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BEGIN:VEVENT
DTSTART;VALUE=DATE:20231208
DTEND;VALUE=DATE:20261207
DTSTAMP:20260822T204156
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;VALUE=DATE:20240924
DTEND;VALUE=DATE:20250728
DTSTAMP:20260822T204156
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:20241115T080000
DTEND;TZID=America/New_York:20250817T170000
DTSTAMP:20260822T204157
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:20250125T090000
DTEND;TZID=America/New_York:20250622T170000
DTSTAMP:20260822T204157
CREATED:20241205T204737Z
LAST-MODIFIED:20241205T204737Z
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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/Denver:20250125T100000
DTEND;TZID=America/Denver:20250914T170000
DTSTAMP:20260822T204157
CREATED:20250123T201026Z
LAST-MODIFIED:20250123T201026Z
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SUMMARY:Held Impermanence (Artists Select: Katherine Simóne Reynolds)
DESCRIPTION:The Clyfford Still Museum’s guest-curated exhibition\, Held Impermanence (Artists Select: Katherine Simóne Reynolds)\, illuminates multiple competing desires held in constant tension within the Museum. Organized by award-winning filmmaker\, artist\, and curator Katherine Simóne Reynolds\, the exhibition draws deeply on CSM’s collections. The exhibition runs from January 25–September 14\, 2025. \nAccording to Reynolds\, the collection testifies to Still’s ambitious attempt to keep his entire corpus intact. The commitment to the integrity of that body of work allows viewers to see not only the acclaimed masterpieces but also paintings made in painful transitions and others that bear the scars of time. Artworks change over time; their materials carry the stain of what conservators describe as inherent vice. Viewers see paintings that need to rest and heal\, bearing marks that suggest\, through their surfaces\, condition\, and textures\, metaphors of viscera\, bile\, and wounds. \nIn the Museum’s six largest galleries\, Reynolds’s exhibition asks viewers how they view healing over time\, respond with their bodies to this corpus\, and how they might approach Still’s achievements from a perspective that contends with his and their own senses of mortality—and with it\, a shared desire to hold impermanence. \nKatherine Simóne Reynolds is an artist\, scholar\, and curator who investigates emotional dialects and psychogeographies of Blackness within the Black Midwestern landscape. Her art physicalizes emotions and experiences through photo-based works\, film\, choreography\, sculpture\, and anxious writing practice. She has exhibited in national and international group and solo shows. \n  \nReynolds chose several paintings with condition issues to highlight the impact of conservation throughout the exhibition. She also selected a collection of archival photographs\, letters\, and notes to demonstrate the themes and emotions throughout the exhibition and two original archival objects. The Museum expands on exhibition content and Reynolds’ curatorial process in its free mobile guide on Bloomberg Connects. CSM also offers visitors two takeaway resources in the exhibition’s first gallery\, including Essays on Held Impermanence\, a companion booklet to the exhibition\, and Exploring Feelings and Art: A Family Guide. \nHeld Impermanence follows a chronological display of Still’s works in the Museum’s first three galleries. \n  Save  
URL:https://artinamericaguide.com/event/held-impermanence-artists-select-katherine-simone-reynolds/
LOCATION:Clyfford Still Museum\, 1250 Bannock St.\, Denver\, CO\, 80204\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Clyfford Still Museum":MAILTO:press@clyffordstillmuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20250218T100000
DTEND;TZID=America/Chicago:20250706T170000
DTSTAMP:20260822T204157
CREATED:20250220T163324Z
LAST-MODIFIED:20250416T140059Z
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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
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250221T080000
DTEND;TZID=America/New_York:20250622T170000
DTSTAMP:20260822T204157
CREATED:20241211T193249Z
LAST-MODIFIED:20241211T193249Z
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SUMMARY:David Goldblatt: No Ulterior Motive
DESCRIPTION:David Goldblatt: No Ulterior Motive is a major traveling retrospective exhibition that spans the seven decades of this South African photographer’s career\, from the 1950s to the 2010s\, demonstrating Goldblatt’s commitment to showing the realities of daily life in his country. The exhibition and accompanying publication bring together roughly 150 works by Goldblatt from the collections of the Yale University Art Gallery and the Art Institute of Chicago—two major Goldblatt repositories—including his early black-and-white photography and his post-apartheid\, large-format color photography. Also included in the exhibition are photographs by some of Goldblatt’s contemporaries\, such as Josef Koudelka and Shomei Tomatsu\, as well as fellow South Africans Lebohang Kganye\, Jo Ractliffe\, and Zanele Muholi\, placing Goldblatt within a global and intergenerational network of photographers. This ambitious project honors the life and career of an artist who used his work to celebrate his country’s working-class people\, the landscape\, and the built environment. \n  Save  
