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BEGIN:VEVENT
DTSTART;VALUE=DATE:20231208
DTEND;VALUE=DATE:20261207
DTSTAMP:20260824T052338
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:20260824T052338
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:20240924
DTEND;VALUE=DATE:20250728
DTSTAMP:20260824T052338
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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GEO:41.7934642;-87.6002004
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240928T090000
DTEND;TZID=America/New_York:20250608T170000
DTSTAMP:20260824T052338
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
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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:20260824T052338
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
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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:20260824T052338
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:20250117T110000
DTEND;TZID=America/New_York:20250412T160000
DTSTAMP:20260824T052338
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
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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:20260824T052338
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:20260824T052338
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:20260824T052338
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
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;VALUE=DATE:20250208
DTEND;VALUE=DATE:20250504
DTSTAMP:20260824T052338
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
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ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20250218T100000
DTEND;TZID=America/Chicago:20250706T170000
DTSTAMP:20260824T052338
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
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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:20260824T052338
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
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
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250221T080000
DTEND;TZID=America/New_York:20250622T170000
DTSTAMP:20260824T052338
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
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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:20260824T052338
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
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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:20260824T052338
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
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250227T100000
DTEND;TZID=America/New_York:20250405T180000
DTSTAMP:20260824T052338
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
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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:20260824T052338
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
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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:20260824T052338
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
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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;VALUE=DATE:20250304
DTEND;VALUE=DATE:20250711
DTSTAMP:20260824T052338
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
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ORGANIZER;CN="Ronald Feldman Gallery":MAILTO:info@feldmangallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250307
DTEND;VALUE=DATE:20250419
DTSTAMP:20260824T052338
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
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250307
DTEND;VALUE=DATE:20250419
DTSTAMP:20260824T052338
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
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250307T100000
DTEND;TZID=America/New_York:20250727T170000
DTSTAMP:20260824T052338
CREATED:20241211T193211Z
LAST-MODIFIED:20241227T204216Z
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SUMMARY:Edvard Munch: Technically Speaking
DESCRIPTION:Discover the experimental methods of Edvard Munch\, who creatively explored materials and techniques across media. \nA dynamic collaboration between curatorial and conservation experts at the Harvard Art Museums\, Edvard Munch: Technically Speaking offers rare insight into the Norwegian artist’s innovative techniques and the recurring themes across his paintings\, woodcuts\, lithographs\, etchings\, and combination prints. The Harvard Art Museums house one of the largest and most significant collections of artwork by Munch in the United States\, and the exhibition showcases roughly 70 works\, including key loans from Munchmuseet\, Oslo. \nVisitors are invited to explore Munch’s artistic process\, uncovering his playful approach and fascination with materiality. He returned to some themes repeatedly during his lifetime\, carrying