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: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/Denver BEGIN:DAYLIGHT TZOFFSETFROM:-0700 TZOFFSETTO:-0600 TZNAME:MDT DTSTART:20250309T090000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0600 TZOFFSETTO:-0700 TZNAME:MST DTSTART:20251102T080000 END:STANDARD TZID:America/Chicago BEGIN:DAYLIGHT TZOFFSETFROM:-0600 TZOFFSETTO:-0500 TZNAME:CDT DTSTART:20250309T080000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0500 TZOFFSETTO:-0600 TZNAME:CST DTSTART:20251102T070000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;VALUE=DATE:20231208 DTEND;VALUE=DATE:20261207 DTSTAMP:20260824T164741 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;TZID=America/New_York:20240816T080000 DTEND;TZID=America/New_York:20250504T170000 DTSTAMP:20260824T164741 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/07/The-Island-scaled.jpg ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20240924 DTEND;VALUE=DATE:20250728 DTSTAMP:20260824T164741 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/06/Blue_Graphic_with_Gold.jpg GEO:41.7934642;-87.6002004 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Smart Museum of Art 5550 S. Greenwood Avenue Chicago IL 60637 United States;X-APPLE-RADIUS=500;X-TITLE=5550 S. Greenwood Avenue:geo:-87.6002004,41.7934642 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240928T090000 DTEND;TZID=America/New_York:20250608T170000 DTSTAMP:20260824T164741 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:20260824T164741 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:20241115T080000 DTEND;TZID=America/New_York:20250817T170000 DTSTAMP:20260824T164741 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/05/Pictures-Belonging-scaled.jpg 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:20260824T164741 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/12/Installation_Kline_Hambleton_wideangle.jpeg ORGANIZER;CN="Woodward Gallery":MAILTO:art@woodwardgallery.net END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250117T110000 DTEND;TZID=America/New_York:20250412T160000 DTSTAMP:20260824T164741 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;TZID=America/New_York:20250124T110000 DTEND;TZID=America/New_York:20250329T160000 DTSTAMP:20260824T164741 CREATED:20250121T213226Z LAST-MODIFIED:20250121T213257Z UID:111622-1737716400-1743264000@artinamericaguide.com 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/01/Saltwater-2.jpg 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:20260824T164741 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/12/Cerny-Spider_Web-Kleenex_Side_table-2024-Comms_CC-1-scaled.jpg 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:20260824T164741 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/12/Choumali.jpeg 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:20260824T164741 CREATED:20250123T201026Z LAST-MODIFIED:20250123T201026Z UID:111741-1737799200-1757869200@artinamericaguide.com 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/01/Guest-curator-Katherine-Simone-Reynolds_with_CSM-director-Joyce-Tsai-by-Fireside-Production-scaled.jpg 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:20260824T164741 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/12/CUSP-FB-Banner.jpeg ORGANIZER;CN="Cross Contemporary Art Projects":MAILTO:crosscontemporaryprojects@gmail.com GEO:43.3101898;-73.6340285 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=The Hyde Collection 161 Warren Street Glens Falls NY 12801 United States;X-APPLE-RADIUS=500;X-TITLE=161 Warren Street:geo:-73.6340285,43.3101898 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20250208 DTEND;VALUE=DATE:20250504 DTSTAMP:20260824T164741 CREATED:20250211T183445Z LAST-MODIFIED:20250318T215540Z UID:112107-1738972800-1746316799@artinamericaguide.com 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/02/Alfonso-Ossorio-1916–1990-Touch-and-Go-1961.jpg ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com GEO:40.7460874;-74.0076191 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Michael Rosenfeld Gallery 100 11th Ave New York NY New York United States;X-APPLE-RADIUS=500;X-TITLE=100 11th Ave:geo:-74.0076191,40.7460874 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20250218T100000 DTEND;TZID=America/Chicago:20250706T170000 DTSTAMP:20260824T164741 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 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20250220 DTEND;VALUE=DATE:20250413 DTSTAMP:20260824T164741 CREATED:20250121T213502Z LAST-MODIFIED:20250220T212323Z UID:111583-1740009600-1744502399@artinamericaguide.com 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/01/Skylight-1.