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:20260406T143546 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:20260406T143546 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:20260406T143546 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:20260406T143546 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;VALUE=DATE:20230822 DTEND;VALUE=DATE:20240310 DTSTAMP:20260406T143546 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:20260406T143546 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:20260406T143546 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:20260406T143546 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:20231014 DTEND;VALUE=DATE:20240408 DTSTAMP:20260406T143546 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;TZID=America/New_York:20231111T110000 DTEND;TZID=America/New_York:20240310T170000 DTSTAMP:20260406T143546 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:20260406T143546 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:20260406T143546 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:20260406T143546 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:20260406T143546 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:20260406T143546 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:20260406T143546 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:20260406T143546 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:20260406T143546 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:20260406T143546 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:20240111T100000 DTEND;TZID=America/New_York:20240309T170000 DTSTAMP:20260406T143546 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:20240116 DTEND;VALUE=DATE:20240617 DTSTAMP:20260406T143546 CREATED:20231010T164429Z LAST-MODIFIED:20231012T195754Z UID:105551-1705363200-1718582399@artinamericaguide.com SUMMARY:Jacob Lawrence and the Legend of John Brown DESCRIPTION:Jacob Lawrence and the Legend of John Brown presents a recently acquired portfolio of prints by the acclaimed Black modernist Jacob Lawrence (1917–2000). Lawrence originally produced The Legend of John Brown as paintings in 1941\, but\, due to problems related to the stability of the gouache used in the series\, in 1974 he collaborated with printers to translate this important body of work to screen prints. Lawrence drew inspiration for the 22 prints in the series from research he conducted at the Schomberg Center for Research in Black Culture at the New York Public Library\, notably Franklin B. Sanborn’s The Life and Letters of John Brown\, Liberator of Kansas and Martyr of Virginia\, published in 1885. Lawrence’s account of Brown’s life and death includes consideration of his time in Kansas\, where Brown first employed violence in his quest to rid the country of slavery. \n  Save   URL:https://artinamericaguide.com/event/jacob-lawrence-and-the-legend-of-john-brown/ LOCATION:Spencer Museum of Art\, University of Kansas\, 1301 Mississippi St.\, Lawrence\, KS\, 66045\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/10/2020.0068.21.jpg ORGANIZER;CN="Spencer Museum of Art%2C University of Kansas":MAILTO:spencerart@ku.edu GEO:38.9596803;-95.244588 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Spencer Museum of Art University of Kansas 1301 Mississippi St. Lawrence KS 66045 United States;X-APPLE-RADIUS=500;X-TITLE=1301 Mississippi St.:geo:-95.244588,38.9596803 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20240118 DTEND;VALUE=DATE:20240401 DTSTAMP:20260406T143546 CREATED:20240119T150410Z LAST-MODIFIED:20240130T152431Z UID:106746-1705536000-1711929599@artinamericaguide.com SUMMARY:Daniel Rosenbaum: Inner Guardians\, Outer Explorers DESCRIPTION:Woodward Gallery presents Daniel Rosenbaum: Inner Guardians\, Outer Explorers\, a Solo Exhibition at our 132A Eldridge Street location and continuing with large-scale works at our 60 Pine Street space. Thought-provoking gestural paintings ponder the question of whether an ancient relationship between humans and the cosmos exists. \nPoured and brushed paint and the artist’s hands and body integrate within Rosenbaum’s meditative painting process to unite earthly and astral sources. Paint asserts itself through natural spirals on his canvas surface. A form appears in his spontaneous expressions\, perhaps representing the curious\, to guide us away from here and now. Daniel Rosenbaum’s repetitive and introspective process of layering thick and thin acrylics in translucent coats helps guide him to unplanned images. \n\n\n\n\nRosenbaum isn’t afraid of vibrant colors that flow unconstrained in his canvases. The artist is influenced by the East while living in the West\, and looks to the sky for inspiration\, in a celestial awareness with limitless boundaries. \nHis paintings seek to understand the soul of the universe with a freedom and vigor that charge that inquiry. \nPlease come along on Daniel Rosenbaum’s creative journey at Woodward Gallery by appointment\, online at WoodwardGallery.net\, and in a virtual Exhibition Viewing Room on ARTSY.net. \n\n\n\n  Save   URL:https://artinamericaguide.com/event/daniel-rosenbaum-inner-guardians-outer-explorers/2024-01-18/ 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/png:https://artinamericaguide.com/wp-content/uploads/2024/01/daniel-in-exhibition.png ORGANIZER;CN="Woodward Gallery":MAILTO:art@woodwardgallery.net END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240118T110000 DTEND;TZID=America/New_York:20240421T180000 