URL:https://artinamericaguide.com/event/david-goldblatt-no-ulterior-motive/
LOCATION:Yale University Art Gallery\, 1111 Chapel St\, New Haven\, CT\, 06510\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Yale University Art Gallery":MAILTO:artgalleryinfo@yale.edu
GEO:41.30839;-72.930958
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250221T160000
DTEND;TZID=America/New_York:20250622T180000
DTSTAMP:20260822T204157
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;VALUE=DATE:20250304
DTEND;VALUE=DATE:20250711
DTSTAMP:20260822T204157
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;TZID=America/New_York:20250307T100000
DTEND;TZID=America/New_York:20250727T170000
DTSTAMP:20260822T204157
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:20260822T204157
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:20250411T110000
DTEND;TZID=America/New_York:20250816T160000
DTSTAMP:20260822T204157
CREATED:20250319T152251Z
LAST-MODIFIED:20250523T151929Z
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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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250412T110000
DTEND;TZID=America/New_York:20250817T160000
DTSTAMP:20260822T204157
CREATED:20250319T152251Z
LAST-MODIFIED:20250319T152251Z
UID:113420-1744455600-1755446400@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/2025-04-12/
LOCATION:Quick Center for the Arts\, Walsh Gallery\, 1073 North Benson Road\, Fairfield\, CT\, 06824\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/03/OConnor-Connemara-Scene-1-2-scaled.jpg
ORGANIZER;CN="Fairfield University Art Museum":MAILTO:museum@fairfield.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250415T110000
DTEND;TZID=America/New_York:20250820T160000
DTSTAMP:20260822T204157
CREATED:20250319T152251Z
LAST-MODIFIED:20250319T152251Z
UID:113421-1744714800-1755705600@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/2025-04-15/
LOCATION:Quick Center for the Arts\, Walsh Gallery\, 1073 North Benson Road\, Fairfield\, CT\, 06824\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/03/OConnor-Connemara-Scene-1-2-scaled.jpg
ORGANIZER;CN="Fairfield University Art Museum":MAILTO:museum@fairfield.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250416T110000
DTEND;TZID=America/New_York:20250821T160000
DTSTAMP:20260822T204157
CREATED:20250319T152251Z
LAST-MODIFIED:20250319T152251Z
UID:113422-1744801200-1755792000@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/2025-04-16/
LOCATION:Quick Center for the Arts\, Walsh Gallery\, 1073 North Benson Road\, Fairfield\, CT\, 06824\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/03/OConnor-Connemara-Scene-1-2-scaled.jpg
ORGANIZER;CN="Fairfield University Art Museum":MAILTO:museum@fairfield.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250416T110000
DTEND;TZID=America/New_York:20251005T170000
DTSTAMP:20260822T204157
CREATED:20250403T185846Z
LAST-MODIFIED:20250403T185846Z
UID:112826-1744801200-1759683600@artinamericaguide.com
SUMMARY:Boren Banner Series: Tarrah Krajnak
DESCRIPTION:The Frye is proud to debut an all-new body of work from the internationally recognized artist Tarrah Krajnak. Known for work that blends photography\, performance\, and poetry\, Krajnak uses her body to reimagine and respond to iconic moments in photographic history and to challenge traditions of Western art history. With a keen instinct for the lyric as well as the political potential of image making\, Krajnak reshapes the boundaries of contemporary photography. \n  Save  
URL:https://artinamericaguide.com/event/boren-banner-series-tarrah-krajnak/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/04/BodyConfigurationsLima_01.jpg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250417
DTEND;VALUE=DATE:20250615
DTSTAMP:20260822T204157
CREATED:20250327T200844Z
LAST-MODIFIED:20250327T200844Z
UID:112746-1744848000-1749945599@artinamericaguide.com
SUMMARY:The Garden Reveals Me
DESCRIPTION:The Garden Reveals Me\nApril 17 – June 14\, 2025\nOpening reception: Thursday\, April 17\, 2025\, 6:00-8:00 pm\nIncluding work by Tim Braden\, Samella Lewis\, Cathy Lu\, Michael Mazur\, and Andrew Raftery \n  \nRYAN LEE Gallery is pleased to present The Garden Reveals Me. This group exhibition explores the ways in which artists use depictions of nature – from seeds to leaves to flowers – as a form of self-expression that reveals their desires\, history\, ancestry\, and culture. In a way\, an artist is like a gardener as they choose colors\, lines\, and textures and arrange them in a precise composition. The cyclical nature of the four seasons is explored in the works on view here through various mediums including painting\, ceramics\, engraving\, and sculpture. Just like the interconnected\, interdependent ecosystem of plants\, insects\, and animals that live in a garden\, the works in this exhibition exist in symbiotic harmony. \nIn Michael Mazur’s Seasons by a Pond (2000)\, he depicts images of nature that verge into abstraction. The paintings transition from white and blue-gray ice\, to the soft chartreuse hues of spring\, to the vibrant red and purple blooms of summer\, and finally the brown decay seen in autumn. Influenced by elements of