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BEGIN:VEVENT
DTSTART;VALUE=DATE:20231208
DTEND;VALUE=DATE:20261207
DTSTAMP:20260824T155654
CREATED:20240522T193731Z
LAST-MODIFIED:20240522T193731Z
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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
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ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240816T080000
DTEND;TZID=America/New_York:20250504T170000
DTSTAMP:20260824T155654
CREATED:20240717T190348Z
LAST-MODIFIED:20240717T190348Z
UID:109249-1723795200-1746378000@artinamericaguide.com
SUMMARY:Tuan Andrew Nguyen: The Island
DESCRIPTION:Artist Tuan Andrew Nguyen creates multimedia installations that blend fact\, memory\, myth\, and mysticism and use lush imagery to draw out these entanglements. By digging deep into archives and collaborating with communities\, his projects weave together many voices to reveal other truths about — and strategies of repair from — colonial violence. In this Washington\, DC debut\, his video work The Island (2017) is shown for the first time with Bidong Spirit I\, a sculpted headdress Nguyen created for the film. The titles of both artworks refer to the tiny Malaysian island of Pulau Bidong\, a primary destination for Vietnamese escaping by boat after the collapse of South Vietnam in 1975. \nArtist Tuan Andrew Nguyen creates multimedia installations that blend fact\, memory\, myth\, and mysticism and use lush imagery to draw out these entanglements. By digging deep into archives and collaborating with communities\, his projects weave together many voices to reveal other truths about — and strategies of repair from — colonial violence. In this Washington\, DC debut\, his video work The Island (2017) is shown for the first time with Bidong Spirit I\, a sculpted headdress Nguyen created for the film. The titles of both artworks refer to the tiny Malaysian island of Pulau Bidong\, a primary destination for Vietnamese escaping by boat after the collapse of South Vietnam in 1975. \n  Save  
URL:https://artinamericaguide.com/event/tuan-andrew-nguyen-the-island/
LOCATION:Smithsonian American Art Museum\, 750 9th St. N.W.\, Washington\, DC\, 20001\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240920
DTEND;VALUE=DATE:20250303
DTSTAMP:20260824T155654
CREATED:20240116T143333Z
LAST-MODIFIED:20240116T143333Z
UID:106709-1726790400-1740959999@artinamericaguide.com
SUMMARY:David Smith: The Nature of Sculpture
DESCRIPTION:David Smith: The Nature of Sculpture is the first exhibition to explore the artist’s deep engagement with the natural world as source\, subject and site for his art. Working in multiple media\, formats\, and scales\, David Smith’s adventurous approach to three-dimensional form has permanently expanded the vocabulary and range of sculptural practice. Celebrated as the first American artist to make welded metal sculptures\, and to incorporate industrial means in his work\, Smith’s early enlistment of nature as a material and prime setting for his art was equally innovative. Spanning Smith’s full career\, the exhibition will feature some 50 sculptures\, along with related paintings\, reliefs and works on paper to reclaim the primacy of nature within the artist’s richly inventive oeuvre. This exploration of sculpture and nature will have particularly strong resonance at Meijer Gardens\, where Smith’s work will be in direct dialogue with the natural environs\, including larger pieces situated outdoors to commune with the elements as the artist intended. \n  Save  
URL:https://artinamericaguide.com/event/david-smith-the-nature-of-sculpture/
LOCATION:Frederik Meijer Gardens & Sculpture Park\, 1000 East Beltline Ave NE\, Grand Rapids\, MI\, 49525\, United States
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240924
DTEND;VALUE=DATE:20250303
DTSTAMP:20260824T155654
CREATED:20240628T154332Z
LAST-MODIFIED:20240628T154332Z
UID:109155-1727136000-1740959999@artinamericaguide.com
SUMMARY:The 50th: An Anniversary Exhibition
DESCRIPTION:Drawing from across the breadth and depth of the collection\, this exhibition marks the Smart Museum of Art’s 50th anniversary and explores what makes and defines a university art museum. \n  Save  
URL:https://artinamericaguide.com/event/the-50th-an-anniversary-exhibition/
LOCATION:Smart Museum of Art\, 5550 S. Greenwood Avenue\, Chicago\, IL\, 60637\, United States
CATEGORIES:Exhibition
GEO:41.7934642;-87.6002004
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240924
DTEND;VALUE=DATE:20250728
DTSTAMP:20260824T155654
CREATED:20240628T154332Z
LAST-MODIFIED:20241112T212527Z
UID:109156-1727136000-1753660799@artinamericaguide.com
SUMMARY:Robert Earl Paige: Give the Drummer Some!
DESCRIPTION:For the Smart’s 50th anniversary\, South Side artist Robert Earl Paige creates a multi-part pattern-based installation and sprawling public art project that invites communities into a collective experience of space. \n  Save  
URL:https://artinamericaguide.com/event/robert-earl-paige-give-the-drummer-some/
LOCATION:Smart Museum of Art\, 5550 S. Greenwood Avenue\, Chicago\, IL\, 60637\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240928T090000
DTEND;TZID=America/New_York:20250608T170000
DTSTAMP:20260824T155654
CREATED:20240808T143536Z
LAST-MODIFIED:20241122T192921Z
UID:109552-1727514000-1749402000@artinamericaguide.com
SUMMARY:Recent Acquisitions | Frye Art Museum
DESCRIPTION:Recent Acquisitions presents newly acquired artworks by artists with deep connections to the Pacific Northwest. Some artists were born here\, others are transplants—all have meaningfully shaped our artistic community. Reflecting the artistic production in our region\, the gathered artworks defy genre conventions\, often pushing the boundaries of their mediums. Ellen Lesperance (born 1971\, lives and works in Portland\, Oregon) meticulously translates knitting patterns into paintings\, and Gretchen Frances Bennett (born 1960\, lives and works in Seattle) evokes the grain of lo-fi digital imagery through precise color pencil marks. Margie Livingston’s (born 1953\, lives and works in Seattle) “paint object” employs acrylic paint as sculptural material\, while Natalie Ball’s (born 1980\, lives and works in Chiloquin\, Oregon) assemblages incorporate the scents of their organic materials. The museum acquired many of the included artworks through its Local Ties initiative\, which furthers the Frye’s commitment to championing local artists. \n  Save  
URL:https://artinamericaguide.com/event/recent-acquisitions-2/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/08/Lesperance-1-scaled.jpeg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241016T090000
DTEND;TZID=America/New_York:20250406T170000
DTSTAMP:20260824T155654
CREATED:20241205T204737Z
LAST-MODIFIED:20241205T204737Z
UID:110875-1729069200-1743958800@artinamericaguide.com
SUMMARY:Boren Banner Series: Natalie Krick
DESCRIPTION:In her new suite of collages\, Natalie Krick deconstructs pictures of Marilyn Monroe from Bert Stern’s book The Complete Last Sitting\, complicating the voyeuristic viewing imposed on its iconic subject.  \n  Save  
URL:https://artinamericaguide.com/event/boren-banner-series-natalie-krick/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/12/krick_two_patterns_overlap-scaled.jpg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241101T110000
DTEND;TZID=America/New_York:20250301T180000
DTSTAMP:20260824T155654
CREATED:20240119T150547Z
LAST-MODIFIED:20240229T212253Z
UID:106743-1730458800-1740852000@artinamericaguide.com
SUMMARY:Kambui Olujimi: North Star
DESCRIPTION:Kambui Olujimi: North Star is an immersive exhibition that brings together Kambui Olujimi’s multimedia inquiry into the possibilities of weightlessness. Olujimi’s projects re-imagine what is possible through history and everyday life. \n  Save  
URL:https://artinamericaguide.com/event/north-star-meditations-on-weightlessness/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
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GEO:37.3327419;-121.8905201
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=San Jose Museum of Art 110 S. Market Street San Jose CA 95113 United States;X-APPLE-RADIUS=500;X-TITLE=110 S. Market Street:geo:-121.8905201,37.3327419
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241101T110000
DTEND;TZID=America/New_York:20250316T180000
DTSTAMP:20260824T155654
CREATED:20240119T150547Z
LAST-MODIFIED:20240229T212203Z
UID:106742-1730458800-1742148000@artinamericaguide.com
SUMMARY:Beta Space: Patty Chang and David Kelley
DESCRIPTION:For the eighth iteration of the Museum’s ongoing series “Beta Space\,” multidisciplinary artists Patty Chang and David Kelley will explore the ecological implications of deep-sea mining. \n  Save  
URL:https://artinamericaguide.com/event/beta-space-patty-chang-and-david-kelley/
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/2024/01/BetaSpace_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/New_York:20241115T080000
DTEND;TZID=America/New_York:20250817T170000
DTSTAMP:20260824T155654
CREATED:20240522T193730Z
LAST-MODIFIED:20240522T193730Z
UID:108583-1731657600-1755450000@artinamericaguide.com
SUMMARY:Pictures of Belonging: Miki Hayakawa\, Hisako Hibi\, and Miné Okubo
DESCRIPTION:Pictures of Belonging is an unprecedented examination of these three trailblazing figures.  By tracing their artistic development before\, during\, and after the mass incarceration and displacement of Japanese Americans during World War II\, the exhibition offers a nuanced view of how these women continued to explore and experiment with new artistic expression throughout their lives. Created during tumultuous decades in modern U.S. history\, their paintings\, along with their stories of resilience\, remind us of art’s power in the face of adversity and challenge. \nThe exhibition includes works by Hisako Hibi and Miné Okubo recently acquired for SAAM’s collection\, part of a multi-year initiative to expand and enrich the representation of Asian American experiences\, perspectives\, and artistic accomplishment in public displays and new scholarship. \n  Save  