DTSTAMP:20260406T143546 CREATED:20240119T150547Z LAST-MODIFIED:20240119T150547Z UID:106736-1705575600-1713722400@artinamericaguide.com SUMMARY:If toxic air is a monument to slavery\, how do we take it down? DESCRIPTION:Forensic Architecture (FA) presents their research on “Death Alley\,” using architectural and environmental analysis; FA examines the impacts of colonialism and slavery\, offering tools to help combat a 300-year continuum of environmental racism. \n  Save   URL:https://artinamericaguide.com/event/if-toxic-air-is-a-monument-to-slavery-how-do-we-take-it-down/ LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2024/01/06_Monument-Flare-1.png 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:20240119 DTEND;VALUE=DATE:20240311 DTSTAMP:20260406T143546 CREATED:20240110T191112Z LAST-MODIFIED:20240110T191112Z UID:106624-1705622400-1710115199@artinamericaguide.com SUMMARY:The Worlds of Chuck Bowdish DESCRIPTION:New York Studio School is pleased to present a solo exhibition of work by the late artist Chuck Bowdish. Organized in collaboration with the artist’s estate\, The Worlds of Chuck Bowdish draws on several decades of work to explore the various facets of Bowdish’s highly personal and enigmatic paintings\, watercolors\, collages\, drawings\, and sculptures. An opening reception will take place on Friday\, January 19\, which will include a screening of Peter Wareing’s documentary film\, Chuck Bowdish: Painter (2001). \nBowdish’s career is marked by an ethos of experimentation\, in search of what he described as “grace and honesty” in the face of the “darkness of human character.” The subject matter of Bowdish’s works emerges from both keenly observing the world around him and probing the depths of his subconscious. The Worlds of Chuck Bowdish is organized around the specificity of place that informed his artmaking in subject matter\, palette\, and materials\, even as he became increasingly preoccupied with the landscapes and narratives of the imagination. Diagnosed with bipolar disorder\, Bowdish found solace in the act of painting. “When I am behind the easel\,” he explained\, “I can feel the forms and shapes in my physical body coming out in a very concrete way. It is truly therapeutic.” \nBowdish flourished while attending the Ringling School of Art in Sarasota\, Florida\, from 1977 through 1980. There he studied figure painting and drawing\, concentrating his efforts on watercolor—a medium that remained central to his practice throughout his career. Motifs inspired by Florida\, such as palm trees\, boats\, and shorelines\, recur across his bodies of work. \nBowdish’s years in New York evidence a dedicated interest in form while studying illustration and figuration at the Art Students League and figural sculpture at NYSS. He continued to refine his draughtsmanship and developed a singular sense of color\, which\, he observed\, was “considerably brightened” by the “color\, light\, and culture” of San Miguel de Allende\, where he lived from 1986 to 1991. Returning to New York\, he pursued figure painting and anatomical studies at the New York Academy of Art\, a period of intensive study that resulted in large\, haunting oil paintings of nudes in imagined landscapes inhabiting unknowable narratives. The surfaces of his gestural oil paintings are marked by scratches and scrapes\, themselves becoming objects with storied histories of erasure\, change\, and discovery\, like Roman frescoes. In his later oil paintings\, watercolors\, and collages from New York and\, finally\, Hendersonville\, North Carolina\, he worked primarily from his imagination and dreams\, reformulating themes and narratives of innocence\, violence\, loss\, and sexuality central to the human condition. His inventive deployment of scale underscores the emotional and psychological tenor of much of his work\, as does the high-contrast\, stage-like lighting. \nBowdish’s work signals a profound and expansive familiarity with the history of art. His angular forms at times evoke the timelessness of Archaic sculpture\, his landscapes the dreamlike scenes of the Fauves. His winged figures conjure Fra Angelico’s and his nudes Balthus’s. Yet\, Bowdish’s work complexly intertwines his personal lived experience with broader national and international events through these familiar art historical forms. Allusions to a midcentury childhood defined by the American idealism of John F. Kennedy’s presidency and the brutality of the Vietnam War haunt scenes populated by recurring motifs of Greek amphoras\, military tanks\, ballet dancers\, Judeo-Christian symbols\, fedora-wearing mobsters\, and Gauguin-inspired nudes. Artist Bruce Gagnier\, with whom Bowdish studied at NYSS\, highlights the metaphoric nature of Bowdish’s work\, explaining that “he fashions forms that project feelings that lie within us all. Here\, as in all great painting\, life comes to the canvas with the urgency of the painter’s brush.” This exhibition explores the cosmologies he experienced\, remembered\, and imagined. \nThe Worlds of Chuck Bowdish serves as an important critical examination of an artist whose prolific output has yet to be fully considered. Bowdish’s expansive body of work searches for innocence and transcendence in a post-industrial\, fragmented\, and\, at times\, perilous world. As the artist himself wrote\, “One of the responsibilities of an artist is to reaffirm our humanity which is basically our capacity to love.” Also on view in the exhibition is Peter Wareing’s