Impressionist art\, abstract expressionism\, and traditional Chinese landscape scroll painting\, Mazur combines aspects of several periods of art history separated by nearly seven centuries to create lush and luminous work. A larger set of the Seasons paintings can be found in the collection of the Museum of Fine Arts\, Boston. \nCathy Lu reimagines garden creation myths like the Garden of Eden and the Immortal Peach Garden as a way to think about the United States as both a utopian and dystopian space for historically excluded communities struggling to belong. Incorporating images of peach pits\, Lu references the Chinese symbology of peaches as signifying immortality as well as the creation myth of the mother goddess Nüwa\, who hand-sculpted humankind from the soil. \nThe title of the show derives from a quote by artist Andrew Raftery\, writing about his series of twelve engraved plates that explore the life cycle of a backyard garden. Inspired by nineteenth century transferware\, Raftery created unique designs for each ceramic plate that depict the artist working in his garden. With these works\, Raftery sought a different approach to autobiography – revealing himself selectively through the narrow lens of garden imagery. \nIn the early 1960s\, Samella Lewis became deeply engaged with Chinese studies\, traveling to Taiwan and China to study Chinese art\, language\, and history. Her painting The Garden (1962) is an expressionistic\, abstract portrayal of a flower garden\, bursting with exuberant color. Individual blossoms merge together into a mass of vivid\, swirling brushstrokes. Lewis described the marks in this work as “calligraphic\,” inspired by her time in Taiwan. \nTim Braden’s paintings verge into abstraction while still conveying a specificity of place. An abundance of shapes and colors makes these works as bountiful as a well-tended garden. Braden says\, “I have always been interested in color charts\, how colors affect and change depending on what is put next to them\, and how my mood can be altered by certain color combinations.” Braden’s work\, based on keen observation with a painter’s eye\, translates a saturated color palette into a light-filled vision. \n  \nTim Braden (b. 1975) is an artist who uses different types of paint\, support\, and application to explore subtle shifts in space\, mood and tone. Braden’s work is ultimately drawn from a close reading of his environment and an attempt to depict the act of looking. He often combines patches of color and light to produce scenes that recall both the specificity of personal experience and nostalgia for another time and place. \nSamella Lewis (b. 1924 – d. 2022) was an artist who studied with Elizabeth Catlett and later became an art historian\, writer\, curator\, and activist. Through her artwork\, she sought to uplift the Black community and portray them as beautiful. Perhaps best known for figurative works on paper\, she also created paintings and sculptures. \nCathy Lu (b. 1984) creates ceramic sculptures and installations that manipulate traditional Chinese imagery and presentation as a way to deconstruct assumptions about Chinese diasporic identity and cultural authenticity. Unpacking how experiences of immigration\, cultural hybridity\, and cultural assimilation become part of American identity is central to her work. \nMichael Mazur (b. 1935 – d. 2009) is known for his use of abstract and figurative visual vocabulary across a wide range of media\, including painting\, drawing\, pastels and printmaking. Influenced by elements of Impressionist art\, abstract expressionism and traditional Chinese landscape scroll painting\, Mazur uniquely combines aspects of several periods of art history separated by nearly seven centuries to create lush and luminous work. \nAndrew Raftery (b. 1962) is an artist whose work explores both observational and autobiographic narratives of contemporary American life. His artistic practice rests upon a deep expertise and appreciation for the antique medium of engraving\, and his precise and labor-intensive works demonstrate the enduring relevance—and efficiency—of this medium’s application on contemporary subjects to disseminate images that are universally accessible. \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/the-garden-reveals-me/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/03/MMA-99-02-scaled.jpg
ORGANIZER;CN="RYAN LEE":MAILTO:info@ryanleegallery.com
GEO:40.7500935;-74.0036112
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=RYAN LEE 515 W 26th St 3rd Fl New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=515 W 26th St\, 3rd Fl:geo:-74.0036112,40.7500935
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250417T110000
DTEND;TZID=America/New_York:20250822T160000
DTSTAMP:20260822T204157
CREATED:20250319T152251Z
LAST-MODIFIED:20250319T152251Z
UID:113423-1744887600-1755878400@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/2025-04-17/
LOCATION:Quick Center for the Arts\, Walsh Gallery\, 1073 North Benson Road\, Fairfield\, CT\, 06824\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/03/OConnor-Connemara-Scene-1-2-scaled.jpg
ORGANIZER;CN="Fairfield University Art Museum":MAILTO:museum@fairfield.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250419T110000