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 BEGIN:VEVENT DTSTART;TZID=America/New_York:20250220T100000 DTEND;TZID=America/New_York:20250329T180000 DTSTAMP:20260824T164741 CREATED:20250205T200436Z LAST-MODIFIED:20250205T200436Z UID:111986-1740045600-1743271200@artinamericaguide.com 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/02/Summer-Shadows_highresCC-scaled.jpg 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:20260824T164741 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/02/Hitchcock_9.jpg ORGANIZER;CN="Kathryn Markel Fine Arts":MAILTO:markel@markelfinearts.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250221T080000 DTEND;TZID=America/New_York:20250622T170000 DTSTAMP:20260824T164741 CREATED:20241211T193249Z LAST-MODIFIED:20241211T193249Z UID:110963-1740124800-1750611600@artinamericaguide.com 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 ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/12/ag-obj-275925-0001-pub-preview.jpg ORGANIZER;CN="Yale University Art Gallery":MAILTO:artgalleryinfo@yale.edu GEO:41.30839;-72.930958 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Yale University Art Gallery 1111 Chapel St New Haven CT 06510 United States;X-APPLE-RADIUS=500;X-TITLE=1111 Chapel St:geo:-72.930958,41.30839 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250221T160000 DTEND;TZID=America/New_York:20250622T180000 DTSTAMP:20260824T164741 CREATED:20250211T183445Z LAST-MODIFIED:20250211T183445Z UID:112098-1740153600-1750615200@artinamericaguide.com SUMMARY:MARTIN WEINSTEIN | Looking through Times DESCRIPTION:MARTIN WEINSTEIN | LookingThrough Times \nFeb 21 – June 22\, 2025 \nSouthern Vermont Art Center\n860 Southern Vermont Arts Center Dr\,\nManchester\, VT 05254 \n(802) 362-1405 \nCross Contemporary Art Project presents the multi-dimensional paintings of Martin Weinstein at the Southern Vermont Art Center. Weinstein’s unique practice of painting on different layers of acrylic sheets\, then re-assembling them in a clear plastic enclosure\, creates the experience of deep space. In this new series\, Looking Through Times\, Weinstein plays with this optical illusion by reshuffling the layers and creating dimensional ambiguities. \n  Save   URL:https://artinamericaguide.com/event/martin-weinstein-looking-through-times-3/ LOCATION:Southern Vermont Art Center\, 860 SVAC Drive\, Manchester\, VT\, 05255\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2025/02/Screen-Shot-2025-02-09-at-7.16.29-PM.png ORGANIZER;CN="Cross Contemporary Art Projects":MAILTO:crosscontemporaryprojects@gmail.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250222T090000 DTEND;TZID=America/New_York:20250608T170000 DTSTAMP:20260824T164741 CREATED:20241205T204736Z LAST-MODIFIED:20241220T212741Z UID:110883-1740214800-1749402000@artinamericaguide.com SUMMARY:Alex Katz: Theater and Dance DESCRIPTION:Alex Katz: Theater and Dance explores six decades of the New York painter’s dynamic collaborations with choreographers and avant-garde theater groups\, offering an exciting glimpse into the intersection of the visual and performing arts. \n  Save   URL:https://artinamericaguide.com/event/alex-katz-theater-and-dance/ LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/12/700x500_CapHillBlog-4.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250225T110000 DTEND;TZID=America/New_York:20250322T180000 DTSTAMP:20260824T164741 CREATED:20250205T200436Z LAST-MODIFIED:20250205T200436Z UID:112003-1740481200-1742666400@artinamericaguide.com SUMMARY:Pamela Berkeley Reflections 2025 DESCRIPTION:February 25 – March 22\, 2025\n“To be an artist you have to know who you are. If you are an artist\, you know it without a doubt. The same is true for magicians.”  – Pamela BerkeleyPamela Berkeley makes paintings from close and direct observation. She combines still life objects (some arranged as magical altars)\, landscape\, portraiture of people and animals. Her main preoccupation in painting is the tension between the still objects close to the picture plane and the distant imagery that is farthest away. Foreground and what is behind are of equal importance\, painted at the same time\, side by side\, locked into each other. There is no background. In fact\, in a work of lace curtains\, some holes are made of paint\, not the threads.Within her tightly drawn work\, her underlying love of abstract painting shows in her manipulation of design\, color\, paint and brushwork.