thirty-minute film Chuck Bowdish: Painter (2001) that chronicles Bowdish’s artistic journey. \nFollowing its presentation at NYSS\, the exhibition will be on view at the Ringling College of Art and Design\, Sarasota\, FL\, during their 2025-2026 season. \nOn February 13\, NYSS will host an Evening Lecture Series panel discussion on Bowdish’s work featuring Sasha Chermayeff\, Bruce Gagnier\, Ernie Sandidge\, and Lisa Steiner. The event will start at 6:30 pm ET and will be held in person and livestreamed on Zoom and YouTube Live. The occasion will also mark the launch of the illustrated exhibition catalogue\, The Worlds of Chuck Bowdish\, which will include remembrances by friends and fellow artists\, such as SoHyun Bae\, Chris Carone\, Marianne Gagnier\, and Nels Pierce\, among others. \nChuck Bowdish (1959-2022) was born in Dayton\, Ohio. His peripatetic childhood was defined by his fighter pilot father’s tours of duty in the Vietnam era. He first learned to draw from his mother\, a painter and schoolteacher. He attended the Ringling School of Art and Design in Sarasota in the late 1970s\, followed by the Art Students League and NYSS in the early 1980s. In New York he joined the downtown art scene and began working as an illustrator with The New York Times and Fortune. After several years in Mexico\, he returned to New York and enrolled at the New York Academy of Art. His awards include the Edgar Whitney Scholarship (1981)\, “Best of Show” at the 1993 Ringling alumni exhibition\, the Wynn Newhouse Award (2012) and the Hassam\, Speicher\, Betts\, and Symons Fund Purchase Award from the American Academy of Arts and Letters (2015). He showed often with steven harvey fine arts projects\, New York\, and Galerie Timothy Tew\, Atlanta\, GA\, among several other galleries\, and his work is in the collection of The Butler Institute of American Art\, Youngstown\, Ohio; Western Carolina University Art Museum\, Cullowhee\, North Carolina; and the William Louis-Dreyfus Foundation\, Mt. Kisco\, New York. Recent exhibitions include Chuck Bowdish: Complete Works\, Art at Kings Oaks\, Newtown\, PA\, and the group exhibition The Way I’m Wired: Artist Reflections on Neurodiversity\, Western Carolina University Fine Art Museum\, Cullowhee\, North Carolina. \nThe School extends a special thank you to the family of Chuck Bowdish. \n  Save   URL:https://artinamericaguide.com/event/the-worlds-of-chuck-bowdish-2/ LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/01/100-Watercolor-on-Paper-8x5.5-Large.jpeg ORGANIZER;CN="new york studio school":MAILTO:rrickert@nyss.org GEO:40.7329524;-73.998005 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=New York Studio School of Drawing Painting & Sculpture 8 West 8th Street New York NY 10011 United States;X-APPLE-RADIUS=500;X-TITLE=8 West 8th Street:geo:-73.998005,40.7329524 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240119T180000 DTEND;TZID=America/New_York:20240427T180000 DTSTAMP:20260406T143546 CREATED:20231204T195923Z LAST-MODIFIED:20231204T195923Z UID:106119-1705687200-1714240800@artinamericaguide.com SUMMARY:Streaming: Sculpture by Christy Rupp DESCRIPTION:Understood as one of the early pioneers in the field of ecological art activism\, the artist\, activist and thought-leader Christy Rupp has an international reputation. Streaming will feature a survey of Rupp’s intricate collages\, wall installations and free-standing sculpture\, which chronicle the ongoing tension between natural systems and the environment in transition\, and call our attention to our interconnectedness with non-humans and habitat – transmuting detritus gathered from the waste stream through collage and sculpture to reveal what is hidden away from common view and understanding. Informed by science and the historical representation of natural history\, the artwork in this exhibition examines the way we frame our opinions of nature\, using irony and wit to represent the human impact on our natural habitat. This exhibition in the Walsh Gallery located at Fairfield University opens Thursday\, January 18th and runs through Saturday\, April 27th\, 2024. \n  Save   URL:https://artinamericaguide.com/event/streaming-sculpture-by-christy-rupp/ LOCATION:Fairfield University Art Museum\, 200 Barlow Road\, Fairfield\, CT\, 06824\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/12/Christy-Rupp-rough-draft-banner.jpg ORGANIZER;CN="Cross Contemporary Art Projects":MAILTO:crosscontemporaryprojects@gmail.com GEO:41.1534278;-73.2542612 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Fairfield University Art Museum 200 Barlow Road Fairfield CT 06824 United States;X-APPLE-RADIUS=500;X-TITLE=200 Barlow Road:geo:-73.2542612,41.1534278 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20240120 DTEND;VALUE=DATE:20240310 DTSTAMP:20260406T143546 CREATED:20240226T154048Z LAST-MODIFIED:20240226T154048Z UID:107184-1705708800-1710028799@artinamericaguide.com SUMMARY:Jose Davila: Photographic Memory DESCRIPTION: Sean Kelly is delighted to announce Photographic Memory\, Jose Dávila’s first exhibition at the Los Angeles gallery. Photographic Memory is comprised of a series of Dávila’s signature cut-out works\, which reference Richard Prince’s solo exhibition at LACMA in 2018. The exhibition features large-scale photographic works in which Dávila has removed the main figure of Prince’s influential Untitled (cowboy) series. Challenging conventional connotations and limitations of photography in today’s image driven society\, Dávila’s cut-outs interrogate originality\, appropriation\, and the truth behind an image. There will be an opening reception on Saturday\, January 20\, from 5-7pm. The artist will be present.  \nDávila began making cut-outs in 2008\, an ongoing series in which he simultaneously pays homage to and critiques icons of 20th century art and architecture through acts of excision\, physically removing the central subject from photographic reproductions of original works of art. With these works\, Dávila investigates whether an artwork can be produced through a reductive rather than additive process. This technique is inspired by the Mexican folk-art tradition of papel picado or Cut-Paper\, which Dávila applies to contemporary art to explore the importance of negative space.  \nDávila revisits Richard Prince’s series in which he photographed and enlarged widely recognized advertisements for Marlboro cigarettes featuring imagery of cowboys on horseback in iconographic American Western landscapes. Prince cropped the 13 57 N H IG H LA N D AVE L OS A N GE L E S C A 90028 | T 3 1 0 . 4 9 9 . 0 8 4 3 | S E A N K E L L Y LA . C OM  \nadvertisements to remove any text and left the torn edges and tape as a reminder of their original context in mass-market magazines. This controversial practice raises questions about what constitutes an original work of art. Dávila’s photographs\, similarly scaled at up to six feet high by eight feet wide\, include the uneven edges and tape to pay homage to\, and keep the conceptual and theoretical congruency of\, the works referenced. Dávila takes the conversation a step further by removing the focal point of the image\, transforming the scenes into a poetic discourse about the power of negative space. “By subtracting the main subject\, I intend to compel the viewer to perform a creative act\, because they have to somehow fill in that central image from their memory and imagination\,” states Dávila. “Even if it’s an image you’ve seen many times\, whatever you might recall might not be the same thing that I recall.”  \nIn Photographic Memory\, Jose Dávila explores the boundaries of artistic influence\, skillfully intertwining homage and critique. He simultaneously challenges authorship through the alteration of iconic images to create new artworks and a distinctive oeuvre all his own.  \nJose Dávila has presented solo exhibitions at the Museum Haus Konstruktiv\, Zürich\, Switzerland; Dallas Contemporary\, Texas; JUMEX Museum\, Mexico City; Hamburg Kunsthalle\, Hamburg and the Museo del Novecento\, Florence\, amongst others. His work is in the permanent collection of numerous institutions including the Museo Universitario Arte Contemporáneo (MUAC)\, Mexico City\, Mexico; Museo Nacional Centro de Arte Reina Sofía\, Madrid\, Spain; Inhotim\, Brumadinho\, Brazil; the Perez Art Museum\, Miami\, Florida; the Buffalo AKG Art Museum\, Buffalo\, New York; the San Antonio Museum of Art\, San Antonio\, Texas\, the Solomon R. Guggenheim Museum\, New York; the Centre Pompidou\, Paris; Hamburg Kunsthalle\, Hamburg; and the Museum of Modern Art\, Luxembourg.  \nDávila was the winner of the 2016 BALTIC Centre for Contemporary Art’s New Annual Artists’ Award\, Artists honoree of the Hirshhorn Museum in Washington DC in 2016\, the 2014 EFG ArtNexus Latin America Art Award\, and has been the recipient of support from the Andy Warhol Foundation\, a Kunstwerke residency in Berlin\, and the National Grant for young artists by the Mexican Arts Council (FONCA) in 2000. In 2022\, Hatje Cantz published a major monograph illustrating the past twenty years of Davila’s practice.  \nFor additional information on Jose Dávila\, please visit skny.com  \nFor media inquiries\, please email Adair Lentini at Adair@skny.com  \nFor all other inquiries\, please email Thomas Kelly at Thomas@seankellyla.com  \n  Save   URL:https://artinamericaguide.com/event/jose-davila-photographic-memory-2/ LOCATION:New York CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/02/JDa-23.098-Untitled-Cowboy-2023_photo-Brica-Wilcox_001-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240120T110000 DTEND;TZID=America/New_York:20240309T180000 DTSTAMP:20260406T143546 CREATED:20231222T195524Z LAST-MODIFIED:20231222T195524Z UID:106359-1705748400-1710007200@artinamericaguide.com SUMMARY:Ana González: VERDES DESCRIPTION:Sean Kelly is delighted to present VERDES\, Ana González’s first solo exhibition in Los Angeles. Through her artistic practice González captures the duality of the natural world – its fragile state due to humanity’s extraction of natural resources and the political and spiritual power inherent to it. Drawing upon the landscapes of her native Colombia\, and her collaborations with the indigenous communities that protect them\, González’s work serves as both a warning of the gradual disappearance of a vital\, historic ecosystem and a celebration of its sensual power. Occupying Sean Kelly\, Los Angeles’ third-floor space\, the exhibition features paintings\, textiles\, works on paper\, and sculptures. There will be an opening reception on Saturday\, January 20\, from 5 – 7pm. The artist will be present. \nThe title of the exhibition\, VERDES\, simultaneously references the verdant green González captures in her landscape paintings and textiles\, as well as the dull green color of the US dollar. González juxtaposes these two motifs\, the ancient\, mutualist ecosystems of Colombia\, and the unsustainable\, capitalistic consumption of natural resources. In her Devastations