Gamez\, Arthur Gonzalez\, and Michael Stevens on Saturday\, February 3. They will speak about their respective sculptural practices and their artistic associations with Sacramento. \n  \n  Save   URL:https://artinamericaguide.com/event/a-new-look-at-sculpture-exhibition/ LOCATION:John Natsoulas Gallery\, 521 First st\, Davis\, CA\, 95616\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/12/Ken-Little-Pass-scaled.jpg ORGANIZER;CN="John Natsoulas Gallery":MAILTO:art@natsoulas.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240111T100000 DTEND;TZID=America/New_York:20240309T170000 DTSTAMP:20260406T080313 CREATED:20231206T223052Z LAST-MODIFIED:20231206T223052Z UID:106155-1704967200-1710003600@artinamericaguide.com SUMMARY:Janet Cardiff & George Bures-Miller: Ambient Jukebox & Other Stories DESCRIPTION:Fraenkel Gallery is pleased to present Ambient Jukebox & Other Stories\, an exhibition of new work by multidisciplinary artists Janet Cardiff and George Bures Miller. Atmospheric\, dreamlike\, and theatrical\, the duo’s work often explores how sound affects perception. This will be the artists’ second solo exhibition with the gallery since 2018. A public reception with the artists will take place on Saturday\, January 13\, from 2-4pm. \n\n\n\nIn Cosmic Disco\, tiny points of light reflected from altered mirrorballs fill a darkened room to create the illusion of slowly moving galaxies\, accompanied by a soundtrack drawn from recordings of planets and moons made by NASA’s Voyager I and II. The piece immerses viewers in illusory reflections and otherworldly sounds\, encouraging contemplation of the universe and humans’ place in it. In another room\, Ambient Jukebox repurposes a familiar-looking 1960s jukebox. Rather than playing pop hits\, it has been reprogrammed to spin drone-like tunes created by Bures Miller during the disorienting months of the global pandemic. As in many of their pieces\, Cardiff and Bures Miller invite the viewer to activate the piece—selecting the tracks creates a singular experience of the work and transforms the iconic object into something unfamiliar and surprising. \n\n\n\nA range of more intimate works populate the third gallery. Combining paintings\, found materials\, soundtracks\, and audio musings\, these works explore the ways in which narrative\, music\, and sound influence the viewer’s interpretation of visual elements. Playful sculptural collages\, made in part from studio scraps left over from earlier works\, are inspired by constructivist ideas. In one\, a collage made from rough wooden shapes\, pieces of torn paper\, and a tuft of blonde hair spins on a round pedestal as speakers play a hypnotic soundtrack of layered voices. Other works juxtapose moody oil paintings with fragments of found text\, exploring the power of words even when inaudible. \n\n\n\nSuitcases appear in several works. A vintage suitcase is transformed into a theater\, replete with curiously crafted doll-like characters and a range of scenarios that play on a small screen facing the ‘stage.’ Another suitcase is modified with a gramophone speaker through which Cardiff’s dreamlike voice quavers the World War I marching song Pack Up Your Troubles in Your Old Kit Bag\, and Smile\, Smile\, Smile by George and Felix Powell\, a song which in time has been sung by forces on all sides of many conflicts. \nJanet Cardiff and George Bures Miller recently opened the Cardiff Miller Art Warehouse in Enderby\, British Columbia\, a venue that showcases their immersive large-scale installations. The Killing Machine\, an automated installation inspired in part by Franz Kafka’s story In the Penal Colony\, is featured in the exhibition Kafka: 1924 at Villa Stuck in Munich\, Germany\, on view until February 11\, 2024. Their solo survey exhibition Dream Machines was recently on view at Museum Tinguely in Basel\, Switzerland\, following its premier at Lehmbruck Museum in Duisburg\, Germany. The exhibition was organized in honor of the Wilhelm Lehmbruck Prize\, which was awarded to the pair in 2020. Cardiff’s celebrated sound sculpture Forty-Part Motet is on view in ongoing exhibitions at the National Gallery of Canada in Ottawa\, and Inhotim in Brumadinho\, Brazil. \nTheir work has been shown in the Metropolitan Museum of Art\, New York; MoMA PS1\, New York; National Gallery of