\n  Save   URL:https://artinamericaguide.com/event/pamela-berkeley-reflections-2025/ LOCATION:Blue Mountain Gallery\, 547 W 27th St\, Suite 200\, New York\, NY\, 10001\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/02/Berkeley-The-Witch-Hazel-Curse-on-Donald-Trump-and-his-Minions-Oil-on-Canvas-30in-x28in-2021-3500-scaled.jpg ORGANIZER;CN="Blue Mountain Gallery":MAILTO:bluemountaingallery@verizon.net END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250225T110000 DTEND;TZID=America/New_York:20250322T180000 DTSTAMP:20260824T164741 CREATED:20250219T145306Z LAST-MODIFIED:20250225T165934Z UID:112195-1740481200-1742666400@artinamericaguide.com SUMMARY:Deborah Rosenthal: Recent Work DESCRIPTION:Exhibition Dates: February 25 – March 22\, 2025 \nOpening Reception: Thurs\, February 27\, 2025\, 5PM-8PM \nGallery Hours: Tuesday-Saturday\, 11AM-6PM \nBowery Gallery is pleased to present an exhibition of Deborah Rosenthal’s new paintings in oil and gouache. The exhibition begins on February 25 and continues through March 22. \nDeborah Rosenthal’s essential theme has always been metaphor’s mysterious power. In paintings – as well as drawings\, prints\, and stained glass – she’s shaped signs and symbols that reflect a modern woman’s feelings about experiences near and far\, old and new. \nIn her recent paintings\, she’s uniting fresh themes with older ones\, ranging from the astral to the pastoral\, from the Biblical stories that have obsessed her for decades to images and ideas gleaned from more recent travels to Rome and Mexico City. Here Rosenthal’s inimitable abstract language – praised for decades in publications ranging from Art in America to The New York Times – finds unexpected accents and intonations as she absorbs into her private world the saturnine profiles of pre-Columbian figures\, the towering mountains of Sung dynasty painting\, and the hyperbolic forms of Borromini’s Baroque architecture. \n  \nBOWERY GALLERY \n547 West 27 Street  Suite 508 \nNew York\, NY   10001 \n646-230-6655 \nwww.bowerygallery.org \n  \n  Save   URL:https://artinamericaguide.com/event/deborah-rosenthal-recent-work/ LOCATION:Bowery Gallery\, 547 W 27TH ST Suite 508\, New York\, NY\, 10001\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2025/02/Jerome-Deborah-Rosenthal-1.png ORGANIZER;CN="Bowery Gallery":MAILTO:info@bowerygallery.org GEO:40.7493621;-74.0047021 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Bowery Gallery 547 W 27TH ST Suite 508 New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=547 W 27TH ST Suite 508:geo:-74.0047021,40.7493621 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250227T100000 DTEND;TZID=America/New_York:20250405T180000 DTSTAMP:20260824T164741 CREATED:20250205T200436Z LAST-MODIFIED:20250205T200436Z UID:111995-1740650400-1743876000@artinamericaguide.com SUMMARY:Greg Chann : Synaptic Structures DESCRIPTION:Kathryn Markel Fine Arts is delighted to announce an upcoming exhibition of recent sculptures by Greg Chann. Synaptic Structures will be Chann’s first solo show with the gallery. \nChann constructs both free standing and wall mounted sculptures from cut acrylic and tones them by delicately airbrushing multicolored inks across the transparent surfaces. The resulting objects are perfectly balanced with precisely arranged geometric forms that play with space and density as they emerge from the wall or plinth. Colors range from glossy and vibrant to muted and hazy as light filters through each lucent plane. Layers overlap\, disrupting flat colors with shadow and reflections as one hue melts into the next. \nTaking influence from a variety of imagery\, Chann sets out to depict the “intricate interconnectedness of our world.” Many of the works are reminiscent of architecture\, the angular forms suggesting a skyline or lines on a map. Smoky colors call to mind the smog of a city street while intense jewel tones suggest lights or neon signs. Balance and harmony are at the heart of the work and as such they create a serene\, introspective environment. Chann explains\, “Derived from ancient symbols such as the Chinese Yin and Yang and influenced by the meditative complexity found in Buddhist mandalas\, my art invites viewers on a contemplative journey.” \nGreg Chann has shown his work with Denise Bibro Fine Art\, NYC; Dorsky Gallery\, NYC; Margaret Thatcher Projects\, NYC; The Drawing Center\, NYC; among other spaces around the country. His work has appeared in The New Yorker\, NY Arts\, and Time Out New York. He has received a NY Foundation of the Arts Fellowship\, and the NY Foundations of the Arts/Felissimo Award and lives and works in New York. \n  Save   URL:https://artinamericaguide.com/event/greg-chann-synaptic-structures/ LOCATION:529 W 20th St. 6W\, 529 W 20th St. 6W\, New York\, NY\, 10011\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/02/2.