URL:https://artinamericaguide.com/event/pictures-of-belonging-miki-hayakawa-hisako-hibi-and-mine-okubo/
LOCATION:Smithsonian American Art Museum\, 750 9th St. N.W.\, Washington\, DC\, 20001\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241210T090000
DTEND;TZID=America/New_York:20250328T170000
DTSTAMP:20260824T155654
CREATED:20241202T215213Z
LAST-MODIFIED:20241209T044351Z
UID:110840-1733821200-1743181200@artinamericaguide.com
SUMMARY:Franz Kline | Richard Hambleton: Portraits and Shadows
DESCRIPTION:Franz Kline | Richard Hambleton: Portraits and Shadows \nDecember 2024 – March 2025 \nWoodward Gallery at Down Town Association\, 60 Pine Street\, NYC \n  \nThe culmination of Woodward Gallery’s 30th Anniversary year-long celebration is the much anticipated\, two-person exhibition\, featuring “Franz Kline | Richard Hambleton: Portraits and Shadows.” This comparison of work\, though a generation apart\, examines these artistic geniuses with so much in common. Curated by John Woodward\, this exhibition pairs rare\, intimate portraits by Abstract Expressionist Franz Kline (1910 – 1962) with never-before-seen shadow paintings by Conceptual Artist Richard Hambleton (1952 – 2017). The soul of the individual is strongly communicated in both styles. \n  \nKline attended Boston University (1931 – 1935)\,  Pennsylvania Academy of Fine Arts/PAFA\, (1935 – 1936)\, and the Leeds School of Art in England (1937 – 1938). Kline was a confirmed New Yorker\, but had roots that he never forgot in the gritty Coal Country of Eastern Pennsylvania. He studied at the Boston Art Students League\, which stressed figure drawing. His cartoon drawing was widely popular with faculty and students in High School\, but it was at the League that he mastered his style in character studies. \n  \nArt and beer were compatible for Kline. Often in the 1940s\, in the hopes of earning a few dollars\, he sketched people who\, like himself\, frequented the Cedar Bar and Minetta Tavern in NYC. His character drawings\, like “Nellie\,” done at the Minetta Tavern\, were not distorted as caricatures\, but heightened with Kline’s ability to select the most descriptive features of the sitting subject. \n  \nKline and Hambleton liked to paint at night\, always keeping late hours and sleeping during the daytime. Hambleton worked in darkness from an abandoned gas station (Avenue B and 2nd Street) while Kline found life at the Cedar Bar (24 University Place) and Minetta Tavern (113 MacDougal Street) to form his subjects when these portraits were created. \n  \nRichard Hambleton attended The Vancouver School of Art (later renamed the Emily Carr University of Art and Design) in Vancouver\, Canada (1971 – 1975)\, where he was exposed to a variety of art movements. He relocated to NYC in 1976\, where he lived for the rest of his life. In the early 1980s\, Richard traveled extensively to cities throughout the world\, placing hundreds of shadow figures and engaging the public to observe and accept the fragility of being. While still in school\, he learned an early folk art technique from an old woman in Vancouver\, to quickly cut black paper into a person’s silhouette. This led to the spontaneous Shadow Head Portraits that Richard realized he could paint for barter\, trade\, or quick cash.  \n  \nEach artist gave life to the character subjects in their portraits. Hambleton extracted a person’s kinetic energy by splattering paint\, capturing the personality of the real individual’s shadow. Richard trusted black paint to create the silhouettes that he became known for. Similarly\, Kline was dedicated to revealing beauty through portraiture. Both Kline and Hambleton successfully recorded the personality of their portraits\, but had different methods. Kline would draw his subject in the moment\, whereas Hambleton painted from memory. \n  \nBoth Franz and Richard began their successful art journeys with their first solo exhibitions in NYC— Kline at the Egan Gallery in 1950\, and Hambleton at Alexander Milliken Gallery in 1982. Considered the most prestigious cultural event in the world\, the Venice Biennale featured Kline in 1960\, and Hambleton in 1984. \n  \nKline and Hambleton were serious\, committed artists who both lived under extreme conditions\, sometimes even without food or water. Both artists generally isolated themselves to create\, but were often surrounded by muses. Yes\, Kline and Hambleton had magnetic personalities and were charismatic people\, but used portraiture as a medium to connect— many times\, in order to make money to survive. \n  \nThey never gave up their studios or the harsh conditions of NYC. Each was evicted multiple times for being unable to pay the rent. They continually had to find new space in which to create. Franz rolled newspapers to burn to stay warm in the colder seasons. Richard would maintain heat with a small space heater and a self-customized\, white lab coat. \n  \nIn a fascinating parallel of fate\, both artists within their respective periods\, were each able to befriend the two most influential artists of their times; Kline found Willem de Kooning and Jackson Pollock in the 1940s\, and Hambleton found Jean-Michel Basquiat and Keith Haring in the 1980s. Both artistic trios were successfully recognized in NYC and eventually\, worldwide. The 20th-century art patrons\, and founders of the Museum of Modern Art\, the Rockefellers purchased art from both Kline and Hambleton. Blanchett Ferry Rockefeller bought “Chief\,” named after a locomotive inspired by Kline’s childhood\, in 1952. David Rockefeller bought “Julia\,” named after the Woodward Gallery owners’ only daughter\, who was a child at the time\, in 2013. \n  \nIn 1959\, American photographer\, Irving Penn\, captured a group of invited artists\, including Franz Kline\, for “The New American Painting” exhibition at the MoMA\, NY. Later\, in 1984\, Timothy Greenfield-Sanders staged a nearly-identical photograph of the then-current artists\, “The New Irascibles\,” including Richard Hambleton\, for Arts Magazine and Art Forum. \n  \nAfter the end of their lives\, each artist was honored with a featured obituary in the New York Times: Franz Kline on May 15\, 1962\, and Richard Hambleton on November 4th\, 2017. Despite their differing eras\, both artists are now considered iconic figures of 20th-century American art. \n  \nThe presentation of works in “Franz Kline | Richard Hambleton: Portraits and Shadows” elucidates how each artist gave life to their portraits\, successfully recording the character of their subjects\, through observation and memory. \n  \nWoodward Gallery’s “Franz Kline | Richard Hambleton: Portraits and Shadows” exhibition is on view\, by appointment\, at 60 Pine Street\, at WoodwardGallery.net\, on Artsy.net\, and as a virtual Artsy Viewing Room. A digital catalogue will be published to coincide with this exhibition. Additionally\, this exhibition will travel to museums\, with locations to be announced. \n  \n  Save  
URL:https://artinamericaguide.com/event/franz-kline-richard-hambleton-portraits-and-shadows/
LOCATION:Woodward Gallery at Downtown Association\, 60 Pine Street\, NYC\, 60 Pine Street\, 3rd Floor\, New York\,\, NY\, 10005\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Woodward Gallery":MAILTO:art@woodwardgallery.net
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250117T080000
DTEND;TZID=America/New_York:20250308T170000
DTSTAMP:20260824T155654
CREATED:20250211T183658Z
LAST-MODIFIED:20250211T183658Z
UID:112028-1737100800-1741453200@artinamericaguide.com
SUMMARY:Allan Wexler: Probably True
DESCRIPTION:Jane Lombard Gallery is pleased to present Probably True\, Allan Wexler’s debut solo exhibition with the gallery. For nearly fifty years\, Wexler has created work informed by his architectural background and education. He produces functional absurdities that interrogate distinctions between human activity and the built environment. Wexler’s sculptures\, drawings\, and photographs represent subtle\, unexpected spaces where interventions are fostered. The exhibition will run from January 17th – March 8th with an opening reception on Friday\, January 17th\, 6 – 8 PM. \n  Save  
URL:https://artinamericaguide.com/event/allan-wexler-probably-true/
LOCATION:NY
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/02/Allan-Wexler-Burnt-ChairCharcoal-Drawing-2007-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250117T110000
DTEND;TZID=America/New_York:20250412T160000
DTSTAMP:20260824T155654
CREATED:20250121T213344Z
LAST-MODIFIED:20250121T213416Z
UID:111608-1737111600-1744473600@artinamericaguide.com
SUMMARY:Dawn & Dusk: Tonalism in Connecticut
DESCRIPTION:About the Exhibition: This exhibition explores Tonalism in the United States from the 1880s to the early 20th century\, through artists from the Northeast such as George Inness\, John Henry Twachtman\, and John Francis Murphy. Tonalism is a transitional movement that grew out of and reacted to the Hudson River School of painting and laid the groundwork for modernism. Evocative landscapes\, evoking a spiritual connection to the natural world\, often painted from memory\, are the primary genre of this movement. The more than fifty artworks in this exhibition are drawn from private and institutional collections. \n  Save  
URL:https://artinamericaguide.com/event/dawn-dusk-tonalism-in-connecticut/
LOCATION:Bellarmine Hall Galleries\, 1073 North Benson Road\, Fairfield\, CT\, 06824\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2025/01/Eaton_WinterSolitude.png
ORGANIZER;CN="Fairfield University Art Museum":MAILTO:museum@fairfield.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250118
DTEND;VALUE=DATE:20250309
DTSTAMP:20260824T155654
CREATED:20241219T175032Z
LAST-MODIFIED:20241219T175032Z
