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BEGIN:VEVENT
DTSTART;VALUE=DATE:20231208
DTEND;VALUE=DATE:20261207
DTSTAMP:20260824T060229
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:20260824T060229
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:20260824T060229
CREATED:20240628T154332Z
LAST-MODIFIED:20241112T212527Z
UID:109156-1727136000-1753660799@artinamericaguide.com
SUMMARY:Robert Earl Paige: Give the Drummer Some!
DESCRIPTION:For the Smart’s 50th anniversary\, South Side artist Robert Earl Paige creates a multi-part pattern-based installation and sprawling public art project that invites communities into a collective experience of space. \n  Save  
URL:https://artinamericaguide.com/event/robert-earl-paige-give-the-drummer-some/
LOCATION:Smart Museum of Art\, 5550 S. Greenwood Avenue\, Chicago\, IL\, 60637\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240928T090000
DTEND;TZID=America/New_York:20250608T170000
DTSTAMP:20260824T060229
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:20241115T080000
DTEND;TZID=America/New_York:20250817T170000
DTSTAMP:20260824T060229
CREATED:20240522T193730Z
LAST-MODIFIED:20240522T193730Z
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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:20250125T090000
DTEND;TZID=America/New_York:20250622T170000
DTSTAMP:20260824T060229
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:20260824T060229
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:20260824T060229
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
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ORGANIZER;CN="Clyfford Still Museum":MAILTO:press@clyffordstillmuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250208
DTEND;VALUE=DATE:20250504
DTSTAMP:20260824T060229
CREATED:20250211T183445Z
LAST-MODIFIED:20250318T215540Z
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SUMMARY:Alfonso Ossorio & Nandor Fodor: The Search for the Beloved
DESCRIPTION:View the complete exhibition checklist \n\nMichael Rosenfeld Gallery is pleased to present Alfonso Ossorio & Nandor Fodor: The Search for the Beloved\, a first-of-its-kind exhibition exploring the impact of the theories of Hungarian psychoanalyst Nandor Fodor on the art of Alfonso Ossorio (1916–1990). Fodor’s 1949 book\, The Search for the Beloved: A Clinical Investigation of the Trauma of Birth and Pre-Natal Conditioning (New York: Hermitage Press\, Inc\, 1949) was an early contribution to the field of prenatal psychology\, and while many of his theories have lost their currency\, the provocative language\, vivid imagery\, and theories put forth in the book provided Ossorio with\, in his own words\, “a springboard from which to take off.”[1] From his early surrealist drawings to his celebrated mixed-media assemblages known as Congregations\, the works presented in Alfonso Ossorio & Nandor Fodor: The Search for the Beloved reveal Ossorio’s enduring exploration of themes addressed in Fodor’s book\, notably birth\, death\, suffering\, and sex. \nIn The Search for the Beloved\, Fodor argues that prenatal experience and the inherently traumatic upheaval of birth form the foundation of each person’s psyche\, instilling in them an innate fear of death and a lifelong\, subconscious desire to return to the womb. In the book’s introduction\, Fodor writes: “After nine months of peaceful development\, the human child is forced into a strange world by cataclysmic muscular convulsions which\, like an earthquake\, shake its abode to the very foundations. … In its shattering effect\, birth can only be paralleled by death.”[2] \nBorn in Beregszász\, Austro-Hungarian Empire (now Berehove\, Ukraine) to a Jewish family in 1895\, Nandor Fodor completed a doctorate in law at the Royal Hungarian University of Science in Budapest. After moving to London in 1929 to work as a journalist\, Fodor became interested in the work of Sigmund Freud and began publishing his own writing in psychoanalytic journals. By 1949\, when he published The Searched for the Beloved\, Fodor had developed a reputation as a compelling psychoanalytic thinker writing for a popular audience. Many chapters of The Searched for the Beloved were first published in scientific journals\, including The Psychiatric Quarterly\, The American Journal of Psychotherapy\, and The Journal of Nervous and Mental Disease. Although it is unlikely that Fodor ever met Ossorio\, his