-Wall-Stack-VII-scaled.jpg ORGANIZER;CN="Kathryn Markel Fine Arts":MAILTO:markel@markelfinearts.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250227T100000 DTEND;TZID=America/New_York:20250412T170000 DTSTAMP:20260824T164741 CREATED:20250219T144823Z LAST-MODIFIED:20250219T144823Z UID:112189-1740650400-1744477200@artinamericaguide.com SUMMARY:Sophie Calle DESCRIPTION:Fraenkel Gallery is pleased to present an exhibition by Sophie Calle. For more than forty years Calle has made work that draws from her life\, transforming elements from her public and private relationships into intimate narratives. The exhibition features several series exploring questions about legacy and loss\, topics Calle approaches with her typical humor and candor. Making its U.S. debut\, catalogue raisonné of the unfinished focuses on projects Calle previously conceptualized but didn’t pursue. Each piece pairs fragments from the project with Calle’s text about its failure. Another series\, Picassos in lockdown\, comprises photographs Calle made at the Musée National Picasso in Paris during the pandemic. Each shows a painting covered for protection while the museum was closed. The exhibition also features a selection of works looking at death and remembrance through the lens of Calle’s relationship with her parents. This will be Calle’s fifth exhibition at Fraenkel Gallery since 1994. A public reception with the artist will take place on Saturday\, March 1\, from 2- 4pm. \n  Save   URL:https://artinamericaguide.com/event/sophie-calle/ LOCATION:Fraenkel Gallery\, 49 Geary Street\, San Francisco\, CA\, 94108\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/02/01-CALLE_Cale-Mona-Lisa-Wrong-turn-2023.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;TZID=America/New_York:20250227T180000 DTEND;TZID=America/New_York:20250412T180000 DTSTAMP:20260824T164741 CREATED:20250213T171252Z LAST-MODIFIED:20250213T171252Z UID:112137-1740679200-1744480800@artinamericaguide.com SUMMARY:Ed Cohen | A Calm Madness DESCRIPTION:Winston Wächter Fine Art is pleased to announce its fifth exhibition of New York-based painter Ed Cohen\, A Calm Madness. Named for a line by the late Polish poet Adam Zagajewski\, the show will include two groups of paintings in fluid acrylic on canvas and panel. \n  Save   URL:https://artinamericaguide.com/event/ed-cohen-a-calm-madness/ LOCATION:Winston Wächter Fine Art\, 530 W 25th St\, New York\, New York\, 10001 CATEGORIES:Exhibition ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2025/02/Screenshot-2025-02-11-at-1.30.29-PM.png ORGANIZER;CN="Winston Wachter Fine Art":MAILTO:nygallery@winstonwachter.com GEO:40.7493621;-74.0047021 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Winston Wächter Fine Art 530 W 25th St New York New York 10001;X-APPLE-RADIUS=500;X-TITLE=530 W 25th St:geo:-74.0047021,40.7493621 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250301T103000 DTEND;TZID=America/New_York:20250322T170000 DTSTAMP:20260824T164741 CREATED:20250211T183625Z LAST-MODIFIED:20250211T183638Z UID:112038-1740825000-1742662800@artinamericaguide.com SUMMARY:February – March @ Art Works! DESCRIPTION:Art Works is excited to unveil an extraordinary lineup of solo exhibitions featuring the talents of Amelia Rafle\, Jeff Morris\, and Wendy Nelson. Complementing these exhibits is the eagerly anticipated monthly All Media Show\, which highlights curated and juried works by renowned Richmond art experts. \nWe invite you to join us for the opening reception on February 28th\, from 6 p.m. to 8 p.m.\, for an evening filled with art\, live music\, and the chance to meet the artists. This event is free and open to the public\, with complimentary parking available. Don’t miss this opportunity to celebrate art and creativity with us at Art Works! \n________________________________________Martyrs and Ghosts by Amelia Rafle\nAmelia Rafle’s artwork combines both traditional and contemporary printmaking techniques to simplify complex climate data\, making it easier to understand and inspiring viewers to take action.