DTEND;TZID=America/New_York:20250824T160000
DTSTAMP:20260822T204157
CREATED:20250319T152251Z
LAST-MODIFIED:20250319T152251Z
UID:113424-1745060400-1756051200@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/2025-04-19/
LOCATION:Quick Center for the Arts\, Walsh Gallery\, 1073 North Benson Road\, Fairfield\, CT\, 06824\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/03/OConnor-Connemara-Scene-1-2-scaled.jpg
ORGANIZER;CN="Fairfield University Art Museum":MAILTO:museum@fairfield.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250422T110000
DTEND;TZID=America/New_York:20250827T160000
DTSTAMP:20260822T204157
CREATED:20250319T152251Z
LAST-MODIFIED:20250319T152251Z
UID:113425-1745319600-1756310400@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/2025-04-22/
LOCATION:Quick Center for the Arts\, Walsh Gallery\, 1073 North Benson Road\, Fairfield\, CT\, 06824\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/03/OConnor-Connemara-Scene-1-2-scaled.jpg
ORGANIZER;CN="Fairfield University Art Museum":MAILTO:museum@fairfield.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250423T110000
DTEND;TZID=America/New_York:20250828T160000
DTSTAMP:20260822T204157
CREATED:20250319T152251Z
LAST-MODIFIED:20250319T152251Z
UID:113426-1745406000-1756396800@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/2025-04-23/
LOCATION:Quick Center for the Arts\, Walsh Gallery\, 1073 North Benson Road\, Fairfield\, CT\, 06824\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/03/OConnor-Connemara-Scene-1-2-scaled.jpg
ORGANIZER;CN="Fairfield University Art Museum":MAILTO:museum@fairfield.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250424T110000
DTEND;TZID=America/New_York:20250829T160000
DTSTAMP:20260822T204157
CREATED:20250319T152251Z
LAST-MODIFIED:20250319T152251Z
UID:113427-1745492400-1756483200@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/2025-04-24/
LOCATION:Quick Center for the Arts\, Walsh Gallery\, 1073 North Benson Road\, Fairfield\, CT\, 06824\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/03/OConnor-Connemara-Scene-1-2-scaled.jpg
ORGANIZER;CN="Fairfield University Art Museum":MAILTO:museum@fairfield.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250426T110000
DTEND;TZID=America/New_York:20250831T160000
DTSTAMP:20260822T204157
CREATED:20250319T152251Z
LAST-MODIFIED:20250319T152251Z
UID:113428-1745665200-1756656000@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/2025-04-26/
LOCATION:Quick Center for the Arts\, Walsh Gallery\, 1073 North Benson Road\, Fairfield\, CT\, 06824\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/03/OConnor-Connemara-Scene-1-2-scaled.jpg
ORGANIZER;CN="Fairfield University Art Museum":MAILTO:museum@fairfield.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250429T110000
DTEND;TZID=America/New_York:20250903T160000
DTSTAMP:20260822T204157
CREATED:20250319T152251Z
LAST-MODIFIED:20250319T152251Z
UID:113429-1745924400-1756915200@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/2025-04-29/
LOCATION:Quick Center for the Arts\, Walsh Gallery\, 1073 North Benson Road\, Fairfield\, CT\, 06824\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/03/OConnor-Connemara-Scene-1-2-scaled.jpg
ORGANIZER;CN="Fairfield University Art Museum":MAILTO:museum@fairfield.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250501
DTEND;VALUE=DATE:20250616
DTSTAMP:20260822T204157
CREATED:20250411T193504Z
LAST-MODIFIED:20250411T193504Z
UID:112950-1746057600-1750031999@artinamericaguide.com
SUMMARY:Joyce Yamada's 'Animalia: Other Eyes\, Other Lives"
DESCRIPTION:Amos Eno Gallery\, a non-profit\, artist-run gallery\, is pleased to present Animalia: Other Eyes\, Other Lives\, a solo exhibition by artist Joyce Yamada. The exhibition draws its name from the scientific classification for the animal kingdom and offers a celebration of the myriad ways different species perceive and exist in the world. \nAnimalia: Other Eyes\, Other Lives will be on view from May 1 to June 15\, 2025\, with an opening reception on Friday\, May 2\, from 6 to 8 p.m. at the gallery at 191 Henry St. on the Lower East Side. Works are also available to view on Artsy. \nFollowing a 2022 solo show at Amos Eno that addressed protest and environmental anxiety\, Yamada’s work has taken a transformative turn — shifting toward exploration\, celebration\, and scientific insight. Through vivid imagery and conceptual depth\, Animalia invites viewers to see through other eyes and live other lives: to imagine navigating the world like a bee\, gliding through the air like a flying squirrel\, or perceiving the light spectrum in a way that reveals a pink-glowing counterpart. \n“This show is a celebration of different ways of seeing and of being\, an appreciation of the many paths by which we earthlings evolve in order to survive and to prosper\,” Yamada says. “No one species is superior to any other; we are shaped by our histories and by our environments.” \nYamada’s art reflects a deep appreciation for the evolutionary ingenuity of life on Earth. From bees who read ultraviolet patterns on flowers to locate nourishment for their hives\, to squirrels who defy gravity with skin-bound membranes and may see each other bathed in radiant hues\, Animalia prompts awe at the complexity and resilience of the natural world. \n​“Flying squirrels