Canada\, Ottawa; Nelson Atkins Museum of Art\, Kansas City\, Missouri; Moderna Museet\, Stockholm; San Francisco Museum of Modern Art; and Tate Modern\, London\, among many others. Their work is in the collections of public institutions including the Corcoran Gallery of Art\, Washington\, D.C.; Dallas Museum of Art\, Dallas\, Texas; Hirshhorn Museum and Sculpture Garden\, Washington\, D.C.; San Francisco Museum of Modern Art\, and others. In 2011 they received Germany’s Käthe Kollwitz Prize\, and in 2001\, represented Canada at the 49th Venice Biennale\, for which they received the Premio Speciale and the Benesse Prize. \n\n\n\n\n\n\n\n\n\n\n\n\n  Save   URL:https://artinamericaguide.com/event/janet-cardiff-george-bures-miller-ambient-jukebox-other-stories/ LOCATION:Fraenkel Gallery\, 49 Geary Street\, San Francisco\, CA\, 94108\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/12/JCGBM-0126_b.jpg ORGANIZER;CN="Fraenkel Gallery":MAILTO:mail@fraenkelgallery.com GEO:37.7876041;-122.4042781 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Fraenkel Gallery 49 Geary Street San Francisco CA 94108 United States;X-APPLE-RADIUS=500;X-TITLE=49 Geary Street:geo:-122.4042781,37.7876041 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20240112 DTEND;VALUE=DATE:20240303 DTSTAMP:20260406T080313 CREATED:20231212T195453Z LAST-MODIFIED:20231212T195453Z UID:106223-1705017600-1709423999@artinamericaguide.com SUMMARY:Julian Charrière: Buried Sunshine DESCRIPTION:Sean Kelly is delighted to present Julian Charrière’s Buried Sunshine\, the artist’s third solo exhibition with the gallery in New York. Capturing the delirium of the petroleum industry and the burning of lithic landscapes\, Charrière brings his film Controlled Burn together with sculptures and a new series of heliographic photographs to unearth the ‘fossilized sunshine’ upon which the mythos of Los Angeles was built. Examining the material reality of hydrocarbons and how our modern world is organized around the energy they provide\, the exhibition draws parallels between the image-making machine of Hollywood and our dependence on fossil fuels\, both of which exert gravitational forces that bend our perception of reality. There will be an opening reception on Thursday\, January 11\, from 6-8pm. The artist will be present. \nIn his new photographic series Buried Sunshines Burn\, Charrière reveals the City of Angels as a special anomaly: a place built not only by hydrocarbons\, but on top of them\, with 5\,000 active oil wells beneath the second largest city in the United States. Employing heliography\, one of photography’s oldest techniques\, first developed by French inventor Nicéphore Niépce in 1822\, Charrière uses a light-sensative emulsion incorporating naturally occurring tar collected from the La Brea\, McKittrick\, and Carpinteria Tar Pits in California to create photographic imprints of local oil fields. Shot from a bird’s eye perspective\, the images–printed on highly polished stainless-steel plates–survey some of the state’s largest reserves\, including the immense Kern River Oil Field in the San Joanquin Valley\, the Placerita and Aliso Canyon Oil Fields in Santa Clarita\, and the giant Inglewood Oil Field situated in the heart of the city. \nCharrière’s film Controlled Burn invites viewers on a cosmic journey\, soaring through an aerial landscape of imploding fireworks. Filmes using a drone\, this disorienting voyage takes place in open pit coal mines\, discommissioned oil rigs\, and rusting cooling towers. Amid whirling smoke and fire\, implosions are intercut by flashing images of primordial ferns and fluttering moths–beings that evolved during the carboniferous geological period. Charrière cites these organisms as spirit guides and living tokens for the vitality of fossil fuels\, and markers for how the agency of coal\, oil\, and tar has come to haunt our contemporary imagination. Linking celebratory pyrotechnics with architectures of extraction\, explosive momentum\, and technological obsolescence\, Controlled Burn stages the fantasy of a dramatic return to sources of energy via implosion. \nAlso featured in the exhibition are two obsidian sculptures\, Thickens\, pools\, flows\, rushes\, slows. Made from large pieces of polished volcanic glass–colled magma which has erupted from the Earth’s core. Charrière draws on this