\nInspired by multispecies theories and a love for birds\, the work includes community eco-focused print workshops. In Martyrs and Ghosts Amelia encourages viewers to turn grief into action. “Martyrs” features deified birds with gold halos\, while “Ghosts” presents a shadow flock of endangered species. Participate in this interactive exhibit and print birds which will form a memorial to promote climate action\, highlighting grief’s power to inspire change. The exhibition will be in the Jane Sandelin Gallery at Art Works through April 19\, 2025. \n________________________________________\nThe Language of Color by MRAA \nThe Metropolitan Richmond Artists Association is proud to be Richmond’s oldest professional artist group\, passionately promoting and encouraging the creation of visual arts. As a not-for-profit association\, they foster a vibrant community through engaging workshops\, inspiring programs\, and exceptional art exhibitions. This painting is by Janet Ringle. This exhibit will be in the Port Galleries at Art Works through March 22\, 2025. \n________________________________________\nAfro-Centric Hair by Jeff Morris\nJeff Morris\, with over 40 years of experience\, is renowned for his large paintings of Richmond’s landscapes and waterways. This exhibit celebrates the history\, strength\, textures\, and culture of afro-centric hair and styles\, showcasing Morris’s admiration for afro-centric heritage. \nThis exhibit will be in the Centre Gallery at Art Works through March 22\, 2025. \n  \n________________________________________ \nWatch the Birdie by Wendy Nelson \nThis exhibit features stunning wildlife photography that captures the beauty and diversity of birds\, enchanting visitors with vibrant images of eagles\, puffins\, snowy egrets\, and more. An award-winning photographer with over 27 years of experience\, Wendy Nelson has been featured on NationalGeographic.com and the cover of The Virginia Wildlife Magazine. As a Virginia Master Naturalist\, she shares the wonders of the world through her fine art photography. \nThis exhibit will be in the Corner Gallery at Art Works through March 22\, 2025.\n________________________________________ \nFebruary 2025 All Media Show \nThis exhibit is a focal point of all Art Works’ openings. It is a juried show with cash prizes for 1st\, 2nd and 3rd place. The show is open to all artists and all mediums. There is no theme this month. Call for entries is January 15 – February 16\, 2025\, and may be submitted through the online form. The exhibit will be in the Skylight Gallery at Art Works through March 20\, 2025. \n  Save   URL:https://artinamericaguide.com/event/february-march-art-works-2/ LOCATION:Art Works\, 320 Hull Street\, Richmond\, VA\, 23224\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/02/PR-2025.02-Amelia-Rafle-Cuckoo-1-scaled.jpg ORGANIZER;CN="Art Works":MAILTO:glenda@artworksrichmond.com GEO:37.524914;-77.437258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Art Works 320 Hull Street Richmond VA 23224 United States;X-APPLE-RADIUS=500;X-TITLE=320 Hull Street:geo:-77.437258,37.524914 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20250304 DTEND;VALUE=DATE:20250711 DTSTAMP:20260824T164741 CREATED:20250225T153434Z LAST-MODIFIED:20250505T183817Z UID:112266-1741046400-1752191999@artinamericaguide.com SUMMARY:You what? DESCRIPTION:“Applebroog pursues issues that transcend gender – issues of innocence and vulnerability\, of self-knowledge and mortality.  She does not want us to forget the reality of mass murders and political terrorism or to accept nuclear weapons as a fact of life.  Applebroog does not offer solutions.  Rather\, she makes us see what’s there – the poignancy\, the devastation\, and the potential for goodness.  This is political art of the highest order.” \nRuth Bass\, excerpt from Ordinary People\, ARTnews  (May\, 1988) \nIn a post-truth era\, with surging racism\, chauvinism\, sexism\, transphobia\, and other alarming trends\, Ronald Feldman Gallery announces an exhibition of work by Ida Applebroog (1929-2023).  Finding inspiration from an expansive psychological perspective\, this acclaimed artist is known for her razor-sharp explorations of contemporary life. Her art transforms current events into human events by employing carefully selected examples of individual lives as representations of collective society – in short\, an inside-out versus clinical (outside-looking-in) approach.  By presenting emotionally-charged “mid-situations” – narratives with undefined beginnings and ends\, and\, later on\, loaded juxtapositions – Applebroog masterfully empowers viewers to use their hearts and minds to “finish” the work by determining the meaning for themselves.  