UID:111256-1737158400-1741478399@artinamericaguide.com
SUMMARY:Lindsay Adams: Keep Your Wonder Moving
DESCRIPTION:Sean Kelly\, Los Angeles is delighted to announce Keep Your Wonder Moving\, the West Coast debut of Chicago-based artist Lindsay Adams and her inaugural solo exhibition with the gallery. Titled after a note written by poet Patricia Spears Jones to philosopher Audre Lorde\, the exhibition\, presented on the third floor\, consists of eleven abstract paintings. Keep Your Wonder Moving emphasizes the artist’s longstanding interest in world-building – Adams’ exploration of abstraction as a conduit for expanding the imagination while embedding deeply personal narratives. The exhibition opens on Saturday\, January 18 from 5 – 7 PM. The artist will be present. \nAdams’ work interrogates the boundaries of abstraction and representation\, seamlessly weaving together the materiality of paint with the intangibility of memory and cultural identity. Her layered approach—where pigments are built up\, washed away\, or otherwise manipulated—imbues each canvas with a sense of flux\, reflecting her assertion that painting is as much alchemical as it is artistic. Her process leaves behind not only a complex surface\, but also an ambiguity that invites sustained contemplation. \nKeep Your Wonder Moving pivots from her earlier figurative depictions of nature and Black subjects to a complex abstract vernacular. As Adams describes\, this transition emerged as “an inevitable shift toward expressing a conceptual story\, allowing myself latitude in my storytelling and cultural reflection.” The works on view highlight her interest in constructing imagined ecologies\, spaces in which rhythmic gestures and dynamic hues engage in a continuous dialogue. For instance\, in Rhythm With Blues\, electric yellow and lavender forms bloom against an inky blue background\, evoking a field of abstracted flowers that resist traditional representational constraints. Adams challenges the viewer to question the delineations of form to embrace the unknown. \nThematically\, Adams situates her practice at the intersection of resilience\, freedom\, and the quotidian realities of Black womanhood. Her work transforms the canvas into an aspirational site—one that allows for intimate encounters with self-discovery and resistance against societal constraints. This ethos resonates with her political and cultural identity\, as her paintings assert their presence within a broader discourse of artistic and social transformation. The exhibition thus positions painting as both a reflective and generative act\, with Adams’ compositions acting as sites where meaning is not prescribed but rather discovered. \nLindsay Adams is currently finalizing her MFA in Painting and Drawing at the School of the Art Institute of Chicago and received a BA in both International Studies and Spanish from The University of Richmond. She has already garnered critical recognition\, including the prestigious Helen Frankenthaler Award in 2024 and the New Artist Society Merit Award in 2023. Her work has been exhibited at the Baltimore Museum of Art\, MD and the Martin Luther King Jr. Memorial Library\, Washington\, D.C.\, and is included in the collections of the Baltimore Museum of Art and Northwestern Law School. \n  Save  
URL:https://artinamericaguide.com/event/lindsay-adams-keep-your-wonder-moving/
LOCATION:Sean Kelly LA\, 1357 N Highland Ave\, Los Angeles\, CA\, 90028\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250118
DTEND;VALUE=DATE:20250309
DTSTAMP:20260824T155654
CREATED:20250107T203245Z
LAST-MODIFIED:20250107T203245Z
UID:111363-1737158400-1741478399@artinamericaguide.com
SUMMARY:Wu Chi-Tsung: Fading Origin
DESCRIPTION:Sean Kelly\, Los Angeles is delighted to present Fading Origin\, Wu Chi-Tsung’s first solo exhibition in Los Angeles. Known for his experimental approach to photography\, Chi-Tsung’s work bridges traditional Chinese art techniques and contemporary media\, integrating Eastern and Western aesthetics. The exhibition features new works in Chi-Tsung’s signature Cyano-Collage series and marks innovative new developments in his Wrinkled Texture works. There will be a reception from 5 to 7 pm. The artist will be present. \nWu Chi-Tsung was initially drawn to the cyanotype – an early form of photography requiring only basic chemicals and sunlight – in response to the rise of digital photography. For Chi-Tsung\, what digital photography loses\, and what his cyanotypes capture\, is the medium’s openness to chance and its connection to the material world\, qualities that make each cyanotype unique. Chi-Tsung’s renowned Cyano-Collage series synthesize his dual interests in Chinese landscape painting and experimental photography. This process begins by washing sheets of Xuan rice paper in photo-sensitive materials\, which\, when dried\, Chi-Tsung creases by hand and exposes to sunlight. The subsequent abstract elements are collaged together on aluminum panels. The resulting images are open to interpretation perhaps evoking sublime mountainous landscapes or tumultuous seascapes. With their stunning formal cohesion and classical grandeur\, the Cyano-Collages belie the inventive process of their creation. While Chi-Tsung conjures his panoramas through experimental photography\, his use of the cyanotype process retains a connection to both the artist’s hand and the natural world. In this way\, Chi-Tsung captures the spiritual depth of Eastern painting traditions dating back over a thousand years\, while renewing it with a contemporary aesthetic. \nIn the new Wrinkled Texture Fading Origin series the diptych and quadriptych works begin with a single\, full sheet of exposed cyanotype paper. This print then becomes the basis for recursive cyanotypes within the same work\, with each image becoming the negative for the adjacent sheet. The result is a mesmerizing shift between blue and white tones\, where the original image gradually dissipates into a field of color. This process captures the ephemeral and transient qualities of the natural world whilst also emphasizing the slight\, irreproducible differences unique to analog processes. By double-exposing the paper and exploring the faded origin of the image\, the Wrinkled Texture Fading Origin series reflect Chi-Tsung’s commitment to advancing the medium while preserving the poetic\, tactile qualities of analog photography. \nWu Chi-Tsung believes his generation is the last to transition from analog to digital photography\, a shift that profoundly informs his practice. Unlike digital images\, where copies retain perfect fidelity\, analog processes embrace subtle variations that reflect their individuality. In his Cyano-Collage series\, breathtaking images emerge from the meticulous accumulation of numerous cyanotype prints\, while his Wrinkled Texture works explore cycles of emergence and disappearance through innovative multiple exposures. Together\, these works emphasize the conceptual depth\, material innovation\, and aesthetic sensitivity that define Chi-Tsung’s body of work. \nWu Chi-Tsung’s work has been the subject of solo exhibitions at the Katonah Museum of Art\, New York and TAO Art\, Taiwan. His work has been included in international exhibitions at institutions such as the Mori Art Museum\, Japan; the National Museum Cardiff\, United Kingdom; the Long Beach Museum of Art\, Los Angeles; the Casino Luxembourg – Forum d’art Contemporain\, Luxembourg; the Museo Del Palacio De Bellas Artes\, Mexico; the Central Academy of Fine Arts\, Beijing; the Shanghai Art Museum and the Minsheng 21st Century Museum\, Shanghai\, China; the Seoul Museum of Art\, South Korea; the Hiroshima City Museum of Contemporary Art\, Japan; the Ullens Center for Contemporary Art\, Beijing\, and the Taipei Fine Arts Museum\, Taiwan amongst others. Wu Chi-Tsung was the recipient of the Liu Kuo Sung Ink Art Award\, Hong Kong in 2019\, the WRO Media Art Biennial award in 2013 and the Taipei Arts Award in 2003. His work is included in renowned collections such as the Xie Zilong Photography Museum\, the Post Vidai Collection\, M+ Hong Kong\, The Vero Beach Museum of Art\, The Santa Barbara Museum of Art\, and the Borusan Contemporary Art Collection. \nFor additional information about Wu Chi-Tsung\, please visit skny.com \nFor press inquiries\, please contact Adair Lentini at Adair@skny.com \nFor all other inquiries\, please contact Thomas Kelly at Thomas@seankellyla.com \n  Save  
URL:https://artinamericaguide.com/event/wu-chi-tsung-fading-origin/
LOCATION:Sean Kelly LA\, 1357 N Highland Ave\, Los Angeles\, CA\, 90028\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250118
DTEND;VALUE=DATE:20250309
DTSTAMP:20260824T155654
CREATED:20250114T165053Z
LAST-MODIFIED:20250114T165053Z
UID:111486-1737158400-1741478399@artinamericaguide.com
SUMMARY:Paul Wonner: A Bountiful Feast