motifs across printmaking and painting and demonstrating how a single idea can evoke different responses through shifts in color and orientation. In the exhibition\, prints are displayed alongside the original copper plates\, woodblocks\, and lithography stones used to create them\, providing further access into Munch’s experimental practice. Edvard Munch: Technically Speaking also features groundbreaking research that sheds new light on the artist’s techniques and processes. \nCurated by Elizabeth M. Rudy\, Carl A. Weyerhaeuser Curator of Prints\, and Lynette Roth\, Daimler Curator of the Busch-Reisinger Museum; with Peter Murphy\, Stefan Engelhorn Curatorial Fellow in the Busch-Reisinger Museum. \nResearch in collaboration with Ellen Davis\, Associate Paintings Conservator\, Penley Knipe\, Philip and Lynn Straus Senior Conservator of Works on Paper and Head of the Paper Lab\, Abby Schleicher\, Assistant Paper Conservator\, and Kate Smith\, Senior Conservator of Paintings and Head of the Paintings Lab\, all in the Straus Center for Conservation and Technical Studies; and with contributions from Cambra Sklarz\, Diane and Michael Maher Curatorial Fellow of American Art\, and Kacper Kolęda and Tai Mitsuji\, Ph.D. candidates in the Department of History of Art and Architecture at Harvard University. \n  Save  
URL:https://artinamericaguide.com/event/edvard-munch-technically-speaking/
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/New_York:20250307T110000
DTEND;TZID=America/New_York:20271231T180000
DTSTAMP:20260824T052338
CREATED:20250224T180514Z
LAST-MODIFIED:20250224T180514Z
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SUMMARY:Tending and Dreaming: Stories from the Collection
DESCRIPTION:Tending and Dreaming: Stories from the Collection launches the first dedicated collection galleries at the Museum. Providing unprecedented access to core works in San José’s only publicly held art collection\, SJMA’s collection galleries position artists as storytellers to imagine the Museum as a space where culture and meaning are actively made and always in process.  \nOrganized into thematic groupings\, Tending and Dreaming offers poetic starting points for engaging with ideas woven through the works of almost fifty artists from the Bay Area and beyond\, including  Ruth Asawa\, Martha Atienza\, Shilpa Gupta\, Yolanda López\, and Elias Sime\, among many others.  \n  Save  
URL:https://artinamericaguide.com/event/tending-and-dreaming-stories-from-the-collection/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250307T120000
DTEND;TZID=America/New_York:20250404T170000
DTSTAMP:20260824T052338
CREATED:20250227T200125Z
LAST-MODIFIED:20250227T200125Z
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SUMMARY:MARCH @ CAMP - Between Stillness And Growth
DESCRIPTION:The Contemporary Art Modern Project is pleased to welcome March with two new exhibitions and an online exclusive running simultaneously from March 7–April 4\, 2025. The gallery will be hosting an opening reception for all in-gallery exhibitions on Friday\, March 7 in our North Miami gallery from 6:00–9:00 PM. \nIn CAMP’s incubator space\, Jan Brandt’s solo exhibition\, Between Stillness and Growth\, explores the tension between bloom and decay through Brandt’s signature use of playful\, tactile materials like puffy paint and glitter. Her Hothouse series navigates the fluid boundary between representation and abstraction\, creating compositions that pulse with kinetic energy while incorporating moments of stillness. These textures and compositions invite viewers to pause\, reflect\, and embrace life’s rhythms\, offering both a reflection on transition and an exploration of the cycle between chaos and calm. \nCurated by Amy Arechavaleta. \nThe CAMP Gallery is open Tuesday–Saturday\, 12 to 5 PM. \nFor more information\, please reach out to our email hello@thecampgallery.com. \nThe Contemporary Art Modern Project (The CAMP Gallery) \nThe Contemporary Art Modern Project Gallery specializes is a contemporary art gallery dedicated to raising awareness for emerging and mid-career artists with a unique emphasis on ultra-contemporary approaches to textiles and fiber art. Founded during the height of the pandemic by Melanie Prapopoulos\, the gallery has gone on to create a distinctly academic and thought-provoking arts program in North Miami\, and beyond. As a gallery\, The CAMP remains steadfast in transparency both for the artist and for the collector\, building bridges and connections from creation to acquisition. With a robust local and international roster\, the gallery represents artists working in textiles and fiber\, painting\, photography\, sculpture\, and installation. Looking at art\, as a whole\, through a reactionary and interdisciplinary approach\, the gallery operates as a space wherein creativity and reality co-exist. \n  Save  
URL:https://artinamericaguide.com/event/march-camp-between-stillness-and-growth/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Event,Exhibition