material as an ancient means of divination. A readily available resource in Mesoamerica\, both Mayan and Aztec civilizations believed obsidian to unlock doors to other times and realms; the hardness of the glass made it one of the earliest materials to be traded across vast distances. In the present\, the dark vitality of obsidian is eerily reminiscent of our technological black mirrors\, themselves questionable portals beyond the present. \nAs an exhibition\, Buried Sunshine expands upon Julian Charrière’s ongoing inquiry into how our species inhabits the world\, and how it in turn inhabits us. Charrière combines a unique industrial history with a historic form of image-making\, creating an immersive landscape where our most urgent ecological concerns can be addressed. Utilizing photography\, film and sculpture\, Buried Sunshine investigates sense of place through the lens of geological time\, in the process urging viewers to reflect on how our relationship with the materials we appropriate as fuel comes to inform how we perceive the world around us. \nJulian Charrière’s work has been the subject of solo presentations at major international institutions\, including SFMOMA\, San Francisco; Langen Foundation\, Neuss; Dallas Museum of Art\, Dallas; MAMbo\, Bologna; Berlinische Galerie\, Berlin; Parasol Unit Foundation\, London; Musée des Beaux-Arts\, Lausanne; and Centre Culturel Suisse\, Paris. Charrière has also been prominently featured at the 59th Biennale di Venezia; 57th Biennale di Venezia; the Antarctic Biennale; the Taipei Biennial; the 12th and 16th Biennale de Lyon; Centre Pompidou\, Paris; Sprengel Museum\, Hannover; Aarhus Kunstmuseum\, Aarhus; SCHIRN Kunsthalle\, Frankfurt; Hayward Gallery\, Southbank Centre\, London; and Palais de Tokyo\, Paris. Julian Charrière is a former participant of the Institute for Spatial Experiments\, an experimental education and research project at the Berlin University of the Arts led by Olafur Eliasson. A nominee for the Prix Marcel Duchamp in 2021\, in 2022 Charrière received the 14th SAM Prize for Contemporary Art. \nFor additional information on Julian Charrière\, please visit skny.com \nFor media inquiries\, please email Adair Lentini at Adair@skny.com \nFor all other inquiries\, please email Lauren Kelly at Lauren@skny.com \n  Save   URL:https://artinamericaguide.com/event/julian-charriere-buried-sunshine-2/ LOCATION:Sean Kelly\, New York\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/12/09_JulianCharriere_ControlledBurn_2022_FilmStill_CopyrightTheArtist_VGBildKunstBonnGermany-scaled.jpg ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20240112 DTEND;VALUE=DATE:20240303 DTSTAMP:20260406T080313 CREATED:20240103T214212Z LAST-MODIFIED:20240103T214212Z UID:106426-1705017600-1709423999@artinamericaguide.com SUMMARY:Drowning in Harmony DESCRIPTION:Sean Kelly Gallery is delighted to present John Guzman’s solo exhibition Drowning in Harmony. Guzman’s visceral artworks deconstruct the body to navigate the unpredictable\, unusual\, and at times\, unbearable moments of life. Featuring a compelling series of new large and small oil paintings and works on paper\, the exhibition delves into the complexities of the human experience. There will be an opening reception on Thursday\, January 11\, from 6-8pm. The artist will be present. \nDrowning in Harmony presents Guzman’s distinctive style and thought-provoking narrative to explore his unique visual language. His innovative approach to painting serves as a form of documentation\, revealing the transformative nature of the body by reducing it to textured lines and muted colors. Drawing from lived experiences in the Southside of San Antonio\, Texas\, Guzman’s paintings abstract the human figure to reflect the unrecognizable transformations of the body resulting from stress. Guzman’s mastery of form\, color\, and conceptual depth is evident in this new series of works which demonstrate his ability to push artistic boundaries. The works on paper further highlight Guzman’s versatility\, translating intricate concepts into a more intimate medium. \nPositioning his figures within domestic architecture\, Guzman intricately weaves links between the environment and its inhabitants. In his paintings\, Guzman assembles distorted\, tangled figures confined in cramped domestic spaces\, creating