DESCRIPTION:Paul Thiebaud Gallery is pleased to announce the opening of Paul Wonner: A Bountiful Feast on Saturday\, January 18th from 3-5pm\, with remarks at 3:30pm.  On view from the artist’s estate will be twelve paintings on paper from Wonner’s heralded series of still lifes from the second half of his career.  Full of produce\, cut flowers\, and other everyday objects arranged on broad flat surfaces\, Wonner’s works celebrate the common objects of contemporary life through his modern reinterpretation of the historic genre of the still life.  The exhibition will be on view through March 8\, 2025. \n  \nUsing vivid colors and complex compositional arrangements\, Paul Wonner took his inspiration for this series from 17th and 18th century Dutch still life paintings.  In doing so\, however\, Wonner turned the traditional notions about the appearance and meaning of a still life completely on their head.  Through Wonner’s artistic lens\, the perspectival plane has been tilted up to exaggerate the foreground\, seemingly unrelated objects are arranged singularly across the composition\, and the elements of story telling and implicit meaning usually associated with the genre have been removed.  Of particular note is Wonner’s use of pattern in the fabrics and tea towels he employs to create visual textures and provide structure for the other objects to be placed on. \n  \nOriginating in the mid-1970s\, Wonner’s still lifes afforded an important boost to his career at a time when the art world was returning to realism as an accepted and even lauded mode of painting.  With the help of Philip Guston\, the emergence of the “new realism” in the mid-1970s came at a time when the course of modern art had reached an apogee through minimalism and conceptualism\, leaving room for something as timeless as the realistic image to be considered “new” again. \n  \nBorn in Tucson\, Arizona\, Paul Wonner (1920-2008) first earned a Bachelor’s degree in Art Education from the California College of Arts and Crafts (now California College of the Arts) in 1941\, and later studied at the Art Students League and Subjects of the Artist School in New York.  He then went on to earn both a BA (1952) and an MFA (1953) in Art from the University of California\, Berkeley\, and a Master’s of Library Science from UC Berkeley in 1956. \n  \nWonner first became known as a painter for his role as a member of the Bay Area Figurative Painting movement during the 1950s and early 1960s\, which fought back against the dominance of Abstract Expressionism at that time.  His works were included in the seminal show Contemporary Bay Area Figurative Painting\, which was curated by Paul Mills at the Oakland Art Museum in 1957 and also included the works of David Park\, Elmer Bischoff\, Richard Diebenkorn\, William Theophilus Brown\, Bruce McGaw\, Joseph Brooks\, Robert Downs\, Robert Qualters\, Walter Snelgrove\, Henry Villierme\, and James Weeks.  The show later travelled to the Los Angeles County Museum of Art\, Dayton Art Institute\, and the Colorado Springs Fine Arts Center. \n  \nIn 2023\, The Crocker Art Museum in Sacramento\, CA organized Breaking the Rules: Paul Wonner and William Theophilus Brown\, the first full career retrospective for Wonner and his life partner William Theophilus Brown.  The exhibition later travelled to the Laguna Art Museum\, Laguna Beach\, CA and the Dixon Gallery and Gardens in Memphis\, TN. \n  \nOver the course of his career\, Paul Wonner taught art at colleges\, universities\, and art centers across California\, including University of California\, Los Angeles (UCLA); Otis Art Institute (now Otis College of Art and Design); UC Santa Barabara; Art Center College of Design; California State University\, Long Beach; UC Davis; the Davis Art Center; and the Laguna Beach School of Art.  He also taught at the University of Hawai’i at Manoa and the University of New Mexico in Albuquerque. \n  \nWonner also received awards and accolades throughout his life\, including the 1953 Anne Bremer Prize in Art from the California School of Fine Arts (later known as the San Francisco Art Institute); The 1954 Walter Haas Award for promising young artists from the San Francisco Museum of Art (now SFMOMA); second prize at the Fifth Annual Painting and Sculpture Exhibition from the San Francisco Museum of Art in 1955; prize at the 1958 Seventy-Seventh Annual Painting and Sculpture Exhibition of the San Francisco Art Association; First place (later rescinded) at the 1960 Los Angeles All-City Art Festival; and the 2004 Elder Artist of the Year Award\, conferred by Eldgergivers of Napa County in collaboration with di Rosa Preserve: Art and Nature\, Napa\, CA. \n  \nPaul Wonner’s works have been exhibited extensively across the United States and internationally\, and can be found in the numerous public and private collections\, including The Metropolitan Museum of Art; The Museum of Modern Art\, NY; Solomon R. Guggenheim Museum; Whitney Museum of American Art; National Gallery of Art\, Washington\, D.C.; Hirshhorn Museum and Sculpture Garden; Smithsonian American Art Museum\, San Francisco Museum of Modern Art; Fine Arts Museums of San Francisco; Art Institute of Chicago; Museum of Fine Arts Boston; Orange County Museum of Art; Santa Barbara Museum of Art; Oakland Museum of California; Crocker Art Museum; San Jose Museum of Art; Berkeley Art Museum and Pacific Film Archive; Iris & B. Gerald Cantor Arts Center\, Stanford University; Anderson Collection at Stanford University; and the di Rosa Center for Contemporary Art\, Napa\, CA\, among many others. \n  \nAll sales of works from the Estate benefit The Paul Wonner and William Theophilus Brown Endowment Fund at the Crocker Art Museum\, which supports projects relating to emerging artists or lesbian\, gay\, bisexual\, transgender\, queer or questioning\, and intersex (LGBTQI+) artists.  Proceeds go to the acquisition\, care\, exhibition\, scholarship\, and publication of art by emerging and LGBTQI+ artists\, along with related public programs. \n  Save  
URL:https://artinamericaguide.com/event/paul-wonner-a-bountiful-feast/
LOCATION:Paul Thiebaud Gallery\, 645 Chestnut Street\, San Francisco\, CA\, 94133\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250118
DTEND;VALUE=DATE:20250309
DTSTAMP:20260824T155654
CREATED:20250114T165053Z
LAST-MODIFIED:20250114T165053Z
UID:111481-1737158400-1741478399@artinamericaguide.com
SUMMARY:William Theophilus Brown: In the Studio
DESCRIPTION:Paul Thiebaud Gallery is pleased to announce William Theophilus Brown: In the Studio\, an exhibition of thirteen paintings on canvas\, panel\, and paper from the artist’s estate\, opening on Saturday\, January 18\, 2025\, with a reception from 3-5pm and remarks at 3:30pm.  Well known as a member of the Bay Area Figurative Painting movement and for his focus on painting the male form\, the exhibition features a selection of Brown’s works from across five decades of his career.  Sometimes clothed\, but more often nude\, the selected paintings include single figures in various poses\, depictions of studio drawing sessions with a model and other artists\, images of Brown’s favorite model Jamie Yates\, and a self-portrait at the age of 79.  The exhibition will be on view through March 8\, 2025. \n  \nFirst emerging as a member of the Bay Area Figurative Painting movement in the 1950s\, by the end of the 1960s William Theophilus Brown began searching for new subject matter and a fresh style of painting.  He found his inspiration in portraiture and the male form\, often depicted nude.  These subjects and others would be rendered in the more polished\, contained painting method that Brown shifted to around 1970 and which would define the latter half of his career.  Showcased in the exhibition are two large canvas works\, Portrait of Shawn (1970) and Untitled (David M.) (1981-1996) from a series of large-scale\, full length portraits Brown began in 1970.  Alongside them are studies of single\, two-person\, and group compositions of male nudes arranged sitting\, standing and lying prone in Brown’s studio. Among them are two renderings of his favorite model Jamie Yates\, as well as a self-portrait of the artist sitting at his studio table.  Brown structures his pictorial arrangements by surrounding each sitter with a backdrop at times as classic as a supplely draped cloth\, while in others he has included tables\, chairs\, and other objects to create more complex formal relationships. \n  \nThroughout his career\, Brown regularly participated in model drawing sessions with other artists.  Two such sessions are depicted in respective works\, with the other artists shown either in the fore- or background.  This compositional motif has a long history in western art and is one Brown mined regularly in his drawings and paintings.  Brown’s choice to focus on the male form is one that sets him apart in the history of American and European art\, with its long history of celebrating the female figure.  It was a provocative and revolutionary move in 1970 when he set upon that path. \n  \nBorn in Moline\, Illinois in 1919\, William Theophilus Brown earned a Bachelor’s degree in Music from Yale University in 1941 and an MFA in painting from the University of California\, Berkeley in 1954.  From the 1950s until the mid-1970s\, Brown he taught painting at several universities\, including the University of California\, Berkeley\, the California School of Fine Arts (later known as the San Francisco Art Institute)\, Stanford University\, University of Kansas at Lawrence\, and the University of California\, Davis. \n  \nIn 1957\, Brown’s paintings were included in the seminal show Contemporary Bay Area Figurative Painting\, which codified the Bay Area Figurative movement as revolutionary in its pushing back at the dominance of Abstract Expressionism then reigning in the art world.  Curated by Paul Mills at the Oakland Art Museum\, the exhibition included the works of David Park\, Elmer Bischoff\, Richard Diebenkorn\, Paul Wonner\, Bruce McGaw\, Joseph Brooks\, Robert Downs\, Robert Qualters\, Walter Snelgrove\, Henry Villierme\, and James Weeks.  The show later travelled to the Los Angeles County Museum of Art\, Dayton Art Institute\, and the Colorado Springs Fine Arts Center. \n  \nIn 2023\, The Crocker Art Museum in Sacramento\, CA organized Breaking the Rules: Paul Wonner and William Theophilus Brown\, the first full career retrospective for Brown and his life partner Paul Wonner.  The exhibition later travelled to the Laguna Art Museum\, Laguna Beach\, CA and the Dixon Gallery and Gardens in Memphis\, TN. \n  \nWilliam Theophilus Brown’s paintings\, drawings\, and prints have been exhibited extensively across the United States and can be found in numerous private and public collections\, including The Metropolitan Museum of Art; The Museum of Modern Art\, NY; Whitney Museum of American Art; National Gallery of Art\, Washington\, D.C.; Smithsonian American Art Museum; Hirshhorn Museum and Sculpture Garden; San Francisco Museum of Modern Art; Fine Arts Museums of San Francisco; Sheldon Memorial Art Gallery\, University of Nebraska\, Lincoln; Oakland Museum of California; Crocker Art Museum; San Jose Museum of Art; Berkeley Art Museum and Pacific Film Archive; Iris & B. Gerald Cantor Art Centre at Stanford University; Anderson Collection at Stanford University; and di Rosa Centre for Contemporary Art\, among many others.  William Theophilus Brown died in San Francisco\, CA in 2012 at the age of 93. \n  \nAll sales of works from the Estate benefit The Paul Wonner and William Theophilus Brown Endowment Fund at the Crocker Art Museum\, which supports projects relating to emerging artists or lesbian\, gay\, bisexual\, transgender\, queer or questioning\, and intersex (LGBTQI+) artists.  Proceeds go to the acquisition\, care\, exhibition\, scholarship\, and publication of art by emerging and LGBTQI+ artists\, along with related public programs. \n  Save  