series\, González prints photographs of South American landscapes onto woven textiles which she then partially unravels by hand. González manipulates the surfaces of her images to reflect the precariousness of these spaces; the jungles surrounding the Amazon River\, revered by some as the heart of the world\, are threatened by the mining\, ranching\, and logging industries. González’s unraveling represents the slow\, but consequential\, disappearance of an ancient ecosystem. Her textiles preserve the potential of these spaces as sites of power\, abundance\, and renewal. As the artist states\, “When I think of the green of the tropics\, I think about the damp soil\, the hot land\, the waterfalls\, the mountains\, the jungles… all that remains on this planet which allows us to breathe.” González’s works are a call to rejuvenate the landscapes she depicts\, an invitation towards stillness and reflection. She argues for a reorientation of our principles – from the monetary to the sacred values of the natural world. \nAlso on view are González’s sculptural works\, including a series depicting the Cattleya\, an orchid native to South America. Executed in Limoges porcelain\, a technique González’s learned while studying in Paris\, the Cattleya sculptures and related works render\, in vivid detail\, the soft and sensual surfaces of the plants. As with the Devastations textiles\, the fragility of the porcelain underscores the precarious nature of the environment they represent. Some of the flowers are enclosed in bell jars\, as though they are preserved specimens of a lost environment. Other sculptures depict detailed renderings of birds\, which reappear in the artists’ Sacred Bird drawings. To the artist\, birds serve as doors to the spiritual world. In VERDES\, their presence invites the viewer to access the transcendent qualities of the earthly scenes on view. \nAn architecture graduate from Universidad de Los Andes in Bogotá\, Colombia\, Ana González specialized in Art and Gender at Trinity College in Dublin\, Ireland and completed a Master’s Degree in Arts and Media (Photography-Printing-Publishing) at École Nationale Supérieure des Beaux-Arts and École Supérieure de Commerce de Paris in Paris\, France. Her work is included in several private and public collections\, including The Patricia Phelps de Cisneros Collection\, the Havremagasinet Länskonsthall Museum in Sweden\, the National Museum of Colombia and the Bogotá Museum of Modern Art (MAMBO). In addition\, González has developed several social projects with the Colombian indigenous communities of Sierra Nevada de Santa Marta and humanitarian projects with the Nukak community in Guaviare and the Misak women in Cauca. She is currently working on the construction of a traditional house with the Tikuna women of the Colombian Amazon. \nOn the occasion of her exhibition at Sean Kelly\, Los Angeles\, González has collaborated with the Misak community of Cauca\, Colombia to produce an edition of woven bags made using traditional weaving techniques of the Misak. The bags\, with an engraving by the artist\, will be available for purchase at Sean Kelly\, Los Angeles. All proceeds will go directly to the Misak women artisans of Cauca. \nFor additional information on the exhibition please visit skny.com \nFor additional information on Ana González\, please visit anagonzalezrojas.com \nFor media inquiries\, please email Adair Lentini at Adair@skny.com \nFor all other inquiries\, please email Thomas Kelly at Thomas@seankellyla.com \n  Save   URL:https://artinamericaguide.com/event/ana-gonzalez-verdes/ LOCATION:Sean Kelly LA\, 1357 N Highland Ave\, Los Angeles\, CA\, 90028\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/12/AnGo-293-AMAZONAS-2023-scaled.jpg ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240120T110000 DTEND;TZID=America/New_York:20240309T180000 DTSTAMP:20260406T143546 CREATED:20231222T195540Z LAST-MODIFIED:20231222T195540Z UID:106357-1705748400-1710007200@artinamericaguide.com SUMMARY:Jose Dávila: Photographic Memory DESCRIPTION:Opening reception: Saturday\, January 20\, 5 – 7pm \nSean Kelly is delighted to announce Photographic Memory\, Jose Dávila’s first exhibition at the Los Angeles gallery. Photographic Memory is comprised of a series of Dávila’s signature cut-out works\, which reference Richard Prince’s solo exhibition at LACMA in 2018. The exhibition features large-scale photographic works in which Dávila has removed the main figure of Prince’s influential Untitled (cowboy) series. Challenging conventional connotations and limitations of photography in today’s image driven society\, Dávila’s cut-outs interrogate originality\, appropriation\, and the truth behind an image. There will be an opening reception on Saturday\, January 20\, from 5-7pm. The artist will be present. \nDávila began making cut-outs in 2008\, an ongoing series in which he simultaneously pays homage to and critiques icons of 20th century art and architecture through acts of excision\, physically removing the central subject from photographic reproductions of original works of art. With these works\, Dávila investigates whether an artwork can be produced through a reductive rather than additive process. This technique is inspired by the Mexican folk-art tradition of papel picado or Cut-Paper\, which Dávila applies to contemporary art to explore the importance of negative space. \nDávila revisits Richard Prince’s series in which he photographed and enlarged widely recognized advertisements