can climb up a tree\, leap into space\, glide to a new tree with the assistance of their special membrane\, land on the trunk\, and then quickly scurry to the other side of the tree to evade watching predators\,” Yamada explains. “We have also surmised that squirrels see the light spectrum differently and more thoroughly than we humans can\, and see each other in a lovely pink glow.” \nAmid an era of disconnection\, conflict\, and environmental degradation\, Yamada’s work underscores the interdependence of life forms and the urgent need for collaborative stewardship between all creatures. By illuminating alternate perspectives and honoring the intricate webs of survival that have evolved over millennia\, Animalia is a call for wonder\, respect\, and renewed commitment to life on Earth. \n“We currently live in difficult times characterized by excessive anger and hatred\,” Yamada says. “We inadequately appreciate Earth’s complex networks that bind all animals\, plants\, and physical environments. This can lead to blind blundering and to the destruction of complex environments that once supported us. Hatred\, anger\, and rampant selfishness multiply under these conditions\, but it doesn’t need to be this way. Our survival will require working together generously and intelligently\, with full respect for the complexity of life on Earth.” \n​About the ArtistJoyce Yamada is a New York City-based artist who splits her time between the East Coast and the San Francisco Bay Area. After earning a medical degree from University of Texas Southwestern Medical school\, she worked as a physician until 2004. She also trained as an artist at the San Francisco Art Institute\, University of California\, Berkeley\, and the Alliance for International Studies in Italy. After transitioning to art full-time\, her work has been shown at Front Room Gallery\, ABC No Rio\, Edward Morgan Ballet\, David Schweitzer Gallery\, M.David Studios\, and Denise Bibro Fine Arts. For more information\, visit joyceyamada.com.​ \nAbout Amos Eno Gallery \nAmos Eno Gallery has been a fixture in the New York art scene since 1974 when it opened in Soho. The gallery is open Thursdays through Sundays from noon to 6 p.m. and is run by a small community of professional artists\, both from New York City and across the country\, and a part-time director.  \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/joyce-yamadas-animalia-other-eyes-other-lives/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250502
DTEND;VALUE=DATE:20250615
DTSTAMP:20260822T204157
CREATED:20250410T145308Z
LAST-MODIFIED:20250410T145308Z
UID:112885-1746144000-1749945599@artinamericaguide.com
SUMMARY:Sam Moyer: Subject to change
DESCRIPTION:Sean Kelly is delighted to present Subject to change\, Sam Moyer’s fourth solo exhibition with the gallery. Featuring a dynamic body of new work\, the exhibition features Moyer’s latest stone paintings\, highlighting her distinctive combination of reclaimed stone and painted canvas\, as well as oil on panel paintings and handmade paper works produced as artist in residence at Dieu Donné in the Brooklyn Navy Yard. There will be an opening reception on Thursday\, May 1 from 6-8pm. The artist will be present. \nSam Moyer’s works merge abstraction and materiality\, redefining conventional sculptural forms through her innovative use of natural materials. Inlaying stone into canvas\, she blurs the boundaries between painting and sculpture\, creating wall-mounted works that emphasize variations in surface and light. In these new paintings\, Moyer meditates on the dualities inherent in life—the coexistence of decay and growth\, loss and perspective\, endings and emergent beginnings. Reflecting on what she describes as a “bifurcation in meaning\,” the works are born from trying times\, capturing a moment of balance between extremities. Moyer describes these dualities in the work as\, “The bridge between early life and death\, the transformative period between the decline of outdated systems and the emergence of new paradigms.” \nThe palette of this body of work draws inspiration from Claude Monet’s late paintings. As Monet moved toward a purity of color and light in response to his waning eyesight\, Moyer interprets this evolution as an investigation of the essential\, a filtering that reduces visual language to its core elements. Through her unique approach\, Moyer continues this exploration\, using color and light as the fundamental building blocks of abstraction. \nThe Large Payne series\, an ongoing body of oil-on-panel paintings initiated in 2020\, extends Moyer’s long-standing engagement with the effects of light. Evolving from her earlier Payne works on paper\, which she began in 2017\, these paintings are unified by a restrained palette dominated by Payne’s Gray—a color that captures the fleeting glow of the “magic hour\,” the brief moment between sunset and nightfall when light softens\, and contrast intensifies. Reinforcing the sculptural nature of her work\, Moyer’s tactile application of oil paint\, creates surfaces that shift and transform as the viewer moves. \nIn 2024\, Moyer was selected as the Dieu Donné Lab Grant Resident\, a prestigious year-long program dedicated to advancing the art of handmade paper. Her residency resulted in a series of