URL:https://artinamericaguide.com/event/william-theophilus-brown-in-the-studio/
LOCATION:Paul Thiebaud Gallery\, 645 Chestnut Street\, San Francisco\, CA\, 94133\, United States
CATEGORIES:Exhibition
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GEO:37.8034836;-122.4140083
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250124T110000
DTEND;TZID=America/New_York:20250329T160000
DTSTAMP:20260824T155654
CREATED:20250121T213226Z
LAST-MODIFIED:20250121T213257Z
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SUMMARY:To See this Place: Awakening to Our Common Home
DESCRIPTION:About the Exhibition: Environmental threats and climate change are urgent matters of concern at Jesuit universities\, where conversations on this topic often take place in reference to two documents by Pope Francis: Laudato Si’: On Care for Our Common Home (2015) and the 2023 update Laudate Deum. Artists play an indispensable role in our collective response to climate change. To See This Place: Awakening to Our Common Home\, curated by Al Miner and David Brinker\, will present work by Athena LaTocha\, Mary Mattingly\, and Tyler Rai\, three contemporary artists whose outlook resonates with the themes of Laudato Si’ and Laudate Deum. Embodying a breadth of personal\, geographic\, and cultural backgrounds\, the three artists create works strongly associated with a sense of place\, whether specific or imaginary. They employ media as diverse as photography\, sculpture\, video\, and painting\, and often incorporate materials sourced from particular locales. Yet the artists draw forth broader themes from this particularity\, critiquing political and economic systems that perpetuate destructive self-interest and drawing attention to people who have been marginalized and historically excluded or harmed. The works are artistically compelling yet can inspire us to creativity and boldness in our efforts to address climate change. This exhibition will open at Saint Louis University’s Museum of Contemporary Religious Art in Fall 2025. \n  Save  
URL:https://artinamericaguide.com/event/to-see-this-place-awakening-to-our-common-home/
LOCATION:Quick Center for the Arts\, Walsh Gallery\, 1073 North Benson Road\, Fairfield\, CT\, 06824\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Fairfield University Art Museum":MAILTO:museum@fairfield.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250125T090000
DTEND;TZID=America/New_York:20250622T170000
DTSTAMP:20260824T155654
CREATED:20241205T204737Z
LAST-MODIFIED:20241205T204737Z
UID:110879-1737795600-1750611600@artinamericaguide.com
SUMMARY:Dawn Cerny: Portmeirion
DESCRIPTION:Seattle artist Dawn Cerny’s abstract sculptures transform a museum gallery into a colorful domestic landscape. Her interactive furniture pieces crafted from humble materials celebrate the theatricality of everyday life\, often to humorous effect. \n  Save  
URL:https://artinamericaguide.com/event/dawn-cerny-portmeirion/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250125T100000
DTEND;TZID=America/New_York:20250511T170000
DTSTAMP:20260824T155654
CREATED:20241211T193616Z
LAST-MODIFIED:20241211T202157Z
UID:110900-1737799200-1746982800@artinamericaguide.com
SUMMARY:Joana Choumali: Languages of West African Marketplaces
DESCRIPTION:Explore the complex and multinational economy of secondhand T-shirts through the vibrant mixed-media photographs of award-winning Ivorian artist Joana Choumali. \nJoana Choumali: Languages of West African Marketplaces showcases 12 life-size hand-quilted and embroidered portraits created from combinations of photographs taken in the marketplaces of Côte d’Ivoire (the Ivory Coast) and Ghana\, where secondhand clothing discarded by the United States and Europe plays a central role in the economy of goods. Choumali (b. 1974) has made her birthplace of Abidjan\, Côte d’Ivoire\, where she continues to live and work\, a central subject of her photographic practice. There she encountered the prevalence of bold English-language slogans on T-shirts worn by individuals who do not speak English in the markets; she became intrigued by the dissonance between these designs and the lives of the individuals wearing them. \nThe series\, called Yougou-Yougou (a Malinké phrase for secondhand clothing)\, reveals the diversity of languages\, economies\, and people found in regional marketplaces and underscores the impacts of the international circulation of excess consumer goods. Accompanied by Choumali’s notes from her conversations with her subjects\, the works continue the artist’s commitment to deep engagement with and representation of her local community through her artwork. \nCurated by Ilisa Barbash\, Curator of Visual Anthropology\, Peabody Museum of Archaeology and Ethnology\, Harvard University\, and Mitra Abbaspour\, Houghton Curator of Modern and Contemporary Art\, Harvard Art Museums; with Bridget Hinz\, Senior Curatorial Assistant for Special Exhibitions and Publications\, Division of Modern and Contemporary Art\, Harvard Art Museums. \nCo-organized by the Harvard Art Museums and the Peabody Museum of Archaeology and Ethnology. The creation of the works in this exhibition was funded by the Robert Gardner Fellowship in Photography at the Peabody Museum. For more information\, visit the Gardner Fellowship website. \n  Save  
URL:https://artinamericaguide.com/event/joana-choumali-languages-of-west-african-marketplaces/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
CATEGORIES:Exhibition
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ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20250125T100000
DTEND;TZID=America/Denver:20250914T170000
DTSTAMP:20260824T155654
CREATED:20250123T201026Z
LAST-MODIFIED:20250123T201026Z
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SUMMARY:Held Impermanence (Artists Select: Katherine Simóne Reynolds)
DESCRIPTION:The Clyfford Still Museum’s guest-curated exhibition\, Held Impermanence (Artists Select: Katherine Simóne Reynolds)\, illuminates multiple competing desires held in constant tension within the Museum. Organized by award-winning filmmaker\, artist\, and curator Katherine Simóne Reynolds\, the exhibition draws deeply on CSM’s collections. The exhibition runs from January 25–September 14\, 2025. \nAccording to Reynolds\, the collection testifies to Still’s ambitious attempt to keep his entire corpus intact. The commitment to the integrity of that body of work allows viewers to see not only the acclaimed masterpieces but also paintings made in painful transitions and others that bear the scars of time. Artworks change over time; their materials carry the stain of what conservators describe as inherent vice. Viewers see paintings that need to rest and heal\, bearing marks that suggest\, through their surfaces\, condition\, and textures\, metaphors of viscera\, bile\, and wounds. \nIn the Museum’s six largest galleries\, Reynolds’s exhibition asks viewers how they view healing over time\, respond with their bodies to this corpus\, and how they might approach Still’s achievements from a perspective that contends with his and their own senses of mortality—and with it\, a shared desire to hold impermanence. \nKatherine Simóne Reynolds is an artist\, scholar\, and curator who investigates emotional dialects and psychogeographies of Blackness within the Black Midwestern landscape. Her art physicalizes emotions and experiences through photo-based works\, film\, choreography\, sculpture\, and anxious writing practice. She has exhibited in national and international group and solo shows. \n  \nReynolds chose several paintings with condition issues to highlight the impact of conservation throughout the exhibition. She also selected a collection of archival photographs\, letters\, and notes to demonstrate the themes and emotions throughout the exhibition and two original archival objects. The Museum expands on exhibition content and Reynolds’ curatorial process in its free mobile guide on Bloomberg Connects. CSM also offers visitors two takeaway resources in the exhibition’s first gallery\, including Essays on Held Impermanence\, a companion booklet to the exhibition\, and Exploring Feelings and Art: A Family Guide. \nHeld Impermanence follows a chronological display of Still’s works in the Museum’s first three galleries. \n  Save  
URL:https://artinamericaguide.com/event/held-impermanence-artists-select-katherine-simone-reynolds/
LOCATION:Clyfford Still Museum\, 1250 Bannock St.\, Denver\, CO\, 80204\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Clyfford Still Museum":MAILTO:press@clyffordstillmuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250125T120000
DTEND;TZID=America/New_York:20250330T170000
DTSTAMP:20260824T155654
CREATED:20250102T161809Z
LAST-MODIFIED:20250115T022718Z
UID:111339-1737806400-1743354000@artinamericaguide.com
SUMMARY:CUSP | Brian Dickerson · Melinda Stickney-Gibson · Millicent Young