a visual language for the condition of existence at the edge of survival. The exhibition creates a link between the environment and its inhabitants as Guzman explores space\, style\, subject matter\, and line\, addressing the fragility of the psyche and altered landscapes. \nJohn Guzman received formal training from the Southwest School of Art\, San Antonio\, TX. In June 2022\, he had his first museum solo exhibition\, John Guzman: Flesh and Bone at Blaffer Art Museum\, Houston\, TX. He is a graduate of NXTHVN’s Fellowship Program in New Haven\, CT\, which had its culminating exhibition\, Undercurrents at Sean Kelly\, New York in June 2022. He currently lives and works in New Haven\, CT. \nFor additional information on John Guzman\, please visit skny.com \nFor media inquiries\, please email Adair Lentini at Adair@skny.com \nFor all other inquiries\, please email Janine Cirincione at Janine@skny.com \n  \nImage: John Guzman\, Secret hide away\, 2023\, oil on linen\, 20 x 16 inches © John Guzman Photography Adam Reich Courtesy: the artist and Sean Kelly\, New York/Los Angeles \n  Save   URL:https://artinamericaguide.com/event/drowning-in-harmony/ LOCATION:Sean Kelly\, New York\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/01/JG-2024.01-Drowning-in-Harmony-SKNY-scaled.jpg ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20240112 DTEND;VALUE=DATE:20240303 DTSTAMP:20260406T080313 CREATED:20240119T150547Z LAST-MODIFIED:20240119T150547Z UID:106734-1705017600-1709423999@artinamericaguide.com SUMMARY:John Guzman Drowning in Harmony DESCRIPTION:Sean Kelly Gallery is delighted to present John Guzman’s solo exhibition Drowning in Harmony. Guzman’s visceral artworks deconstruct the body to navigate the unpredictable\, unusual\, and at times\, unbearable moments of life. Featuring a compelling series of new large and small oil paintings and works on paper\, the exhibition delves into the complexities of the human experience. There will be an opening reception on Thursday\, January 11\, from 6-8pm. The artist will be present. \nDrowning in Harmony presents Guzman’s distinctive style and thought-provoking narrative to explore his unique visual language. His innovative approach to painting serves as a form of documentation\, revealing the transformative nature of the body by reducing it to textured lines and muted colors. Drawing from lived experiences in the Southside of San Antonio\, Texas\, Guzman’s paintings abstract the human figure to reflect the unrecognizable transformations of the body resulting from stress. Guzman’s mastery of form\, color\, and conceptual depth is evident in this new series of works which demonstrate his ability to push artistic boundaries. The works on paper further highlight Guzman’s versatility\, translating intricate concepts into a more intimate medium. \n\n\n\n\nPositioning his figures within domestic architecture\, Guzman intricately weaves links between the environment and its inhabitants. In his paintings\, Guzman assembles distorted\, tangled figures confined in cramped domestic spaces\, creating a visual language for the condition of existence at the edge of survival. The exhibition creates a link between the environment and its inhabitants as Guzman explores space\, style\, subject matter\, and line\, addressing the fragility of the psyche and altered landscapes. \nJohn Guzman received formal training from the Southwest School of Art\, San Antonio\, TX. In June 2022\, he had his first museum solo exhibition\, John Guzman: Flesh and Bone at Blaffer Art Museum\, Houston\, TX. He is a graduate of NXTHVN’s Fellowship Program in New Haven\, CT\, which had its culminating exhibition\, Undercurrents at Sean Kelly\, New York in June 2022. He currently lives and works in New Haven\, CT. \n\n\n\n\nFor additional information on John Guzman\, please visit skny.com \nFor media inquiries\, please email Adair Lentini at Adair@skny.com \nFor all other inquiries\, please email Janine Cirincione at Janine@skny.com \n\n\n\n\n\n\n\n  Save   URL:https://artinamericaguide.com/event/john-guzman-drowning-in-harmony/ LOCATION:Sean Kelly\, New York\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/01/x.-JGu-2024_SKNY_Drowning-in-Harmony_photo-Jason-Wyche-New-York_005-scaled.jpg ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com END:VEVENT END:VCALENDAR