theories had an indelible influence on the artist\, who was a voracious reader on a wide range of subjects; notably\, Ossorio kept an annotated copy of The Search for the Beloved on his bedside table until the end of his life. \nAlfonso Ossorio was born in Manila\, the Philippines\, in 1916 and raised in a devoutly Catholic family. After attending Catholic boarding schools in England and a Jesuit secondary school in the United States\, he attended Harvard University\, where he completed his senior thesis titled Spiritual Influences on the Visual Image of Christ. Throughout his youth\, Ossorio’s irrepressible feelings of same-sex attraction were in conflict with the worldview of his upbringing and the beliefs that had been ingrained in him\, leading to immense inner turmoil that he expressed through vividly detailed surrealistic depictions of biblical subjects during the early 1940s. An exemplary selection of these early works will be on view in Alfonso Ossorio & Nandor Fodor: The Search for the Beloved. Executed before the publication of The Search for the Beloved\, these early drawings such as Job (1941) and The New Pandora (1944) reveal Ossorio’s lifelong interests in the themes of suffering\, birth\, and sex that would resonate with Fodor’s book. \n\nOssorio encountered Fodor’s book at a particularly important moment in his life and career. Early in 1950\, Ossorio returned to his home in the Philippines for the first time since he was ten\, bringing the newly published The Search for the Beloved with him. The official purpose of Ossorio’s trip was the execution of a mural titled The Angry Christ for the Chapel of Saint Joseph the Worker\, which his family had built in Victorias\, on the island of Negros. The ten months Ossorio spent in the Philippines opened up old wounds from his youth that led to a highly productive period and a new direction in his art.Guided by his reading of The Search for the Beloved as well as his new friendships with Jackson Pollock and Jean Dubuffet\, Ossorio composed his Victorias Drawings\, a series of abstract paintings on paper executed with a wax-resist technique\, which are prominently featured in this exhibition. Distinguished by their vivid colors and pulsating energy\, the Victorias Drawings directly address the contents of Fodor’s book through titles and imagery referencing pregnancy\, childbirth\, coupledom\, motherhood\, infancy\, martyrdom\, and yonic forms. Created at the height of the abstract expressionist movement\, the Victorias Drawings inspired Dubuffet to author and publish a monographic study on the series\, titled Peintures Initiatiques D’Alfonso Ossorio—the only monograph he would ever write on another artist. In 1951\, the Victorias Drawings were exhibited at Studio Paul Facchetti in Paris and at Betty Parsons Gallery in New York\, formally announcing Ossorio’s departure from his detailed surrealist compositions of the 1940s. \nAlfonso Ossorio & Nandor Fodor: The Search for the Beloved illuminates themes manifest throughout Ossorio’s oeuvre\, including his final major series: the mixed media assemblages known as the Congregations. In the Congregations\, Ossorio brings together such disparate found objects as glass eyes\, shells\, animal bones\, shards of glass\, and driftwood into compositions that reveal the enduring influence of Fodor’s thought. \nAlfonso Ossorio & Nandor Fodor: The Search for the Beloved is Michael Rosenfeld Gallery’s fourteenth solo exhibition on the work of Alfonso Ossorio\, who has been the subject of more solo exhibitions than any other artist in the gallery’s thirty-six-year history. Beginning in 1996 with Alfonso Ossorio – Reflection & Redemption: The Surrealist Decade\, 1939-1949\, Michael Rosenfeld Gallery has consistently presented focused\, thematic exhibitions exploring various facets of Ossorio’s extraordinary career\, while including his work in eighty-eight group exhibitions since 1992. Michael Rosenfeld Gallery represented the Ossorio Foundation from 1996 to 2007. \n\n  \n\n1. Judith Wolfe\, Alfonso Ossorio: 1940-1980 (East Hampton\, NY: Guild Hall Museum\, 1980)\, 43\n2. Nandor Fodor\, The Search for the Beloved\, (New York: Hermitage Press\, Inc.\, 1949)\, 3 \n\n\n\n  Save  
URL:https://artinamericaguide.com/event/alfonso-ossorio-nandor-fodor-the-search-for-the-beloved/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
GEO:40.7460874;-74.0076191