DESCRIPTION:CUSP | Brian Dickerson\, Melinda Stickney-Gibson + Millicent Young \nTHE HYDE COLLECTION \n161 Warren Street \nGlens Falls\, New York\, 12801 \nGallery Hours: Thursday – Sunday: 10 am – 5 pm \nEXHIBITION DATES: January 25 – March 30\, 2025 \nConversation with the artists · Sunday\, January 26\, 2025\, 1:00 PM \n(Glens Falls\, NY ) – The art exhibition Cusp presents three contemporary artists whose work in different media hover between the known and the unknowable. Their artworks constantly change as paintings transform into sculptures\, works on paper evoke memories\, and a three-dimensional installation recites poetry. These artworks never quite settle into any realm but exist in an ever-shifting environment. Cusp opens at The Hyde Collection on Saturday\, January 25\, and continues through March 30\, 2025.  The artists will converse with curator Jen Dragon on Sunday\, January 26\, at 11:00 AM. \nTHE THREE ARTISTS \nBrian Dickerson‘s paintings are structured from built-up surfaces\, rich with energetic brushwork enveloping angular\, constructed elements. As the sculpted paintings interact with light\, the edges and openings change in endlessly shifting topographies. \nMelinda Stickney-Gibson‘s delicate drawings\, paintings\, and sculptures meditate on memory. Cryptic phrases\, trembling lines\, and blurred forms emerge through glowing layers of wax\, paper\, and paint\, much as conscious thought morphs into spontaneous imagination before sleep. \nMillicent Young’s hair\, wood\, and clay installations create contemplative spaces for reflecting on personal and collective loss. Drawing on humble materials\, Young weaves\, sculpts\, and scribes metaphors drawn from ancient archetypes while sounding an alarm for a fragile future.  \nAs visual poets\, Dickerson\, Stickney-Gibson\, and Young capture the transformation from what is seen to what is felt. The artists invite us to tolerate the unknown\, opening portals between the concrete and the intuitive worlds. \n  Save  
URL:https://artinamericaguide.com/event/cusp-brian-dickerson-%c2%b7-melinda-stickney-gibson-%c2%b7-millicent-young/
LOCATION:The Hyde Collection\, 161 Warren Street\, Glens Falls\, NY\, 12801\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Cross Contemporary Art Projects":MAILTO:crosscontemporaryprojects@gmail.com
GEO:43.3101898;-73.6340285
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250206T080000
DTEND;TZID=America/New_York:20250308T170000
DTSTAMP:20260824T155654
CREATED:20250204T163805Z
LAST-MODIFIED:20250204T163805Z
UID:111894-1738828800-1741453200@artinamericaguide.com
SUMMARY:Frank Wimberley: Before More After Less
DESCRIPTION:Berry Campbell is pleased to present its third solo exhibition of 99-year-old African American artist\, Frank Wimberley (b. 1926). Based in Corona\, Queens\, and Sag Harbor\, New York\, Frank Wimberley works in a pure abstract style that comes out of the tradition of the Abstract Expressionist painters\, particularly inspired by Willem de Kooning. Expressionism is a key to Wimberley’s work. Throughout decades of varying art trends\, Frank Wimberley has stayed true to his signature style of painterly and thickly textured works. Wimberley has long believed his approach provides the most authentic means of conveying his personal narrative\, paralleling the artistic expression of his close friend and collector\, legendary jazz musician Miles Davis. \n  \nThis exhibition will include paintings\, sculpture\, and collages that range in date from 1969 to his most recent collage from 2025. Featured in this exhibition is a body of work from the 1990s that is distinguished by the artist’s approach of building up textured surfaces using canvas\, sand\, or other materials. These works\, predominantly composed of blacks\, whites\, and earth tones\, evoke a soft poetic quality. Many of these paintings have not been displayed publicly since their original exhibitions at the Cinque Gallery\, June Kelly Gallery\, and Howard University. \n  \nIn recent years\, Wimberley’s work has continued to receive significant recognition. In 2021\, he had a solo exhibition\, at the Arts Center at Duck Creek in East Hampton\, New York\, and was included in Creating Community: Cinque Gallery Artists at the Art Students League\, New York. In 2023\, his art was featured in Collection Highlights: African-American Art at the Greenville County Museum of Art in South Carolina. Currently\, his work is included in Acts of Art and Rebuttal in Greenwich Village\, a group exhibition at the Bertha and Karl Leubsdorf Gallery at Hunter College\, New York\, on view through March 2025. Recently Frank Wimberley was inducted in the Guild Hall Academy of Arts by Eric Fischl. He is in the collections of the Metropolitan Museum of Art\, the Studio Museum in Harlem\, and the Smithsonian Institution of American Art\, among many other institutions. \nFrank Wimberley: Before More After Less is accompanied by a 68-page exhibition catalogue with a biography by Lisa N. Peters\, PhD. Additionally\, the catalogue will include original text by Frank Wimberley about his work in collage written for a group exhibition at Guild Hall in East Hampton\, New York in 1979. The exhibition will open on Thursday\, February 6 and will run through March 8\, 2025 with an opening reception on Saturday\, February 15\, 2025\, 2 – 4pm. \n  Save  
URL:https://artinamericaguide.com/event/frank-wimberley-before-more-after-less/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Berry Campbell":MAILTO:em@berrycampbell.com
GEO:40.7488193;-74.0052789
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250208
DTEND;VALUE=DATE:20250504
DTSTAMP:20260824T155654
CREATED:20250211T183445Z
LAST-MODIFIED:20250318T215540Z
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SUMMARY:Alfonso Ossorio & Nandor Fodor: The Search for the Beloved
DESCRIPTION:View the complete exhibition checklist \n\nMichael Rosenfeld Gallery is pleased to present Alfonso Ossorio & Nandor Fodor: The Search for the Beloved\, a first-of-its-kind exhibition exploring the impact of the theories of Hungarian psychoanalyst Nandor Fodor on the art of Alfonso Ossorio (1916–1990). Fodor’s 1949 book\, The Search for the Beloved: A Clinical Investigation of the Trauma of Birth and Pre-Natal Conditioning (New York: Hermitage Press\, Inc\, 1949) was an early contribution to the field of prenatal psychology\, and while many of his theories have lost their currency\, the provocative language\, vivid imagery\, and theories put forth in the book provided Ossorio with\, in his own words\, “a springboard from which to take off.”[1] From his early surrealist drawings to his celebrated mixed-media assemblages known as Congregations\, the works presented in Alfonso Ossorio & Nandor Fodor: The Search for the Beloved reveal Ossorio’s enduring exploration of themes addressed in Fodor’s book\, notably birth\, death\, suffering\, and sex. \nIn The Search for the Beloved\, Fodor argues that prenatal experience and the inherently traumatic upheaval of birth form the foundation of each person’s psyche\, instilling in them an innate fear of death and a lifelong\, subconscious desire to return to the womb. In the book’s introduction\, Fodor writes: “After nine months of peaceful development\, the human child is forced into a strange world by cataclysmic muscular convulsions which\, like an earthquake\, shake its abode to the very foundations. … In its shattering effect\, birth can only be paralleled by death.”[2] \nBorn in Beregszász\, Austro-Hungarian Empire (now Berehove\, Ukraine) to a Jewish family in 1895\, Nandor Fodor completed a doctorate in law at the Royal Hungarian University of Science in Budapest. After moving to London in 1929 to work as a journalist\, Fodor became interested in the work of Sigmund Freud and began publishing his own writing in psychoanalytic journals. By 1949\, when he published The Searched for the Beloved\, Fodor had developed a reputation as a compelling psychoanalytic thinker writing for a popular audience. Many chapters of The Searched for the Beloved were first published in scientific journals\, including The Psychiatric Quarterly\, The American Journal of Psychotherapy\, and The Journal of Nervous and Mental Disease. Although it is unlikely that Fodor ever met Ossorio\, his theories had an indelible influence on the artist\, who was a voracious reader on a wide range of subjects; notably\, Ossorio kept an annotated copy of The Search for the Beloved on his bedside table until the end of his life. \nAlfonso Ossorio was born in Manila\, the Philippines\, in 1916 and raised in a devoutly Catholic family. After attending Catholic boarding schools in England and a Jesuit secondary school in the United States\, he attended Harvard University\, where he completed his senior thesis titled Spiritual Influences on the Visual Image of Christ. Throughout his youth\, Ossorio’s irrepressible feelings of same-sex attraction were in conflict with the worldview of his upbringing and the beliefs that had been ingrained in him\, leading to immense inner turmoil that he expressed through vividly detailed surrealistic depictions of biblical subjects during the early 1940s. An exemplary selection of these early works will be on view in Alfonso Ossorio & Nandor Fodor: The Search for the Beloved. Executed before the publication of The Search for the Beloved\, these early drawings such as Job (1941) and The New Pandora (1944) reveal Ossorio’s lifelong interests in the themes of suffering\, birth\, and sex that would resonate with Fodor’s book. \n\nOssorio encountered Fodor’s book at a particularly important moment in his life and career. Early in 1950\, Ossorio returned to his home in the Philippines for the first time since he was ten\, bringing the newly published The Search for the Beloved with him. The official purpose of Ossorio’s trip was the execution of a mural titled The Angry Christ for the Chapel of Saint Joseph the Worker\, which his family had built in Victorias\, on the island of Negros. The ten months Ossorio spent in the Philippines opened up