Singular and affecting\, Applebroog’s art offers a space for visceral experiences as a path for engaging with a spectrum of issues\, and a doorway into the diverseness of the human psyche. \nYou what? focuses on work created by the artist in the 1980s and early 1990s – a fascinating period of development and maturation into greater scale and complexity.  During this time\, Applebroog had eight solo exhibitions at the Ronald Feldman Gallery\, who represented her work between 1981 and 2005\, featuring it in a total of twelve solo exhibitions. \nIn Shake (1980)\, Applebroog depicts a decisive moment: the meeting of two well-dressed couples who are framed by curtains\, as if seen through a window or on a stage.  Classic for its voyeurism and “instant coffee” style of drawing (intentionally minimal and generic)\, the work is augmented by a shadow panel which echoes the subjects’ formality and constraint.  Another vellum work\, Not This Time (1982)\, composed like a comic strip with multiple frames in a long row\, is not an action sequence: the image of a woman seated beside her suitcase is carefully repeated seven times.  The text “I’d better not” and “Not this time” suggests tentativeness and doubt\, while the repetition clearly describes the event as a recurring pattern.  Does this silent struggle represent the very real limits of oppression and abuse that one can endure? \nSeveral large paintings are included in the exhibition.  Rainbow Caverns (1987) is among the first the artist imagined as a combination of several paintings united into a single work.  Here\, a solo\, duo and trio of figures are repeated three times\, respectively\, each on their own predella-like panel.  They join a giant female body builder\, posing in profile\, in surrounding a domestic scene of a matronly woman knitting in an armchair. Surrealistically\, the floor around this central image morphs into a corn field occupied by a flock of birds.  Camp Compazine (1988)\, with its large side panels extending out from the wall\, is Applebroog’s first example of a 3-D composition.  Immediately grabbing the viewer’s attention\, is a homunculus trapped in the mouth of a giant\, calling to mind Francisco Goya’s Saturn Devouring His Son.  A pair of executives\, who look to be mirror images of each other\, a young man seated on a stool but facing away\, and a protester carrying a sign reading “GOD” complete the periphery\, and in the center is a gang of turkeys.  Landscape is incorporated almost as a parody; the fields are not nostalgic places where people coexist within the harmony of nature\, but rather emotional terrain. \nIn the artist’s first catalogue\, her friend and dealer Ronald Feldman writes:  “Applebroog’s ability to get us to project [ourselves] into her work is exceptional.  She sets the stage; we are the players.  Drawn in to figure out what’s going on\, we soon realize that what’s going on is us.  We are more directly participants and less observers than in the roles provided for us by Vermeer or Rembrandt.  Our excitement is provided through direct self-discovery rather than through an unraveling of the secrets of the personages in the paintings.  As we enter Applebroog’s work our breath becomes more present and frightening.  We realize we are hiding secrets not only from each other but\, more importantly\, from ourselves.” \nIda Applebroog’s work has been the subject of many monographs and museum exhibitions\, and is included in the most prestigious public collections in the U.S. and abroad.  She was acknowledged as a genius when she received a MacArthur Foundation Fellowship in 1998.  In addition\, she received an Honorary Doctorate from The New School University/Parsons School of Design in 1997\, a Lifetime Achievement Award from the College Art Association in 1995\, among many other distinctions of excellence. \nGallery viewing hours are Tuesday through Thursday\, 1pm – 5pm\, or by appointment.