works composed of multiple layers of paper pulp\, each featuring varying materials and hues. By manipulating the wet pulp through removal and layering techniques\, Moyer constructed intricate compositions that were then pressed and dried\, yielding richly textured and structurally complex works. \nConcurrent with her exhibition at the gallery\, the Hill Art Foundation will present\, Woman with Holes\, a survey exhibition spanning early dyed canvas works\, a monumental stone painting and recent handmade paper works. Presented in dialogue with selections from the Hill Collection\, the exhibition examines Moyer’s engagement with abstraction and places her work alongside artists including Robert Gober\, Liz Glynn\, Jasper Johns\, Brice Marden\, and Isamu Noguchi\, from whose sculpture the title of the show is derived. The exhibition opens on Thursday\, May 1 from 5-7pm and will be on view through August 1\, 2025. We hope you can visit both exhibitions. \nSam Moyer earned her BFA from the Corcoran College of Art and Design\, Washington\, DC\, and her MFA from Yale University\, New Haven\, CT. Her work has been the subject of solo exhibitions at institutions including the Parrish Art Museum\, Water Mill\, NY\, and the Jule Collins Museum of Fine Art\, Auburn University\, AL. Moyer’s work has been featured in national and international group exhibitions at MoMA PS1\, New York\, NY; the Drawing Center\, New York\, NY; the Bass Museum\, Miami\, FL; the Wexner Center for the Arts\, Columbus\, OH; the Public Art Fund\, New York\, NY; The FLAG Art Foundation\, New York\, NY; and Tensta Konsthall\, Stockholm\, Sweden\, amongst others. Her work is included in the permanent collections of the Whitney Museum of American Art\, New York; the Museum of Modern Art\, New York; the Morgan Library & Museum\, New York; the Yale University Art Gallery\, New Haven\, CT; and the Louis Vuitton Foundation\, Paris\, among others. Moyer lives and works in Brooklyn\, NY. \n\n\n\n\n\n\n\n\nFor press inquiries\, please email Adair Lentini at Adair@skny.com \nFor all other inquiries\, please email Lauren Kelly at Lauren@skny.com \n\n\n\n\n  Save  
URL:https://artinamericaguide.com/event/sam-moyer-subject-to-change/
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:20250502
DTEND;VALUE=DATE:20250615
DTSTAMP:20260822T204157
CREATED:20250513T153140Z
LAST-MODIFIED:20250513T153140Z
UID:113220-1746144000-1749945599@artinamericaguide.com
SUMMARY:Sam Moyer: Subject to change
DESCRIPTION:Sean Kelly is delighted to present Subject to change\, Sam Moyer’s fourth solo exhibition with the gallery. Featuring a dynamic body of new work\, the exhibition features Moyer’s latest stone paintings\, highlighting her distinctive combination of reclaimed stone and painted canvas\, as well as oil on panel paintings and handmade paper works produced as artist in residence at Dieu Donné in the Brooklyn Navy Yard. There will be an opening reception on Thursday\, May 1 from 6-8pm. The artist will be present. \nSam Moyer’s works merge abstraction and materiality\, redefining conventional sculptural forms through her innovative use of natural materials. Inlaying stone into canvas\, she blurs the boundaries between painting and sculpture\, creating wall-mounted works that emphasize variations in surface and light. In these new paintings\, Moyer meditates on the dualities inherent in life—the coexistence of decay and growth\, loss and perspective\, endings and emergent beginnings. Reflecting on what she describes as a “bifurcation in meaning\,” the works are born from trying times\, capturing a moment of balance between extremities. Moyer describes these dualities in the work as\, “The bridge between early life and death\, the transformative period between the decline of outdated systems and the emergence of new paradigms.” \nThe palette of this body of work draws inspiration from Claude Monet’s late paintings. As Monet moved toward a purity of color and light in response to his waning eyesight\, Moyer interprets this evolution as an investigation of the essential\, a filtering that reduces visual language to its core elements. Through her unique approach\, Moyer continues this exploration\, using color and light as the fundamental building blocks of abstraction. \n\n\n\nThe Large Payne series\, an ongoing body of oil-on-panel paintings initiated in 2020\, extends Moyer’s long-standing engagement with the effects of light. Evolving from her earlier Payne works on paper\, which she began in 2017\, these paintings are unified by a restrained palette dominated by Payne’s Gray—a color that captures the fleeting glow of the “magic hour\,” the brief moment between sunset and nightfall when light softens\, and contrast intensifies. Reinforcing the sculptural nature of her work\, Moyer’s tactile application of oil paint\, creates surfaces that shift and transform as the viewer moves. \nIn 2024\, Moyer was selected as the Dieu Donné Lab Grant Resident\, a prestigious year- long program dedicated to advancing the art of handmade paper. Her residency resulted in a series of works composed of multiple layers of paper pulp\, each featuring varying materials and hues. By manipulating the wet pulp through removal and layering techniques\, Moyer constructed intricate compositions that were