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20250218T100000
DTEND;TZID=America/Chicago:20250706T170000
DTSTAMP:20260824T060229
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
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250221T080000
DTEND;TZID=America/New_York:20250622T170000
DTSTAMP:20260824T060229
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:20260824T060229
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:20260824T060229
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;VALUE=DATE:20250304
DTEND;VALUE=DATE:20250711
DTSTAMP:20260824T060229
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:20260824T060229
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:20260824T060229
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250307T100000
DTEND;TZID=America/New_York:20250727T170000
DTSTAMP:20260824T060229
CREATED:20241211T193211Z
LAST-MODIFIED:20241227T204216Z
UID:110914-1741341600-1753635600@artinamericaguide.com
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
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/12/Choumali-1.jpeg
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:20260824T060229
CREATED:20250224T180514Z
LAST-MODIFIED:20250224T180514Z
UID:112255-1741345200-1830276000@artinamericaguide.com
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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GEO:37.3327419;-121.8905201
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=San Jose Museum of Art 110 S. Market Street San Jose CA 95113 United States;X-APPLE-RADIUS=500;X-TITLE=110 S. Market Street:geo:-121.8905201,37.3327419
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250314T180000
DTEND;TZID=America/New_York:20250426T200000
DTSTAMP:20260824T060229
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:20260824T060229
CREATED:20250227T200429Z
LAST-MODIFIED:20250227T200429Z
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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
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250315T160000
DTEND;TZID=America/New_York:20250426T170000
DTSTAMP:20260824T060229
CREATED:20250224T222014Z
LAST-MODIFIED:20250224T222014Z
UID:112282-1742054400-1745686800@artinamericaguide.com
SUMMARY:LEON BERKOWITZ & WAYSON JONES
DESCRIPTION:Painters intuitively start with ideas about color. Less obvious and equally as important are the various reductive or additive strategies the artists apply. No prior subject is referenced\, no personal content shared\, and there is nothing to interpret\, only the painting’s physical presence exists. Each artist develops a unique method for the creation of works that reduces painting to the purest retinal experience. Leon Berkowitz mastered translucent\, unbound areas of color without any traces of brushwork\, allowing the viewer to look into color\, not at color. The luminous paintings read like ethereal portals into other\, softer worlds. Wayson Jones is attuned to the quality of surfaces\, using a process of building up layers of textured pumice gel in which paint is integrated. The rock-like paintings burst off the wall\, enhancing their sculptural appearance. The exuberant works explore color and surface in the opposite way than Berkowitz\, adding more and more to the surface until Jones is content with the final object\, cascading\, neon pumice stone draping over the edge of a square\, uniform panel. The two painters embody two extremes of isolating color – Berkowitz creating a disappearing halo of color and Jones lavishing material to a three-dimensional explosion. \nLeon Berkowitz (American\, 1911 – 1987) studied at the University of Pennsylvania in Philadelphia and at the Art Students League in New York\, and in his travels studied in France\, Italy and Mexico. Spending most of his life in Washington\, he taught art in D.C. high schools and at the Corcoran School of Art and was a founder of the Washington Workshop Center for the Arts. His work is held in the collections of the High Museum of Art\, the Hirshhorn Museum & Sculpture Garden\, the Museum of Modern Art\, NY\, and the Smithsonian American Art Museum\, among other public and private collections. \nWayson Jones (American\, b. 1957) is a painter\, musician\, and spoken-word artist. A self-taught visual artist\, he was part of a vibrant Black LGBTQ arts scene in Washington DC in the 1980s and early 1990s. His work can be found in private and public collections in the DC area and nationally including the District of Columbia Art Bank\, and the Maryland/National Capitol Park and Planning Commission. Jones is currently serving on the Phillips Collection Advisory Committee for Essex Hemphill: Take Care of Your Blessings\, opening in May of 2025. This is Jones’ first solo exhibition with Hemphill. \n  Save  