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ORGANIZER;CN="The Contemporary Art Modern Project":MAILTO:maria@thecampgallery.com
GEO:25.8434605;-80.1895077
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=The CAMP Gallery 791 NE 125 St Miami FL 33161 United States;X-APPLE-RADIUS=500;X-TITLE=791 NE 125 St:geo:-80.1895077,25.8434605
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250307T120000
DTEND;TZID=America/New_York:20250404T170000
DTSTAMP:20260824T052338
CREATED:20250227T200126Z
LAST-MODIFIED:20250227T200126Z
UID:112363-1741348800-1743786000@artinamericaguide.com
SUMMARY:MARCH @ CAMP - Asking For a Friend
DESCRIPTION:The CAMP Gallery is excited to announce its upcoming exhibition Asking For a Friend\, which will be running from March 7th-April 4th. Don’t miss our opening night on Friday\, March 7th 6:00 pm- 9:00 pm at our North Miami gallery. Asking For a Friend unites four women artists: Heidi Hankaniemi\, Joan Wheeler\, Lydia Viscardi\, and Silvana Soriano. The exhibition borrows from the familiar mechanism of an advice column -with a twist- using distinct bodies of work to explore questions of love\, pride\, fear\, and autonomy as a form of allyship and emotional community-building. \nAsking For a Friend celebrates the ways in which women take care of one another\, explicitly pushing past the woes of a blossoming generation to be inclusive of trans-generational perspectives and experiences. The exhibition functions as a space wherein one can navigate personal and communal hardships: how to grieve; celebrate small victories; find courage; get rich; start over; accept reality; dream.\nCurated by Maria Gabriela Di Giammarco. \nThe CAMP Gallery is open Tuesday–Saturday\, 12 to 5 PM. \nFor more information\, please reach out to our email hello@thecampgallery.com. \nThe Contemporary Art Modern Project (The CAMP Gallery) \nThe Contemporary Art Modern Project Gallery specializes is a contemporary art gallery dedicated to raising awareness for emerging and mid-career artists with a unique emphasis on ultra-contemporary approaches to textiles and fiber art. Founded during the height of the pandemic by Melanie Prapopoulos\, the gallery has gone on to create a distinctly academic and thought-provoking arts program in North Miami\, and beyond. As a gallery\, The CAMP remains steadfast in transparency both for the artist and for the collector\, building bridges and connections from creation to acquisition. With a robust local and international roster\, the gallery represents artists working in textiles and fiber\, painting\, photography\, sculpture\, and installation. Looking at art\, as a whole\, through a reactionary and interdisciplinary approach\, the gallery operates as a space wherein creativity and reality co-exist. \n  Save  
URL:https://artinamericaguide.com/event/march-camp-asking-for-a-friend/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Event,Exhibition
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ORGANIZER;CN="The Contemporary Art Modern Project":MAILTO:maria@thecampgallery.com
GEO:25.8434605;-80.1895077
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=The CAMP Gallery 791 NE 125 St Miami FL 33161 United States;X-APPLE-RADIUS=500;X-TITLE=791 NE 125 St:geo:-80.1895077,25.8434605
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250312
DTEND;VALUE=DATE:20250413
DTSTAMP:20260824T052338
CREATED:20250227T200233Z
LAST-MODIFIED:20250227T200233Z
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SUMMARY:Kiki Smith: Prints\, 1990–2006
DESCRIPTION:Mary Ryan Gallery is pleased to announce Kiki Smith: Prints\, 1990-2006\, an exhibition of prints by Kiki Smith. This is the gallery’s second solo exhibition of Smith’s work. Themes recurring throughout this selection include Smith’s inventive approach to self portraiture\, a deep interest in nature and animals\, and etchings created at a monumental scale. \nEqually known for sculpture\, drawings\, and prints\, her transgressive early works confronted mortality and bodily decay. Printmaking became an essential part of Smith’s practice during the mid-1980s\, and she persistently pushes the medium’s boundaries in terms of style\, technique\, and imagery. Smith explains\, “Prints mimic what we are as humans: we are all the same and yet every one is different. I also think there’s a spiritual power in repetition\, a devotional quality\, like saying rosaries.” \nSmith appreciates the detail and crisp lines that she is able to achieve with etching\, which dovetails well with her chosen subject matter. She says\, “I started drawing animals because I like to draw hair. I realized how similar we are to birds or other mammals. … How the hair and skin move on a face is the same as how hair patterns itself on an animal’s body.” \nFor the massive print Pool of Tears 2\, Smith was inspired by Lewis Carroll’s drawings for his own manuscript Alice’s Adventures Under Ground (the published book contained illustrations by Sir John