\nFor more information\, contact Cat Zhou at (212) 226-3232 or catherine@feldmangallery.com \n  Save   URL:https://artinamericaguide.com/event/you-what/ LOCATION:Ronald Feldman Gallery\, 31 Mercer Street\, New York\, NY\, 10013\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/02/Applebroog-shake-1980_2.jpg ORGANIZER;CN="Ronald Feldman Gallery":MAILTO:info@feldmangallery.com END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20250307 DTEND;VALUE=DATE:20250419 DTSTAMP:20260824T164741 CREATED:20250227T200126Z LAST-MODIFIED:20250313T183835Z UID:112317-1741305600-1745020799@artinamericaguide.com SUMMARY:Alec Soth Advice for Young Artists DESCRIPTION:Sean Kelly is delighted to announce Alec Soth’s fifth exhibition with the gallery\, Advice for Young Artists which presents a curated selection of images from Soth’s recently completed body of work of the same name. Photographed during visits he made to twenty-five undergraduate art programs across the country from 2022 to 2024\, the resulting pictures\, interior studies\, still-lives\, and self-portraits depict Soth engaging with his subject while also reflecting\, obliquely\, on his life as an artist. There will be a reception on Thursday\, March 6\, from 6-8 pm. The artist will be present. \nAlthough the title might suggest otherwise\, Soth’s project is less about imparting his ideas to a younger generation and more about engaging with and learning from their creative energy. Instead of providing wisdom or guidance\, he presents a fragmented and open-ended meditation on artmaking across different life stages\, as well as the connections between photography\, time\, and aging. “I was just trying to be in the proximity of their energy\,” Soth reflects. The photographs that emerged out of his visits are deeply empathetic. In his portraits of students at work or in their studios\, he not only captures them as subjects but also positions them as artists in their own right. There is an implicit connection between the artist in front of the camera and the artist behind it. This is demonstrated by the ruminative and playful self-portraits that occur throughout the project: Soth situates himself not as an outside observer\, but amongst his subjects. \nDrawing inspiration from iconic American photographer Walker Evans’s late Polaroids\, Alec Soth’s Advice for Young Artists marks a significant evolution in his practice\, offering a fresh perspective two decades after the publication of his first book\, Sleeping by the Mississippi\, in 2004. Much like Evans\, who visited universities in the 1970s and photographed extensively with a Polaroid camera\, Soth embraces his encounters with students as a way to understand his work from a new perspective. As he describes it\, “When I was at a school and totally focused on my work\, I had the experience of age falling away.” Embedded in the environment of an art school\, Soth taps into the zeitgeist and rediscovers his practice anew. In Advice for Young Artists Soth allows an easy humor to enter his photographs and finds surprising juxtapositions\, he adapts and reinvents his visual language in response to the dynamic energy of his subjects. In this way\, the series marks a moment of innovation in the career of one America’s foremost contemporary photographers. \nAlec Soth lives and works in Minneapolis\, Minnesota. His work is the subject of over twenty-five books and including his publications NIAGARA (2006)\, Broken Manual (2010)\, Songbook (2015)\, I Know How Furiously Your Heart Is Beating (2019)\, A Pound of Pictures (2022)\, and most recently Advice for Young Artists (2024). In 2008 Soth started his own publishing company\, Little Brown Mushroom\, which is based in Minnesota. Soth’s work has been the subject of solo exhibitions at international museums including the Deichtorhallen Internationale Kunst und Fotografie\, Hamburg; the National Media Museum\, Bradford\, UK; The Finnish Museum\, Helsinki; the Detroit Institute of Arts\, Michigan; El museo de Bogotá\, Colombia; the Fotomuseum Winterthur\, Switzerland; the Jeu de Paume\, Paris; and the Walker Art Center\, Minneapolis. His work is in the permanent collections of institutions including the Museum of Modern Art\, New York; the Brooklyn Museum of Art; the Los Angeles County Museum of Art; the Museum of Contemporary Art\, Chicago; the Museum of Fine Arts\, Houston; the San Francisco Museum of Modern Art; the Walker Art Center\, Minneapolis; and the Whitney Museum of American Art\, New York\, amongst many others. \n\n\n\n\n\n\n\n\nFor press\, please contact Adair Lentini at Adair@skny.com \nFor all other inquiries\, please contact Thomas Kelly at Thomas@seankellyla.com \n\n\n\n\n  Save   URL:https://artinamericaguide.com/event/alec-soth-advice-for-young-artists/ LOCATION:Sean Kelly\, New York\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/02/AS-2025_Advice-for-Young-Artists_install_photo-Jason-Wyche-New-York_007-scaled.jpg ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20250307 DTEND;VALUE=DATE:20250419 DTSTAMP:20260824T164741 CREATED:20250227T200126Z LAST-MODIFIED:20250313T183934Z UID:112350-1741305600-1745020799@artinamericaguide.com