URL:https://artinamericaguide.com/event/leon-berkowitz-wayson-jones/
LOCATION:HEMPHILL\, 1515 14th Street NW\, Washington\, DC\, 20005\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="HEMPHILL":MAILTO:gallery@hemphillfinearts.com
GEO:38.910305;-77.0315939
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=HEMPHILL 1515 14th Street NW Washington DC 20005 United States;X-APPLE-RADIUS=500;X-TITLE=1515 14th Street NW:geo:-77.0315939,38.910305
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250320
DTEND;VALUE=DATE:20250428
DTSTAMP:20260824T060229
CREATED:20250303T170803Z
LAST-MODIFIED:20250303T170803Z
UID:112382-1742428800-1745798399@artinamericaguide.com
SUMMARY:Aaron Wilder's 'Contact Traces'
DESCRIPTION:Amos Eno Gallery\, a non-profit\, artist-run gallery\, is pleased to present Contact Traces\, a solo exhibition by artist Aaron Wilder. \nThe exhibition will be on view from March 20 to April 27\, 2025\, with an Opening Reception on Friday\, March 21\, from 6 to 8 p.m. and a Panel Discussion & Closing Reception on Friday\, April 25\, 2025\, from 6 to 8 p.m. Both events will be held at the gallery at 191 Henry St. on the Lower East Side. Works are also available to view on Artsy. \n​Before the COVID-19 pandemic\, artist Aaron Wilder had cobbled together an art career in San Francisco from multiple\, part-time jobs\, all of which were lost by March 2020. In a twist of fate\, Wilder was offered underemployment in Chicago. With no other viable options\, he accepted the offer and moved across the country to a place where he had an absence of close contacts. Naïve optimism for a short pandemic quickly gave way to multiple layers of isolation. Wilder’s relocation to Chicago was rendered moot by the outcome of working remotely. As they say\, hindsight is 2020. \nThe exhibition title is derived from “contact tracing\,” which the Centers for Disease Control and Prevention define as “the process of identifying people who have recently been in contact with someone diagnosed with an infectious disease.” Contact Traces represents Wilder’s delayed processing of the pandemic’s impact on himself as a method of coping with profound isolation. In this show\, the artist follows the threads of ruptures in contact among people\, place\, and time through the exploration of literal and symbolic barriers. The exhibition centers on bodies of work from experiences before\, during\, and after the shelter-in-place. \nBegun in 2016\, Wilder’s ongoing Social Boundaries photography project focuses on physical barriers along neighborhood perimeters. While traversing these borders\, Wilder reflects on the stimuli of these obstructions. They block movement directly\, exemplify fortifications\, and enforce physical separation. In the pandemic\, the term “social distancing” became one of the most commonly repeated phrases. Like other cities\, San Francisco was plagued by social distance in areas such as gentrification and homelessness long before the pandemic. \nInvisible Self-Portrait / Expletive Chapel: Lavender Heights is a video Wilder made in 2019 in which he imagines what his self-portrait would look like if it were as invisible as he felt living in San Francisco. The film’s audio is the layered pronouncing of individual letters of derogatory slurs to transform them into rhythmic\, meditative sounds. \nWilder was forced to leave San Francisco due to a lack of viable economic opportunities at the onset of the pandemic\, which robbed him of the opportunity to leave on his own terms. Wilder felt incapable of coming to terms with what felt like defeat. Before Exile is a series of mixed media drawings on darkroom photography test prints. As he made them Wilder reflected on his experiences living in San Francisco and the circumstances that forced him to leave. \nAbundance of Caution is a series of digital collages tracing notions of contact and exploring the literal and symbolic meanings of the phrase\, which touch on anxiety and debilitating fear stemming from rapid change and uncertainty. A range of types of warnings from contamination to chemical exposure to violence are visually investigated through aesthetic strategies of chaos\, clarity\, dissection\, juxtaposition\, layering\, and multiplicity. \nAt the closing reception and panel discussion on Friday\, April 25\, 6 to 8 p.m.