old wounds from his youth that led to a highly productive period and a new direction in his art.Guided by his reading of The Search for the Beloved as well as his new friendships with Jackson Pollock and Jean Dubuffet\, Ossorio composed his Victorias Drawings\, a series of abstract paintings on paper executed with a wax-resist technique\, which are prominently featured in this exhibition. Distinguished by their vivid colors and pulsating energy\, the Victorias Drawings directly address the contents of Fodor’s book through titles and imagery referencing pregnancy\, childbirth\, coupledom\, motherhood\, infancy\, martyrdom\, and yonic forms. Created at the height of the abstract expressionist movement\, the Victorias Drawings inspired Dubuffet to author and publish a monographic study on the series\, titled Peintures Initiatiques D’Alfonso Ossorio—the only monograph he would ever write on another artist. In 1951\, the Victorias Drawings were exhibited at Studio Paul Facchetti in Paris and at Betty Parsons Gallery in New York\, formally announcing Ossorio’s departure from his detailed surrealist compositions of the 1940s. \nAlfonso Ossorio & Nandor Fodor: The Search for the Beloved illuminates themes manifest throughout Ossorio’s oeuvre\, including his final major series: the mixed media assemblages known as the Congregations. In the Congregations\, Ossorio brings together such disparate found objects as glass eyes\, shells\, animal bones\, shards of glass\, and driftwood into compositions that reveal the enduring influence of Fodor’s thought. \nAlfonso Ossorio & Nandor Fodor: The Search for the Beloved is Michael Rosenfeld Gallery’s fourteenth solo exhibition on the work of Alfonso Ossorio\, who has been the subject of more solo exhibitions than any other artist in the gallery’s thirty-six-year history. Beginning in 1996 with Alfonso Ossorio – Reflection & Redemption: The Surrealist Decade\, 1939-1949\, Michael Rosenfeld Gallery has consistently presented focused\, thematic exhibitions exploring various facets of Ossorio’s extraordinary career\, while including his work in eighty-eight group exhibitions since 1992. Michael Rosenfeld Gallery represented the Ossorio Foundation from 1996 to 2007. \n\n  \n\n1. Judith Wolfe\, Alfonso Ossorio: 1940-1980 (East Hampton\, NY: Guild Hall Museum\, 1980)\, 43\n2. Nandor Fodor\, The Search for the Beloved\, (New York: Hermitage Press\, Inc.\, 1949)\, 3 \n\n\n\n  Save  
URL:https://artinamericaguide.com/event/alfonso-ossorio-nandor-fodor-the-search-for-the-beloved/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
GEO:40.7460874;-74.0076191
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250213
DTEND;VALUE=DATE:20250317
DTSTAMP:20260824T155654
CREATED:20250211T183446Z
LAST-MODIFIED:20250211T183446Z
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SUMMARY:Adam Erlbaum: Flag Building
DESCRIPTION:Amos Eno Gallery\, a non-profit\, artist-run gallery\, is pleased to present ‘Flag Building\,’ a solo exhibition by Philadelphia-based artist Adam Erlbaum. \nThe exhibition will be on view from February 13 to March 16\, 2025\, with an artist reception on Friday\, February 21\, at 191 Henry St. on the Lower East Side. Works are also available to view on Artsy. \nAdam Erlbaum begins his paintings with a pencil diagram. He denotes the width of each stripe in fractions of an inch. These measurements are then transferred to canvas with a ruler. Erlbaum cannot mark sixteenths of an inch exactly by hand. The lines he draws between the marks further depart from the initial diagram\, as these lines must jibe with each other on the canvas. \nRather than build according to plan\, each step further removes the painting from Erlbaum’s initial diagram\, until the painting ‘stands’ independently. The word ‘building’ conjures heavy brick and mortar\, yet a flag is light enough to be raised by a small wind. For Erlbaum\, building is not about plan or weight\, but a felt sense of constructive action. \nAbout Adam Erlbaum\n \nAdam Erlbaum received a BA in Mathematics from The Colorado College in 2002. He has attended the Pennsylvania Academy of the Fine Arts\, the University of the Arts\, and the MFA program at the Vermont College of the Fine Arts. \nErlbaum’s work has been shown in Philadelphia at InLiquid Gallery\, The Yard\, I Brewster Gallery\, and Artist’s House Gallery and at the St. Louis Artists Guild in St. Louis\, Missouri; Center for the Arts in Rock Hill\, South Carolina; Studio Montclair in Montclair\, New Jersey; and Bower Center for the Arts in Bedford\, Virginia. He paints at The Mill Studios in Philadelphia. \nAbout Amos Eno Gallery \nAmos Eno Gallery has been a fixture in the New York art scene since 1974 when it opened in Soho. The gallery is open Thursdays through Sundays from noon to 6 p.m. and is run by a small community of professional artists\, both from New York City and across the country\, and a part-time director. \nAmos Eno Gallery’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. \nFor more information\, please contact Gallery Director Ellen Sturm Niz at amosenogallery@gmail.com. \n  Save  
URL:https://artinamericaguide.com/event/adam-erlbaum-flag-building/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Amos Eno Gallery":MAILTO:amosenogallery@gmail.com
GEO:40.7057864;-73.9331373
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Amos Eno Gallery 191 Henry Street New York NY 10002 United States;X-APPLE-RADIUS=500;X-TITLE=191 Henry Street:geo:-73.9331373,40.7057864
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20250218T100000
DTEND;TZID=America/Chicago:20250706T170000
DTSTAMP:20260824T155654
CREATED:20250220T163324Z
LAST-MODIFIED:20250416T140059Z
UID:112232-1739872800-1751821200@artinamericaguide.com
SUMMARY:Bold Women
DESCRIPTION:Bold Women explores how women have pushed the boundaries of art and spurred social and cultural change across generations and geographies. The exhibition showcases more than 75 works of art by nearly 50 artists in a variety of mediums including photography\, video\, painting\, sculpture\, textiles\, and installations. Bold Women remains on view through July 6\, 2025. \n\nImage caption: \nJamelie Hassan\nYeah/Neon manuscript page\n2005–2015\nCourtesy of the Spencer Museum of Art \n\n  Save  
URL:https://artinamericaguide.com/event/bold-women/
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/2025/02/2025.0001.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
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250220
DTEND;VALUE=DATE:20250413
DTSTAMP:20260824T155654
CREATED:20250121T213502Z
LAST-MODIFIED:20250220T212323Z
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SUMMARY:May Stevens: When the Waters Break
DESCRIPTION:May Stevens\nWhen the Waters Break\nFebruary 20 – April 12\, 2025 \n  \nRYAN LEE Gallery is pleased to announce When the Waters Break\, an exhibition of five paintings and eleven works on paper by May Stevens (b. 1924 Quincy\, MA – d. 2019 Santa Fe\, NM)\, made between 1994 and 2009. These works derive from Stevens’s final body of work and most have not been exhibited in New York for nearly twenty years; some will be exhibited for the first time ever. Rooted in her enduring connection to rivers and oceans\, these works depict bodies of water — both real and imagined — that were important to Stevens throughout her life. Stevens often added words to the surface of the water\, drawing inspiration from women’s writings including passages from Virginia Woolf and Julia Kristeva. \nThe title of this exhibition comes from a 2006 lecture Stevens gave at Rutgers University that focused on the creative process\, relating the struggle of an artist as she works and the sudden realization that the artwork is complete. Stevens explained\, “You realize that this has been a dialogue between you and the living organism that is a work of art. It is beyond you\, outside of you. You are its handmaiden\, its doula.” \nStevens used a wide array of colors in these works\, depicting the swirling and rippling movement of water in blues\, greens\, grays\, and purples and adding text in eye-catching gold and silver to approximate the reflection of light on water. Ruminating on the introspective power of words\, these works combine the impact of water and writing as a way to harness and process her grief following the death of her husband\, artist Rudolf Baranik\, and son\, Steven Baranik\, as well as celebrating the beauty and fullness of life. These paintings extend to the edges of their unstretched canvas\, which Stevens felt gave the work an expansive openness to envelop the viewer into the painting. \nThe title of This Is Not Landscape (2004) gives us perhaps the clearest instruction on how to interpret this body of work\, clarifying that they are not merely what they appear to be on the surface. Inspired by Wallace Stevens’s poem “The Irish Cliffs of Moher\,” which examines the relationship between nature and one’s family history\, the watery drips of this painting evoke a mystical\, abstract space. \nIn Her Boats (1996)\, the viewer is placed below the water\, gazing up at the golden sunlight from the murky\, mysterious depths. Women in boats float on the surface. Stevens said\, “I became annoyed with the fact that if you ever wanted to represent a human\, you have to use a man. I didn’t see why that had to be the case. So these are women\, but they are not specifically to be thought of as women because they are humans\, people.” \nAmong the last prints Stevens created\, Into the Night (2009) depicts a solitary boat drifting on the water\, where atmospheric color washes blur the boundary between water and sky. Deep greens and rich blues evoke a nighttime scene that\, while mysterious\, is more promising than ominous. Stevens’s characteristic metallic script shimmers on the water’s surface surrounding the boat\, accompanying it into the night. \nSome of the text in these works is legible but much of it is