then pressed and dried\, yielding richly textured and structurally complex works. \nConcurrent with her exhibition at the gallery\, the Hill Art Foundation will present\, Woman with Holes\, a survey exhibition spanning early dyed canvas works\, a monumental stone painting and recent handmade paper works. Presented in dialogue with selections from the Hill Collection\, the exhibition examines Moyer’s engagement with abstraction and places her work alongside artists including Robert Gober\, Liz Glynn\, Jasper Johns\, Brice Marden\, and Isamu Noguchi\, from whose sculpture the title of the show is derived. The exhibition opens on Thursday\, May 1 from 5-7pm and will be on view through August 1\, 2025. We hope you can visit both exhibitions. \nSam Moyer earned her BFA from the Corcoran College of Art and Design\, Washington\, DC\, and her MFA from Yale University\, New Haven\, CT. Her work has been the subject of solo exhibitions at institutions including the Parrish Art Museum\, Water Mill\, NY\, and the Jule Collins Smith Museum of Fine Art at Auburn University\, AL. Moyer’s work has been featured in national and international group exhibitions at MoMA PS1\, New York\, NY; the Drawing Center\, New York\, NY; the Bass Museum\, Miami\, FL; the Wexner Center for the Arts\, Columbus\, OH; the Public Art Fund\, New York\, NY; The FLAG Art Foundation\, New York\, NY; and Tensta Konsthall\, Stockholm\, Sweden\, amongst others. Her work is included in the permanent collections of the Whitney Museum of American Art\, New York; the Museum of Modern Art\, New York; the Morgan Library & Museum\, New York; the Yale University Art Gallery\, New Haven\, CT; and the Louis Vuitton Foundation\, Paris\, among others. Moyer lives and works in Brooklyn\, NY. \nFor additional information on Sam Moyer please visit\, skny.com \nFor press inquiries please email Adair Lentini at Adair@skny.com \nFor all other inquiries\, please email Lauren Kelly at Lauren@skny.com \n\n\n\n\n\n\n  Save  
URL:https://artinamericaguide.com/event/sam-moyer-subject-to-change-2/
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:20250510
DTEND;VALUE=DATE:20250726
DTSTAMP:20260822T204157
CREATED:20250515T161306Z
LAST-MODIFIED:20250725T131635Z
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SUMMARY:Bienvenue: African American Artists in France
DESCRIPTION:Bienvenue: African American Artists in France\nMay 10–July 25\, 2025  \n“There is a breadth\, a generosity\, an obsolete cosmopolitanism about her [France] recognition of the fine arts\, which bars no nationality\, no race\, no school\, or variation of artistic method. All she asks is that the art shall be true\, in other words that it shall set forth life.”—Henry Ossawa Tanner\, 1908 [1] \n“Life in Paris offers me the anonymity and objectivity to release long-stored memories of sorrow\, and the beauty of the difficult effort to release and orchestrate in form and color a personal design. Being in France gives time for reflection. One never leaves home if one was never there.”—Beauford Delaney\, 1966 [2] \nMichael Rosenfeld Gallery is proud to present Bienvenue: African American Artists in France\, a historical survey of seventeen Black American artists who lived and worked in France from the late nineteenth century through the present. Complementing the landmark exhibition Paris Noir: Artistic circulations and anti-colonial resistance\, 1950–2000\, on view at the Centre Pompidou through June 30th\, Bienvenue offers an expanded look into the presence of Black American artists in France\, many of whom were seeking respite from the systemic racism that limited their opportunities for education and the recognition of their work in the United States. Where Paris Noir encompasses artists of the larger African diaspora working in the second half of the twentieth century\, Bienvenue: African American Artists in France focuses specifically on American artists\, and spans nearly eight decades in its chronological scope\, beginning with a 1912 painting by Henry Ossawa Tanner (1859–1937) and ending with a 1989 sculpture by Barbara Chase-Riboud (b.1934). \nBienvenue: African American Artists in France features works by Richmond Barthé*(1901–1989)\, Barbara Chase-Riboud* (b.1934)\, Ed Clark (1926–2019)\, Robert Colescott (1925–2009)\, Harold Cousins* (1916–1992)\, Beauford Delaney* (1901–1979)\, Herbert Gentry (1919–2003)\, Sam Gilliam (1933–2022)\, Palmer Hayden (1890–1973)\, Richard Hunt (1935–2023) William H. Johnson* (1901–1970)\, Augusta Savage (1892–1962)\, William Edouard Scott (1884–1964)\, Albert Alexander Smith (1896–1940)\, Henry Ossawa Tanner* (1859–1937)\, Bob Thompson* (1937–1966) and Hale Woodruff (1900–1980).