\, moderated by gallery director Ellen Sturm Niz\, fellow gallery member artists James Horner and Julianne Nash will join Wilder to discuss the pandemic’s impact on them and their creative practices. \nAbout the ArtistAaron Wilder is an interdisciplinary artist originally from Phoenix\, Arizona. He currently resides in Roswell\, New Mexico. \nWith the history of being a self-taught artist since 2002\, Wilder received his MFA from the San Francisco Art Institute in 2017. He has exhibited his work extensively across the United States as well as in Italy. Contact Traces is Wilder’s second solo exhibition at Amos Eno Gallery after joining as an artist member in 2020. For more information\, visit aaronwilder.com.​ \n​About Amos Eno Gallery \nAmos Eno Gallery has been a fixture in the New York art scene since 1974 when it opened in Soho. The gallery is open Thursdays through Sundays from noon to 6 p.m. and is run by a small community of professional artists\, both from New York City and across the country\, and a part-time director.  \n​The gallery is located at 191 Henry Street between Jefferson and Clinton Streets on the Lower East Side of Manhattan. It’s a 5 minute walk from the F Train’s East Broadway Station and a 10 minute walk from the J Train’s Delancey Street – Essex Street Station. \nAmos Eno Gallery’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.​ \nFor more information\, please contact Gallery Director Ellen Sturm Niz at amosenogallery@gmail.com. \n  Save  
URL:https://artinamericaguide.com/event/aaron-wilders-contact-traces/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Amos Eno Gallery":MAILTO:amosenogallery@gmail.com
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250325T110000
DTEND;TZID=America/New_York:20250419T180000
DTSTAMP:20260824T060229
CREATED:20250401T165401Z
LAST-MODIFIED:20250401T165401Z
UID:112673-1742900400-1745085600@artinamericaguide.com
SUMMARY:Anne Delaney: Looking and Seeing
DESCRIPTION:Exhibition Dates: March 25 – April 19\, 2025 \nOpening Reception: Thurs\, March 27\, 2025\, 6PM-8PM \nGallery Hours: Tuesday-Saturday\, 11AM-6PM \nBowery Gallery is pleased to present Looking and Seeing\, Anne Delaney’s fifth solo show at Bowery Gallery. \nDelaney’s recent paintings and drawings of landscapes and scenes with family members explore themes of connection — between figures\, their surroundings\, and the viewer. All the while\, they embrace the inherent mystery of the medium itself. \nThe artist’s work invites us to see the world coming into being in unique visions balancing representation and abstraction\, observation and interpretation. Through an eager pursuit of the seen\, trees become vertical bands of color evoking sequences of time\, and rocks shift to anchor entire landscapes. \nThe opening reception will be held on Thursday\, March 27\, 6pm – 8pm. \nBOWERY GALLERY \n547 West 27 Street  Suite 508 \nNew York\, NY   10001 \n646-230-6655 \nwww.bowerygallery.org \n  Save  
URL:https://artinamericaguide.com/event/anne-delaney-looking-and-seeing/
LOCATION:Bowery Gallery\, 547 W 27TH ST Suite 508\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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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;VALUE=DATE:20250328
DTEND;VALUE=DATE:20250505
DTSTAMP:20260824T060229
CREATED:20250331T174519Z
LAST-MODIFIED:20250331T174519Z
UID:112773-1743120000-1746403199@artinamericaguide.com
SUMMARY:Guy Laramée: Livros
DESCRIPTION:Guy Laramée has been working with books as a sculptural medium for over twenty years. Carving directly into the bound pages of vintage volumes\, the artist creates intricately detailed landscapes and architectures\, often textured and painted to render complex topographies and surface vegetation. Laramée frequently works with old dictionaries and encyclopedias\, bringing the geological timescale of mountain and desert landscapes into contact with the canons of knowledge represented by these beautiful yet often dated volumes; the artist has spoken of the tension he wishes to explore between static forms of knowledge and the wonder and immediacy of our relationship to the natural world. \nIn 