asemic writing that cannot be deciphered\, adding to the sense of mystery evoked by these paintings and works on paper. \nStevens said\, “These words create color\, texture\, movement\, an articulation of the surface of the canvas\, making it breathe\, giving it life\, light\, a changing inflection; the possibility of seeing the work differently at different moments; of surprise\, of finding new things in it\, of more than meets the first encounter\, of suggesting depths of feeling and connection. The canvas hangs like tapestry\, like cloth; the color flows like water\, its paths apparent. Water is life.” \n  \nMay Stevens (b. 1924 Quincy\, MA – d. 2019 Santa Fe\, NM) came to prominence during the 1960s for her politically charged Big Daddy paintings and drawings. She was a founding member of Heresies: A Feminist Publication on Art and Politics (1976)\, and an original Guerilla Girl following the feminist group’s founding in 1985. “Political activity does not interfere with my work\, it feeds it\,” Stevens said. “It feeds it because I don’t think of art as this sacred thing that you do in this sacred place that nobody else and no other thing can ever come in. It’s part of the world.” \nIn 2023\, Stevens was the focus of My Mothers\, a solo exhibition at the MassArt Art Museum\, MA. In 2021\, Lucy Lippard and Brandee Caoba co-curated a solo exhibition\, May Stevens: Mysteries\, Politics\, and Seas of Words\, at SITE Santa Fe\, NM. In 2005\, she had an important solo exhibition that traveled from the Springfield Museum of Art\, MO; to the Minneapolis Institute of Art\, MN; and the National Museum of Women in the Arts\, DC. In 1999\, Stevens had a major retrospective exhibition at the Museum of Fine Arts\, Boston\, entitled Images of Women Near and Far 1983-1997\, the museum’s first exhibition of its kind for a living female artist. Her work has also been included in exhibitions at the National Museum of Women in the Arts\, DC (2024); Brooklyn Museum\, NY (2023); Blanton Museum of Art\, TX (2023); Herbert F. Johnson Museum of Art\, NY (2023); Modern Art Museum of Fort Worth\, TX (2022); Jewish Museum\, NY (2022); Telfair Museums\, GA (2022); Museum of Modern Art\, NY (2021); Pennsylvania Academy of the Fine Arts\, PA (2020); Smithsonian American Art Museum\, DC (2019); Detroit Institute of Arts\, MI (2019); Whitney Museum of American Art\, NY (2017); and British Museum\, UK (2017)\, among others. \nStevens’s work is in numerous prominent museum collections\, including the British Museum\, UK; Brooklyn Museum\, NY; deCordova Sculpture Park and Museum\, MA; Hood Museum of Art\, NH; Metropolitan Museum of Art\, NY; Minneapolis Institute of Fine Arts\, MO; Museum of Contemporary Art\, Los Angeles\, CA; Museum of Fine Arts\, Boston\, MA; Museum of Modern Art\, NY; National Museum of Women in the Arts\, Washington\, DC; New Museum of Contemporary Art\, NY; San Francisco Museum of Modern Art\, CA; and the Whitney Museum of American Art\, NY\, among others. \n  \nAbout RYAN LEE\nCelebrating emerging and established artists and estates\, RYAN LEE presents 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/may-stevens-when-the-waters-break/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="RYAN LEE":MAILTO:info@ryanleegallery.com
GEO:40.7500935;-74.0036112
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250220T100000
DTEND;TZID=America/New_York:20250329T180000
DTSTAMP:20260824T155654
CREATED:20250205T200436Z
LAST-MODIFIED:20250205T200436Z
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SUMMARY:Lisa Breslow: From This Place
DESCRIPTION:Kathryn Markel Fine Arts is delighted to announce From This Place\, an exhibition of new paintings by Lisa Breslow. This will be Breslow’s eighth solo exhibition with the gallery. \nBreslow painted this collection of work during a period of immense productivity following thedevastating loss of her husband. The act of making became a solace for the artist and she focused this energy to push her painting further than ever before. Each distinct brushstroke is more confident and bold and each scene deeply emotionally resonant. Her rich surfaces reveal the time and care spent with every mark. \nBreslow’s paintings are reflective\, personal expressions of her everyday surroundings. The process of choosing what to paint is intuitive\, as she describes it\, “I tend to gravitate toward scenes that are quieter and more meditative. It’s always the lighting that draws me in initially\, with its interplay of colors and forms that evokes a particular feeling or mood. When I see it\, I know immediately that this is something I would want to paint.” Each composition sits at an intersection of busy city life and the quiet of nature. The artist distills these experiences into introspective snapshots that feel both optimistic and tender as she captures the memory of a place. \nLisa Breslow has exhibited extensively in the United States\, including recently at the Heritage Museum and the Heckscher Museum. She has been awarded two Pollock-Krasner Foundation awards\, as well as an award from the National Academy Museum in New York\, and was an Invited Artist at the Center for Contemporary Printmaking. She lives and works in New York City. \n  Save  
URL:https://artinamericaguide.com/event/lisa-breslow-from-this-place/
LOCATION:179 10th Ave\, 179 10th Ave\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Kathryn Markel Fine Arts":MAILTO:markel@markelfinearts.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250220T100000
DTEND;TZID=America/New_York:20250329T180000
DTSTAMP:20260824T155654
CREATED:20250205T200436Z
LAST-MODIFIED:20250205T200436Z
UID:111991-1740045600-1743271200@artinamericaguide.com
SUMMARY:Meg Hitchcock : All That Matters
DESCRIPTION:Kathryn Markel Fine Arts  is pleased to present  All That Matters\, an exhibition of paintings and works on paper by Meg Hitchcock. This is the artist’s first solo exhibition with the gallery and will take place in the new “Pocket” gallery at the 179 10th Avenue location. \nHitchcock creates two and three dimensional abstract paintings that express her interest in religion\, psychology\, and literature and reflect the complexities of the human condition. She constructs matrices of vivid\, irregular planes of color that harken to depictions of architecture in Renaissance era scenes. Shadows and light are both implied and concrete as Hitchcock shifts between flat and dimensional surfaces; however\, the perspective is never clear. The strict linear perspective of her reference is cast aside as she explains\, “I use inverse perspective and conflicting light sources to redirect attention from pictorial space back to the viewer. These subtle shifts in perspective turn the focus inward\, where one encounters authenticity and self-realization in their myriad forms.” \nWhile some of the paintings emerge from the wall\, the works on paper are mostly flat with spare moments of texture in areas where Hitchcock incorporates thread or collage elements. In these pieces she often uses text cut from sacred books and classic literature which further explore religious and philosophical concepts within the work. \nMeg Hitchcock is a New York-based artist and writer. She received a BFA in painting from the San Francisco Art Institute and studied classical painting in Florence\, Italy. Hitchcock’s work has been shown nationally and internationally and has been included in shows at MASS MoCA\, Currier Museum of Art\, CODA Museum (Netherlands)\, Virginia MOCA\, and Crystal Bridges Museum; where she was included in State of the Art: Discovering American Art Now. She is a 2024 Pollock Krasner Grant recipient and a 2023 Gottlieb Foundation Grant recipient. Her work has been reviewed in numerous publications\, including Art in America\, ArtCritical\, The New Criterion\, Huffington Post\, and Hyperallergic. Hitchcock writes the art blog “IN THEIR STUDIOS: Conversations with Artists”\, where she invites artists to discuss their work and process. \n  Save  
URL:https://artinamericaguide.com/event/meg-hitchcock-all-that-matters/
LOCATION:179 10th Ave\, 179 10th Ave\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Kathryn Markel Fine Arts":MAILTO:markel@markelfinearts.com
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DTSTART;TZID=America/New_York:20250221T080000
DTEND;TZID=America/New_York:20250622T170000
DTSTAMP:20260824T155654
CREATED:20241211T193249Z
LAST-MODIFIED:20241211T193249Z
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SUMMARY:David Goldblatt: No Ulterior Motive
DESCRIPTION:David Goldblatt: No Ulterior Motive is a major traveling retrospective exhibition that spans the seven decades of this South African photographer’s career\, from the 1950s to the 2010s\, demonstrating Goldblatt’s commitment to showing the realities of daily life in his country. The exhibition and accompanying publication bring together roughly 150 works by Goldblatt from the collections of the Yale University Art Gallery and the Art Institute of Chicago—two major Goldblatt repositories—including his early black-and-white photography and his post-apartheid\, large-format color photography. Also included in the exhibition are photographs by some of Goldblatt’s contemporaries\, such as Josef Koudelka and Shomei Tomatsu\, as well as fellow South Africans Lebohang Kganye\, Jo Ractliffe\, and Zanele Muholi\, placing Goldblatt within a global and intergenerational network of photographers. This ambitious project honors the life and career of an artist who used his work to celebrate his country’s working-class people\, the landscape\, and the built environment. \n  Save  
URL:https://artinamericaguide.com/event/david-goldblatt-no-ulterior-motive/
LOCATION:Yale University Art Gallery\, 1111 Chapel St\, New Haven\, CT\, 06510\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Yale University Art Gallery":MAILTO:artgalleryinfo@yale.edu
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