Tenniel)\, as well as encyclopedia images of animals and birds. In this scene from the book\, Alice has been shrunken down and has fallen into a pool of her own tears. Smith used the largest etching plate that the studio\, Universal Limited Art Editions (ULAE)\, could accommodate – in fact\, the plate was so large that she sometimes had to sit on it as she worked. \nKiki Smith 1993 is a self portrait by way of the digestive system\, the full length of which is depicted here. Taking a unique approach\, Smith has turned the body inside out to focus on the interior organs. Master printer Craig Zammiello remembers that Smith wasn’t satisfied with the quality of the paper and asked the ULAE team to wet the sheets down\, a radical idea considering that the edition was already done: “Once these beautiful flat sheets were all finished\, we just spritzed them down with a little pump sprayer and they curled and wrinkled and bubbled and that gives the prints that little bit of life that [Smith] was after.” \nUntitled (Hair) is Smith’s first lithograph. Produced in 1990\, this print uses imprints of the artist’s own hair\, face\, neck\, and even a “Cher” wig\, to create an almost-abstract composition infused with motion and dynamism. One of the first prints in which Smith used her own body as a part of the printmaking process\, Untitled (Hair) demonstrates her inventive approach when tackling themes of the human body\, natural world\, and personhood. Both Kiki Smith 1993 and Untitled (Hair) are unexpected approaches to self portraiture\, expanding what the genre can encompass. \nMary Ryan Gallery has placed Smith’s work in museums including Albertina Museum\, Austria; Art Gallery of New South Wales\, Australia; Chazen Museum of Art\, WI; The Fralin Museum of Art at the University of Virginia\, VA; Herbert F. Johnson Museum of Art\, NY; Hood Museum of Art\, NH; Jule Collins Smith Museum of Fine Art\, AL; Minneapolis Institute of Art\, MN; Museum of Fine Arts\, Houston\, TX; National Gallery of Art\, DC; Princeton University Art Museum\, NJ; the Whitney Museum of American Art\, NY; and the Yale University Art Gallery\, CT. \n  \nKiki Smith (b. 1954\, Nuremberg\, Germany) is a leading contemporary artist with a career spanning more than three decades. Known primarily for her sculpture and works on paper\, Smith is a wildly experimental and innovative printmaker. She is constantly pushing the boundaries in the field in all areas\, including style\, technique\, and imagery. Her work addresses feminist\, philosophical\, social\, sexual\, and political aspects of human nature. Her early work\, transgressive in nature\, dealt with mortality and decay\, while her more recent work explores the natural world\, portraiture\, fairy tales\, and myths. \nSmith’s work has been included in numerous recent solo exhibitions around the world\, including Kiki Smith. Woven Worlds\, Landes-Stiftung Arp Museum Bahnhof Rolandseck\, Germany (2024); Kiki Smith: Empathy\, Diözesanmuseum Freising\, Germany (2023); Kiki Smith: Free Fall\, Seoul Museum of Art\, South Korea (2022); and Kiki Smith: From the Creek\, Albuquerque Museum\, NM (2022). In 2020\, a solo exhibition of Smith’s work opened at the Musée Cantonal des Beaux-Arts Lausanne\, Switzerland\, with an accompanying catalogue Kiki Smith: Hearing You with My Eyes edited by Laurence Schmidlin. A 2018 solo exhibition and accompanying catalogue\, Kiki Smith: Procession\, opened at Haus der Kunst\, Munich\, Germany and traveled to The Belvedere\, Austria. \nSmith’s work is in numerous prominent museum collections\, including the Albertina Museum\, Austria; Brooklyn Museum\, NY; Centre Pompidou\, France; Long Museum\, China; Metropolitan Museum of Art\, NY; Moderna Museet\, Stockholm\, Sweden; Museum of Contemporary Art Los Angeles\, CA; Museum of Modern Art\, NY; National Gallery of Australia\, Australia; National Museum of Modern and Contemporary Art\, Gwacheon\, South Korea; Smithsonian American Art Museum\, DC; Solomon R. Guggenheim Museum\, NY; Staatliche Graphische Sammlung München\, Germany; Tate\, United Kingdom; Walker Art Center\, MN; and the Whitney Museum of American Art\, NY. \n  Save  
URL:https://artinamericaguide.com/event/kiki-smith-prints-1990-2006/
LOCATION:NY
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250313T180000
DTEND;TZID=America/New_York:20250412T180000
DTSTAMP:20260824T052338
CREATED:20250227T200136Z
LAST-MODIFIED:20250227T200136Z
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SUMMARY:Ethel Schwabacher: The Early Sixties