2022\, Laramée relocated to a new mountainside studio in Nova Friburgo\, Brazil. Much of his work since then has been inspired by the dramatic peaks of the nearby Pico da Caledônia. In this new Livros series\, the artist introduces novel techniques to his practice including carving the pages of his books with high-pressure water and stripping the books of their covers to reveal their sewn bindings—allowing Laramée to manipulate and distort their shapes as the books dry. The dramatic final works have a new abstraction and materiality to them as they transport us to the otherworldly remoteness of their mountainside landscapes. \nVisit the exhibition online here. \nGuy Laramée received an MA in Visual Arts from the Université du Québec à Montréal\, Montréal\, Quebéc\, as well as an MA in Anthropology from Concordia University\, Montréal\, Quebéc. The artist’s work has been exhibited at the Paul Smith boutique\, New York\, NY; Center for Book Arts\, New York\, NY; Museum Sinclair-Haus\, Bad Homburg\, Germany; Yale University Art Gallery\, New Haven\, CT; Museum of Arts and Design\, New York\, NY; and Maisons de la culture de Montréal\, Montréal\, Québec. His work can be found in the collections of Bibliotéque Nationale du Québec\, Montréal\, Québec; Cameron Art Museum\, Wilmington\, NC; City of Las Vegas\, Las Vegas\, NV; Michigan State University Libraries\, East Lansing\, MI; University of Michigan Special Libraries\, Ann Arbor\, MI; Museum of Art and Design\, New York\, NY; and Musée National des Beaux-arts du Québec\, Québec City\, Québec\, Canada. Laramée’s work has received extensive press coverage in publications including Designboom\, Artnet News\, COLOSSAL\, The New York Times\, Artforum\, The Paris Review\, Huffington Post\, Wired\, and Hyperallergic. \n  Save  
URL:https://artinamericaguide.com/event/guy-laramee-livros/
LOCATION:JHB Gallery New York\, 26 Grove Street\, 4C\, New York\, NY\, 10014\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="JHB Gallery":MAILTO:info@jhbgallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250329T100000
DTEND;TZID=America/New_York:20250419T170000
DTSTAMP:20260824T060229
CREATED:20250307T203625Z
LAST-MODIFIED:20250307T203625Z
UID:112421-1743242400-1745082000@artinamericaguide.com
SUMMARY:March – April @ Art Works!
DESCRIPTION:March brings spring and daylight savings time and a myriad of celebrations from Pi Day\, Saint Patrick’s Day\, lots of religious holidays including Purim\, Holi\, Maundy Thursday and Easter. And even a total lunar eclipse will occur on Friday\, March 14th. \nAt Art Works\, we’ll be honoring the coming of spring with special treats to visitors and a scavenger hunt to introduce the art throughout the building. There are two figure drawing sessions on the 1st and 3rd Sunday\, and of course on 4th Friday\, March 28th there will be a reception for the opening of the new art exhibits. \nMake a day of it by exploring the restaurants in the area including Continental\, Stock\, Pig and Brew\, Iron Clad Pizza\, Café Zata\, and The Gold Lion. \n4th Friday March 28th at Art Works \nArt Works is excited to present an exceptional lineup of solo exhibitions showcasing the talents of Amelia Rafle\, Jasper Drilling\, Johnye Bennett\, Dan Thompson\, and Jeni Sleigh. These exhibits explore themes such as climate change\, circular motion\, transformation\, and empowerment through creative processes. \nIn addition to these solo exhibitions\, enjoy the monthly All Media Show\, featuring curated and juried works by Richmond’s finest artists. \nJoin us for the opening reception on March 28th\, from 6 p.m. to 8 p.m.\, for an evening of captivating art\, live music\, and the opportunity to meet the artists. This event is free and open to the public\, with complimentary parking available. Come celebrate art and creativity with us at Art Works!\n________________________________________\nMartyrs 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. \nThe exhibition will be in the Jane Sandelin Gallery at Art Works through April 19\, 2025. \n________________________________________ \nLarval Stages by Jasper Drilling \nThrough their art\, Jasper Drilling explores the profound connection between the life cycles of insects and amphibians and their own journey as a transgender individual. By focusing on the larval stage—the period before metamorphosis\, between birth and adulthood—they draw parallels to their transition. \nTheir self-portraits\, layered with images of eggs hatching and tadpoles growing legs and becoming frogs\, vividly depict that change is uncomfortable\, frightening\, necessary\, and exhilarating all at once. This work aims to convey the complexity and beauty of transformation\, celebrating the resilience and courage it demands. \nThe exhibition will be in the Port Gallery I at Art Works through April 19\, 2025.