for Marlboro cigarettes featuring imagery of cowboys on horseback in iconographic American Western landscapes. Prince cropped the advertisements to remove any text and left the torn edges and tape as a reminder of their original context in mass-market magazines. This controversial practice raises questions about what constitutes an original work of art. Dávila’s photographs\, similarly scaled at up to six feet high by eight feet wide\, include the uneven edges and tape to pay homage to\, and keep the conceptual and theoretical congruency of\, the works referenced. Dávila takes the conversation a step further by removing the focal point of the image\, transforming the scenes into a poetic discourse about the power of negative space. “By subtracting the main subject\, I intend to compel the viewer to perform a creative act\, because they have to somehow fill in that central image from their memory and imagination\,” states Dávila. “Even if it’s an image you’ve seen many times\, whatever you might recall might not be the same thing that I recall.” \nIn Photographic Memory\, Jose Dávila explores the boundaries of artistic influence\, skillfully intertwining homage and critique. He simultaneously challenges authorship through the alteration of iconic images to create new artworks and a distinctive oeuvre all his own. \nJose Dávila has presented solo exhibitions at the Museum Haus Konstruktiv\, Zürich\, Switzerland; Dallas Contemporary\, Texas; JUMEX Museum\, Mexico City; Hamburg Kunsthalle\, Hamburg and the Museo del Novecento\, Florence\, amongst others. His work is in the permanent collection of numerous institutions including the Museo Universitario Arte Contemporáneo (MUAC)\, Mexico City\, Mexico; Museo Nacional Centro de Arte Reina Sofía\, Madrid\, Spain; Inhotim\, Brumadinho\, Brazil; the Perez Art Museum\, Miami\, Florida; the Buffalo AKG Art Museum\, Buffalo\, New York; the San Antonio Museum of Art\, San Antonio\, Texas\, the Solomon R. Guggenheim Museum\, New York; the Centre Pompidou\, Paris; Hamburg Kunsthalle\, Hamburg; and the Museum of Modern Art\, Luxembourg. Dávila was the winner of the 2016 BALTIC Centre for Contemporary Art’s New Annual Artists’ Award\, Artists honoree of the Hirshhorn Museum in Washington DC in 2016\, the 2014 EFG ArtNexus Latin America Art Award\, and has been the recipient of support from the Andy Warhol Foundation\, a Kunstwerke residency in Berlin\, and the National Grant for young artists by the Mexican Arts Council (FONCA) in 2000. In 2022\, Hatje Cantz published a major monograph illustrating the past twenty years of Davila’s practice. \n  Save   URL:https://artinamericaguide.com/event/jose-davila-photographic-memory/ LOCATION:Sean Kelly LA\, 1357 N Highland Ave\, Los Angeles\, CA\, 90028\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/12/JDa-23.98-Untitled-Cowboy-2023_Photo-Agustin-Arce_001-scaled.jpg ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20240125 DTEND;VALUE=DATE:20240519 DTSTAMP:20260406T143546 CREATED:20231009T142251Z LAST-MODIFIED:20231009T142251Z UID:105478-1706140800-1716076799@artinamericaguide.com SUMMARY:Storywork: The Prints of Marie Watt\, From the Collections of Jordan D. Schnitzer and His Family Foundation DESCRIPTION:Storywork: The Prints of Marie Watt\, From the Collections of Jordan D. Schnitzer and His Family Foundation is the first major retrospective exhibition tracing the artist’s career in print 1996-present alongside the artist’s monumental sculpture and textile works. The exhibition is accompanied by a fully illustrated exhibition catalogue. \n\n\nWe gave thanks for the story\, for all parts of the story\nbecause it was by the light of those challenges we knew\nourselves—Joy Harjo (Muscogee / Creek)\, National Poet Laureate \nMultimedia artist Marie Watt is a storyteller. As a member of the Seneca Nation (one of six that comprise the Haudenosaunee Confederacy) with German-Scots ancestry\, her stories draw from Native and non-Native traditions: Greco-Roman myth\, pop music and Pop art\, Indigenous oral narratives\, Star Wars and Star Trek. \nWatt reminds us of the stories told by her Seneca ancestors: how the world came to be\, what we have to learn from animals\, our ethical obligations to the planet\, as well as to past and future generations. She tells stories about humble\, everyday materials and objects—blankets\, quilts\, corn husks\, letters\, ladders\, and dreamcatchers—that carry intimate meanings and memories. \nOver the course of her career\, Watt has told these stories through prints. The collaborative printmaking process is consistent with Watt’s desire to build communities through art and storytelling. The stories the prints tell are personal\, cultural\, and universal\, dealing with elemental themes of shelter\, dreams\, the earth and sky\, and the cosmos. \nAs a Klamath elder once told her: “My story changes when I know your story.” \nThis retrospective exhibition traces Marie Watt’s career in print from 1996-present. For the first time\, Watt’s early work from her MFA program at Yale\, and her collaborations with master printers at Crows Shadow Institute\, Sitka Center for Art and Ecology\, Tamarind Institute\, and more recently Mullowney Printing Company are exhibited alongside the artists monumental scale textiles and sculpture. This exhibition also explores Watt’s evolving practice of convening sewing and printing circles with family\, friends and community members. The exhibition was curated in partnership with the University