SUMMARY:Joseph Kosuth: Future Memory DESCRIPTION:“A work of art is a kind of proposition presented within the context of art as a comment on art.” – Joseph Kosuth\, 1969 \nSean Kelly is honored to present Future Memory\, a landmark exhibition celebrating the 80th birthday of Joseph Kosuth\, one of the most influential and pioneering figures in conceptual art. This unique exhibition\, his seventh with the gallery\, distinguishes itself as a presentation about the work of Joseph Kosuth\, rather than one conceived by him and features works from every decade of his career. Future Memory encapsulates Kosuth’s lifelong engagement with the fundamental questions of art\, meaning\, and language. There will be an opening reception on Thursday\, March 6\, from 6-8pm. \nBeginning with ‘One and Three Mirrors’ (1965) Kosuth established his lifelong commitment to investigating the production and role of language and meaning within art. Meaning is embodied in the relationship between the three parts that make up ‘One and Three Mirrors’\, image\, object and text. By placing a commonplace object\, such as a mirror alongside its image and definition within an art context\, two of Kosuth’s abiding influences\, Ludwig Wittgenstein and Marcel Duchamp are strikingly clear. Wittgenstein’s contention that meaning is use is an abiding concern throughout Kosuth’s career as he continues to question the function of art; a question first posed by Marcel Duchamp. In the most recent work in the exhibition ’The Question (G.S.)’ (2025) Kosuth continues his personal and philosophical reflection on time. Here he both begins and ends with a question positioned on a clock whose hands mechanically carry on\, oblivious to the human lives and narratives beyond their measure. \nJoseph Kosuth’s practice redefined the role of the artist\, challenging traditional notions of art as object\, artist as curator\, language as art\, and elevating the importance of ideas and critical thought. Future Memory highlights the continuity within his oeuvre and the profound impact of his inquiries into perception\, memory\, and the processes of thought. By employing language as both medium and message\, Kosuth’s work continues to defy artistic boundaries\, inviting viewers to rethink art’s place in culture and society. \nJoseph Kosuth has influenced generations of artists\, philosophers\, and cultural thinkers. His work is featured in major private and public collections worldwide including the Museum of Modern Art\, NYC; the Tate Gallery\, London; the Solomon R. Guggenheim Museum\, NYC; the Whitney Museum of American Art\, NYC; the Van Abbemuseum\, Eindhoven; the Stedelijk Museum\, Amsterdam; the Louvre Museum\, Paris; the National Gallery of Victoria\, Melbourne; the Museum of Contemporary Art\, Sydney; the Centre Pompidou\, Paris; and the Galleria Nazionale d’Arte Moderna\, Rome amongst many others worldwide. His work has been the subject of solo exhibitions at institutions including the Louvre Museum\, Paris\, France; the Multimedia Art Museum\, Moscow\, Russia; the Kunstmuseum\, Thurgau\, Wrath\, Switzerland; Haus Konstruktiv\, Zurich\, Switzerland; and the Australian Centre for Contemporary Art\, Melbourne\, Australia amongst others. He has also been invited to participate in numerous installations\, museum exhibitions\, and public commissions\, including Documenta and the Venice Biennale on multiple occasions. In 2019 Kosuth installed a permanent public installation at the Miami Beach Convention Center\, Miami\, FL and the Bill Graham Civic Auditorium\, San Francisco\, CA. \nTo honor this milestone anniversary\, Sean Kelly\, New York\, Sprüth Magers\, London and Lia Rumma\, Naples\, are dedicating three unique solo exhibitions to Joseph Kosuth in 2025: Sprüth Magers\, ‘The Question’\, January 24–March 15\, 2025; Sean Kelly\, Future Memory\, March 7 – April 18; and Lia Rumma\, ‘The Question’\, April 10 – May. These exhibitions collectively reaffirm Kosuth’s enduring international importance and the ongoing influence of his work worldwide. \n\n\n\n\n\n\n\n\nFor press\, please contact Adair Lentini at Adair@skny.com \nFor all other inquiries\, please contact Cecile Panzieri at Cecile@skny.com \n\n\n\n\n  Save   URL:https://artinamericaguide.com/event/joseph-kosuth-future-memory/ LOCATION:Sean Kelly\, New York\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/02/JK-2025-Future-Memory_install_photo-Jason-Wyche-New-York_003-scaled.jpg ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com END:VEVENT END:VCALENDAR