\n________________________________________ \nColor in Motion: Exploring Palettes by Johnye Bennett \nJohnye Bennett’s inner child is ageless\, and painting with colorful tubes of paint brings her endless joy and curiosity. Each stroke on her easel is filled with raw emotions—excitement and hope. Inspired by different cultures around the world\, she creates liberating and dynamic works using a variety of media including acrylic\, oil\, oil sticks\, charcoal\, markers\, and pastels. Bennett’s art captures the essence of moments\, feelings\, and glimpses of beauty\, driven by her desire to push the boundaries of artistic expression. \nThe exhibition will be in the Port Gallery II at Art Works through April 19\, 2025. \n________________________________________ \nEchoes of Insight by Jeni Sleigh \nJeni Sleigh\, born in Zambia and trained as a Teacher of Fine Arts at the University of Kwazulu Natal in Durban\, South Africa\, has over 35 years of experience teaching pottery\, painting\, drawing\, printing\, and photography across four countries. She loves empowering people to become creative in their own right. Her artwork\, exhibited and sold in Australia\, Brazil\, South Africa\, Canada\, and Zambia\, now includes pastels with bright colors and interesting compositions. Based in Richmond\, Virginia\, and Perth\, Australia\, Jeni continues to inspire and train students in a wide range of ceramic techniques\, including raku and pit firing. \nThe exhibition will be in the Centre Gallery at Art Works through April 19\, 2025. \n________________________________________\nThe Circle Spirit Lives On by Dan Thompson \nDan Thompson presents a captivating collection\, from the Bauhaus to MoMA: The Circle’s Spirit Lives On. This exhibit features acrylic works on paper and canvas\, all framed under glass\, and showcases Thompson’s unique monoprints created using a gel plate. Through these pieces\, Thompson explores the enduring influence of circular forms in modern art\, celebrating their timeless appeal and dynamic presence. \nThis exhibit will be in the Corner Gallery at Art Works through April 19\, 2025.\n________________________________________ \nMarch 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. Clinton Helm\, Fine Arts professor at VCU and painter will juror the exhibit. \nThe show is open to all artists and all mediums. There is no theme this month. Call for entries is February 15 – March 16\, 2025\, and may be submitted through the online form. \nThe exhibit will be in the Skylight Gallery at Art Works through April 17\, 2025. \n  Save  
URL:https://artinamericaguide.com/event/march-april-art-works-2/
LOCATION:Art Works\, 320 Hull Street\, Richmond\, VA\, 23224\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Art Works":MAILTO:glenda@artworksrichmond.com
GEO:37.524914;-77.437258
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250403T110000
DTEND;TZID=America/New_York:20250510T180000
DTSTAMP:20260824T060229
CREATED:20250327T200843Z
LAST-MODIFIED:20250327T200843Z
UID:112754-1743678000-1746900000@artinamericaguide.com
SUMMARY:Maeve D’Arcy: Off the Record and Other Stories
DESCRIPTION:Kathryn Markel Fine Arts is delighted to announce an upcoming exhibition of paintings by Maeve D’Arcy titled\, Off the Record and Other Stories.  This will be her fourth solo exhibition with the gallery and features paintings she created during her recent MacDowell fellowship. A site specific drawing and painting installation that the artist refers to as an “intervention” will also be on display. \n  Save  
URL:https://artinamericaguide.com/event/maeve-darcy-off-the-record-and-other-stories/2025-04-03/
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/2025/03/IMG_0633.jpg
ORGANIZER;CN="Kathryn Markel Fine Arts":MAILTO:markel@markelfinearts.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250405T080000
DTEND;TZID=America/New_York:20250608T170000
DTSTAMP:20260824T060229
CREATED:20250331T174519Z
LAST-MODIFIED:20250522T163615Z