DESCRIPTION:Berry Campbell is pleased to present its second exhibition of works by Ethel Schwabacher (1903-1984). Ethel Schwabacher: The Early Sixties features a selection of paintings and works on paper\, offering a focused exploration of Schwabacher’s artistic production during this pivotal period. Several years ago\, Schwabacher joined the gallery’s roster of women artists whose ambitious\, independent\, and insightful art is essential to a complete historical understanding of the downtown New York art scene from the late 1940s to 1980s. \nThe gallery’s first exhibition of Ethel Schwabacher’s work in 2023 featured paintings from the 1950s. This exhibition highlights Schwabacher’s works from the early 1960s\, a transformative period for the artist in which she transitioned from gestural abstraction to more nuanced exploration of color. This marks a significant evolution in her artistic practice. Many of the works featured have not been on view since they were shown at her 1962 exhibition at Betty Parsons Gallery\, including the large-scale center piece to the show entitled\, Longnook III (1960). Ethel Schwabacher: The Early Sixties focuses on Schwabacher’s unique brand of abstraction\, which is characterized by sweeping broad brushstrokes\, but enhanced with a newfound emphasis on bold\, bright colors. \nPatricia L. Lewy\, writes: “The works on view in the exhibition at the Berry Campbell Gallery\, New York\, in the spring of 2025 mark an exceptional moment in Schwabacher’s artistic formation\, one as distinct from her earlier Abstract Expressionist paintings as they are from her later figurative narratives based on myth and epic poetry. Yet whether working with gesture\, geometry\, or narration\, Schwabacher sought to express her exquisite sensitivity to color and color forms in a visual language that would convert psychic pain—the piercing anguish of personal loss\, abandonment\, and betrayal—into images of calm\, stability\, awe\, and sheer joy.” \nAs part of the resurgence of women artists\, Ethel Schwabacher was one of the twelve artists included in the landmark traveling exhibition Women of Abstract Expressionism organized by the Denver Art Museum in 2016.  She was recently included in Action\, Gesture\, Paint\, at the Whitechapel Gallery in London\, that traveled to the Van Gogh Foundation in Arles\, France\, and the Kunsthalle\, Bielefeld\, Germany. Berry Campbell also presented a solo presentation of Ethel Schwabacher at Frieze Masters London in the Spotlight section curated by Valerie Cassel Oliver\, the Sydney and Frances Lewis Family Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts. \nBerry Campbell’s exhibition is accompanied by a 32-page fully illustrated catalogue with an essay by Patricia L. Lewy\, Ph.D.\, Director\, Friedel Dzubas Estate Archives. Ethel Schwabacher: The Early Sixties opens with a reception on Thursday\, March 13\, 2025\, 6  – 8 pm and continues through April 12\, 2025. \nGallery hours are Tuesday through Saturday\, 10 am  – 6 pm or by appointment. For further information please call at 212.924.2178 or visit our website at www.berrycampbell.com. Press inquiries should be made to Laurel Megalli\, Sutton Communications at laurel@suttoncomms.com or 212.202.3402. \n  Save  
URL:https://artinamericaguide.com/event/ethel-schwabacher-the-early-sixties/
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
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Berry Campbell Gallery 524 W 26th Street New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=524 W 26th Street:geo:-74.0052789,40.7488193
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250314T180000
DTEND;TZID=America/New_York:20250426T200000
DTSTAMP:20260824T052338
CREATED:20250224T180514Z
LAST-MODIFIED:20250224T180514Z
UID:112245-1741975200-1745697600@artinamericaguide.com
SUMMARY:Facial Recognition: Curated by Barbara Pollack
DESCRIPTION:Russell Craig\, Pixy Liao\, LuYang\, Helina Metaferia\, Azita Moradkhani\, Kambui Olujimi\, Lau Wai \n  Save  
URL:https://artinamericaguide.com/event/facial-recognition-curated-by-barbara-pollack/
LOCATION:NY
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2025/02/LuYang_Delusional-Mandala-small.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250315
DTEND;VALUE=DATE:20250504
DTSTAMP:20260824T052338
CREATED:20250227T200429Z
LAST-MODIFIED:20250227T200429Z
UID:112371-1741996800-1746316799@artinamericaguide.com
SUMMARY:Zipora Fried: Trust Me\, Be Careful\, I Like Your Shoes
DESCRIPTION:Sean Kelly is delighted to announce Trust Me\, Be Careful\, I Like Your Shoes\, Zipora Fried’s first solo exhibition in Los Angeles. Bringing together four bodies of work; large works on paper\, new intimately scaled drawings\, ceramic sculptures\, and a monumental hanging drawing\, this exhibition highlights Fried’s mastery of mark-making and her continued exploration of the transformative\, manipulative potential of form\, color\, and gesture. Simultaneously an overview of her oeuvre and a step into a new\, dynamic phase of her career\, the exhibition captures a shift in Fried’s practice toward heightened energy and a more liberated\, expressive engagement with her materials. There will be an opening reception on Saturday\, March 15\, from 5-7pm. The artist will be present. \n  Save  
URL:https://artinamericaguide.com/event/zipora-fried-trust-me-be-careful-i-like-your-shoes/
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
END:VCALENDAR