of San Diego by Dr. John Murphy\, Philip and Lynn Straus Curator of Prints and Drawings at The Frances Lehman Loeb Art Center\, Vassar College. \nMarie Watt (b. 1967) holds an MFA in painting and printmaking from Yale University; she also has degrees from Willamette University and the Institute of American Indian Arts; and in 2016 she was awarded an honorary doctorate from Willamette University.She has attended residencies at the Skowhegan School of Painting and Sculpture and the Vermont Studio Center; and has received fellowships from Anonymous Was a Woman\, the Joan Mitchell Foundation\, the Harpo Foundation\, The Ford Family Foundation\, and the Native Arts and Culture Foundation\, among others. \nWatt’s work in important museum collections across the United States. Selected collections include the Metropolitan Museum of Art\, the Seattle Art Museum\, the Whitney Museum of American Art\, the Albright-Knox Art Gallery\, Yale University Art Gallery\, the Crystal Bridges Museum\, the Smithsonian Institution’s National Museum of the American Indian and Renwick Gallery\, the Tacoma Art Museum\, the Denver Art Museum\, and the Portland Art Museum. \nThe exhibition is accompanied by an exhibition catalogue that includes an artist interview with Derrick Cartwright\, Director of University Galleries\, University of San Diego and essays by Dr. Jolene Rickard\, Associate Professor Art History at Cornell University\, and the exhibition curator\, Dr. John Murphy\, Philip and Lynn Straus Curator of Prints and Drawings at The Frances Lehman Loeb Art Center\, Vassar College. \n\n  Save   URL:https://artinamericaguide.com/event/storywork-the-prints-of-marie-watt-from-the-collections-of-jordan-d-schnitzer-and-his-family-foundation-2/ LOCATION:International Print Center New York\, 508 West 26th Street\, 5A\, New York\, NY\, 10001\, United States CATEGORIES:Exhibition GEO:40.74975;-74.003741 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=International Print Center New York 508 West 26th Street 5A New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=508 West 26th Street\, 5A:geo:-74.003741,40.74975 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20240125 DTEND;VALUE=DATE:20240310 DTSTAMP:20260406T143546 CREATED:20240103T214211Z LAST-MODIFIED:20240112T214518Z UID:106428-1706140800-1710028799@artinamericaguide.com SUMMARY:Richmond Barthé and Christopher Udemezue: in this moisture between us where the guinep peels lay DESCRIPTION:Richmond Barthé and Christopher Udemezue\nin this moisture between us where the guinep peels lay\nJanuary 25 – March 9\, 2024\nOpening reception: Thursday\, January 25\, 6:00-8:00pm \n\nRYAN LEE is pleased to announce in this moisture between us where the guinep peels lay\, an exhibition of sculptures by American modernist Richmond Barthé (1901-1989) alongside images by multimedia artist Christopher Udemezue (b. 1986). The two bodies of work\, created by artists of vastly different generations\, explore figural representation through myth and movement\, engage respective ties to Jamaica\, and invoke evolutions of the queer Black perspective.  \nThrough their distinct mediums\, both artists capture the eternal beauty and mysticism of the human body. Barthé\, who was most prolific during the early-to-mid twentieth century\, depicted the dynamism\, energy\, and movement of his subjects\, often sculpting from memory. His figures\, such as African Boy Dancing (1937) and Black Narcissus (1929) are characterized by their graceful\, elongated forms\, spiritual emotion\, and delicate sense of motion.  \nIn dialogue with these sculptures\, Udemezue’s photographs offer a striking and intimate meditation on the body from a contemporary perspective. “The scenes and stories depicted traverse historical and geographic borders\,” Udemezue says\, at the same time “addressing questions of African queerness\, Caribbean spirituality and oral storytelling.” The artists’ bodies of work\, when paired\, highlight intergenerational possibilities for the queer Black perspective through expression and visual storytelling; while also calling upon their deep\, yet differently rooted\, ties to Jamaica.  \nUdemezue’s photographs are directly inspired by trips to his ancestral homeland of  Bickersteth\, Jamaica\, each staged portrait responding to the folklore and oral stories of his imagined queer ancestors. “a tenderness when I was low and a touch on the side of my waist on days like today. a voice? something brought us to this space” embodies these perspectives. Lighted in the hot colors of passion\, Udemezue’s portrait captures affection and longing\, depicting queer bodies entwined among the lush throes of island foliage. A hand emerges into frame\, suggesting a tension between possibilities of being “beckoned away”\, and consenting approval for the embrace. Together\, Udemezue’s photographs are a rebuttal of and reclamation from Western myopia\, its artistic and literary canon\, and its historical misappropriations of Jamaican culture\, spirituality\, and identity.  \nBarthé’s relationship to Jamaica\, in contrast to Udemezue’s\, was less linear. “I’ve always identified myself with a certain shade of blue-green\,” Barthé relayed to fellow artist Camille Billops in a 1975 interview. “When I saw the water there [in Jamaica] it was like coming back home. I stayed for over twenty years because of the color of the water.” Despite not being genealogically connected to the island\, its coasts\, colors\, and way of life had a profound impact on his work. Moved by its character\, Barthé’s time there imbued into his sculptures the vitality and spirituality he observed around him. Simultaneously\, although he never explicitly revealed his sexuality to the public\, his sculptures over the years returned to themes of homoeroticism\, engaging subject matters of the male body in particular. \nAligned with their thematic conversions\, both artists’ work also shares a preoccupation with figural representation\, and a clear fascination with the body’s forms\, movements and expressions. “This show\, for me\, acts as a conversation through time\,” Udemezue says\, “connecting present day pain and triumphs to those who came before me.” Through this lens\, Barthé’s figures may be interpreted as predecessors to the younger artist’s work\, and engaged with along the same representational spectrum of experiences.  \nBarthé and Udemezue are united by the enduring timeliness of these subject matters. With in this moisture between us where the guinep peels lay\, the invitation is to both contemplate and contextualize the evolution – but also the tenacity – of queer Black perspectives across era\, geography\, and medium. The gallery is working with the estate of Samella Lewis\, who was instrumental in continuing Richmond Barthé’s legacy and creating later lifetime casts. \n\nRichmond Barthé (b. 1901\, Bay St. Louis\, MS – d. 1989\, Pasadena\, CA) was an American artist known for his sculptures of Black performers\, athletes\, dancers\, and historical figures. While attending the Art Institute of Chicago\, Barthé took up sculpture at the suggestion of one of his professors. Barthé began sculpting figures that expressed his sitters’ emotions through their gestures and movements. Shortly after graduating in 1928\, the artist relocated to New York City\, where he became a vital participant of the Harlem Renaissance. Over the next two decades\, Barthé exhibited widely and gained considerable acclaim as one of the first modern artists to depict African Americans in his work. In the 1940s\, Barthé became the first African American artist to be represented—together with painter Jacob Lawrence—in the Metropolitan Museum of Art’s and Whitney Museum of American Art’s collections. By the late-1940s\, Barthé moved to Jamaica and lived there for two decades. \nIn 2015\, Barthé’s work was featured in America Is Hard to See\, the inaugural exhibition at the new Whitney Museum of American Art. Recently\, his work has been featured in exhibitions at the Telfair Museums\, GA (2023); Kunsthal KAdE\, Amersfoort\, Netherlands (2020); and Wadsworth Atheneum Museum of Art\, CT (2019)\, among others. His work can be found in the collections of the Art Institute of Chicago\, IL; Los Angeles County Museum of Art\, CA; Museum of Fine Arts\, Boston\, MA; and Smithsonian American Art Museum\, DC\, among others. \n\nChristopher Udemezue (b. 1986\, Long Island\, NY) is an interdisciplinary artist whose practice is rooted in his Jamaican heritage\, healing\, personal mythologies\, and the desire for connection. Udemezue’s concentration has recently expanded to recounting and visualizing the effects of his mother’s immigration from Jamaica. He is the founder of RAGGA NYC\, a collective platform that connects a growing network of queer Caribbean artists and allies through online storytelling and events. In 2017\, Udemezue completed a residency at the New Museum that culminated in an exhibition on the platform\, titled RAGGA NYC: All the threatened and delicious things joining one another. \nIn 2018\, his work was featured in the New Museum’s 40 year anniversary show\, Trigger: Gender as a Tool and a Weapon. In 2019\, Udemezue participated in The Shed’s inaugural Open Call grant and group show. He has also been included in exhibitions at the Kemper Museum of Contemporary Art\, MO; Künstlerhaus\, Vienna\, Austria; Mercer Union\, Toronto\, Canada; MoMA PS1\, NY; New Museum\, NY; and Queens Museum of Art\, NY\, among others. Udemezue received his BFA from Parsons School of Design in 2008. He lives and works in New York\, NY. \n\nAbout RYAN LEE\nCelebrating emerging and established artists and estates\, RYAN LEE takes a multi-generational approach to its programming\, presenting innovative and scholarly exhibitions across all spectrums of art practices\, including painting\, photography\, video\, sculpture\, and performance. The gallery takes chances on a wide variety of boundary-pushing artists; their work consistently transcends political\, cultural\, material\, or technical boundaries. In addition\, RYAN LEE has\, throughout its history\, demonstrated its long-standing interest and dedication to feminist\, Black and Asian American\, as well as queer narratives in the twentieth and twenty-first centuries. Founded in 2013 by Mary Ryan and Jeffrey Lee\, the gallery is led by partners of different generations and backgrounds with over six decades of combined experiences informing its unique approach. \n  Save   URL:https://artinamericaguide.com/event/richmond-barthe-and-christopher-udemezue-in-this-moisture-between-us-where-the-guinep-peels-lay/ LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/01/Barthe-Udemezue.jpg ORGANIZER;CN="RYAN LEE":MAILTO:info@ryanleegallery.com GEO:40.7500935;-74.0036112 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=RYAN LEE 515 W 26th St 3rd Fl New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=515 W 26th St\, 3rd Fl:geo:-74.0036112,40.7500935 END:VEVENT END:VCALENDAR