UID:112790-1743840000-1749402000@artinamericaguide.com
SUMMARY:BRUCE CAHN | Woodstock Work
DESCRIPTION:Opus 40 presents works on paper and sculptures by the late Woodstock artist Bruce Cahn (1942 – 2020). Cahn’s work is known not only for his accomplished techniques but also for his powerful symbolic imagery. These artworks range from abstract mandalas that boldly chart a spiritual journey to hand-carved\, figurative sculptures influenced by his teacher and colleague\, Harvey Fite\, the artist who created Opus 40. \n  Save  
URL:https://artinamericaguide.com/event/bruce-cahn-woodstock-work/
LOCATION:Opus 40\, 356 George Sickle Road\, Saugerties\, NY\, 12477\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2025/03/SF-Bruce-Cahn-flower-mandala.png
ORGANIZER;CN="Cross Contemporary Art Projects":MAILTO:crosscontemporaryprojects@gmail.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250410T100000
DTEND;TZID=America/New_York:20250419T180000
DTSTAMP:20260824T060229
CREATED:20250331T174704Z
LAST-MODIFIED:20250407T200855Z
UID:112742-1744279200-1745085600@artinamericaguide.com
SUMMARY:2025 Certificate Completion Exhibition I
DESCRIPTION:New York Studio School is pleased to present the work of our Certificate graduates in two exhibitions\, the first of which features work by graduates Alecia Chenoa & Jane Schube. \nThere will be an opening reception on Thursday\, April 10 from 6:00PM – 8:00PM \n \n  \n  Save  
URL:https://artinamericaguide.com/event/2025-certificate-completion-exhibition-i/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="new york studio school":MAILTO:rrickert@nyss.org
GEO:40.7329524;-73.998005
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=New York Studio School of Drawing Painting & Sculpture 8 West 8th Street New York NY 10011 United States;X-APPLE-RADIUS=500;X-TITLE=8 West 8th Street:geo:-73.998005,40.7329524
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250410T100000
DTEND;TZID=America/New_York:20250517T180000
DTSTAMP:20260824T060229
CREATED:20250327T200843Z
LAST-MODIFIED:20250331T180008Z
UID:112750-1744279200-1747504800@artinamericaguide.com
SUMMARY:Zuriel Waters:  Jello Moon
DESCRIPTION:Kathryn Markel Fine Arts is pleased to announce Jello Moon\, an upcoming exhibition of new paintings by Zuriel Waters.  This will be his second solo exhibition with the gallery and will feature his unique shaped and sewn paintings. \n  Save  
URL:https://artinamericaguide.com/event/zuriel-waters-jello-moon/2025-04-10/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Kathryn Markel Fine Arts":MAILTO:markel@markelfinearts.com
GEO:40.9365358;-72.3040792
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Kathryn Markel Fine Arts 529 West 20th Suite 6W New York NY 10011 United States;X-APPLE-RADIUS=500;X-TITLE=529 West 20th\, Suite 6W:geo:-72.3040792,40.9365358
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250411T110000
DTEND;TZID=America/New_York:20250816T160000
DTSTAMP:20260824T060229
CREATED:20250319T152251Z
LAST-MODIFIED:20250523T151929Z
UID:112567-1744369200-1755360000@artinamericaguide.com
SUMMARY:An Gorta Mór: Selections from Ireland’s Great Hunger Museum
DESCRIPTION:About the Exhibition: This exhibition presents highlights from the collection of Ireland’s Great Hunger Museum\, which explores the impact of the Irish Famine of 1845-1852 through artwork produced by eminent Irish and Irish-American artists of the past 170 years. The works on view in the exhibition will include paintings by late 19th- and early 20th‐century artists like James Brenan\, Daniel Macdonald\, James Arthur O’Connor and Jack B. Yeats\, as well as sculptures\, paintings\, and works on paper by contemporary artists including John Behan\, Rowan Gillespie\, Brian Maguire\, and Hughie O’Donoghue. The exhibition is presented by Quinnipiac University and the Ireland’s Great Hunger Museum of Fairfield Exhibition. \nImage: James Arthur O’Connor\, Scene in Connemara\, 1828\, oil on canvas. Courtesy of Quinnipiac University and the Ireland’s Great Hunger Museum of Fairfield Exhibition. \n  Save  
URL:https://artinamericaguide.com/event/an-gorta-mor-selections-from-irelands-great-hunger-museum/2025-04-11/
LOCATION:Quick Center for the Arts\, Walsh Gallery\, 1073 North Benson Road\, Fairfield\, CT\, 06824\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Fairfield University Art Museum":MAILTO:museum@fairfield.edu
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