[3] \nWidely regarded as the patriarch of Black American artists\, Henry Ossawa Tanner remains a foremost painter of the nineteenth and early twentieth centuries and the first Black American artist to achieve international fame. His relocation from Philadelphia to Paris in 1891 set a precedent that would inspire future generations of Black American artists to train\, reside\, or sojourn in France\, including Harlem Renaissance master William Edouard Scott\, who studied under Tanner from 1910–13. Likewise\, Palmer Hayden\, Augusta Savage\, and Hale Woodruff each sought an audience with the elder master during their time in France in the 1920s and 1930s. In addition to invaluable advice on navigating the mores of French society\, Tanner also provided guidance on painting techniques and openly shared his understanding of art. In a 1970 issue of The Crisis\, Woodruff recalled his formative encounter with Tanner in 1928. Traveling to the small town in Picardy where Tanner lived in semi-retirement\, Woodruff introduced himself to “a remarkable man of profound intelligence and scholarship\,” who welcomed the young artist into his home. Upon asking who had most inspired him in the Parisian museums\, Woodruff recalled Tanner’s nomination of Claude Monet and Paul Cézanne as the most important painters of the modern age\, elaborating: \n“Remember that light can be many things: light for illuminating an object or for creating a mood; for purposes of dramatization as in a theatrical production. For myself\, I see light chiefly as a means of achieving a luminosity\, a luminosity not consisting of various light-colors but luminosity within a limited color range\, say\, a blue or blue-green. There should be a glow which indeed consumes the theme or subject. Still\, a light-glow which rises and falls in intensity as it moves through the painting. It isn’t simple to put into words.”[4] \nThough the country was not free of racism\, France generally afforded Black artists and intellectuals greater respect and more opportunities than the United States during the late nineteenth and twentieth centuries. Such was the environment that prompted James Baldwin to make Paris his home in 1948\, and he spent the ensuing years encouraging his good friend Beauford Delaney to join him. Delaney eventually agreed\, moving from his Greene Street loft in Greenwich Village to Montparnasse in 1953. Delaney would remain in the vicinity of Paris for the remainder of his life\, composing a singular body of gestural\, chromatically nuanced abstractions and a celebrated series of portraits that reflect the creative and spiritual inspiration he felt in the European capital. “I left New York for Paris in 1953\, and I have painted with greater freedom ever since\,” Delaney wrote some ten years after leaving the United States. “I tried to paint light\, different kinds of light\, and my painting has been associated with ‘abstraction.’ But there are no precise limits for me between ‘abstract’ and ‘figurative’ paintings and I have always continued to paint portraits of friends.”[5] Delaney is a particularly strong presence in Paris Noir\, which features twelve paintings by the artist\, eight of which are on loan from Michael Rosenfeld Gallery. \nWhile Paris has always been a cultural hub for creatives and intellectuals\, many artists featured in Bienvenue traveled to the countryside or coast to paint\, following the tradition of the Impressionist and modernist masters that inspired them. The exhibition offers key examples of this tradition\, including maritime paintings by Palmer Hayden and a coastal scene by Tanner executed along the coast of Brittany; a seminal painting by William H. Johnson depicting the idyllic coastal town of Cagnes-Sur-Mer; a landscape portraying the island of Port-Cros off the French Riviera by Delaney; and a scene of the Eure river by Woodruff executed in Chartres. \nThe cosmopolitan hub of Paris was a natural attraction for Black American artists\, who found the city’s architecture\, social spaces\, and creative circles to be rich sources of inspiration. Several works in the exhibition feature distinctly Parisian subjects\, including Richmond Barthé’s iconic sculpture of Senegalese cabaret dancer Feral Benga; William Edouard Scott’s transcendent portrayal of Notre Dame; and a classic rendition of the Pont Neuf by Woodruff. Parisian nightlife is likewise a recurring theme of the exhibition; in addition to Barthé’s bronze portrait of Benga\, drawings by Robert Colescott and Albert Alexander Smith depicting cabaret performances are also on view. \nOpportunities for education and art training were another primary draw for many artists\, particularly in the postwar era. The exhibition features two abstract paintings by Ed Clark\, who enrolled at L’académie de la Grande Chaumière in 1952; major sculptures by Harold Cousins\, who studied at Ossip Zadkine’s studio in 1949; and a quintessential abstract painting by Herbert Gentry\, who likewise studied under Zadkine and at L’académie de la Grande Chaumière in the late 1940s. Four paintings by Bob Thompson will also be on view; executed during his first trip to Europe in 1961–62\, these works testify to the hours Thompson spent at the Louvre and Paris’ many other museums\, soaking up the compositional devices of the Old Masters and translating them into thoroughly contemporary paintings using his own unique expressionist voice. \nMichael Rosenfeld Gallery is recognized for modern and contemporary art. Since its founding in 1989\, the gallery has been committed to expanding the canon of American art by championing artists who have made vital contributions to surrealism\, social realism\, abstract expressionism\, figurative expressionism\, and geometric abstraction. Michael Rosenfeld Gallery’s dedication to presenting the work of nineteenth and twentieth century Black American masters is as longstanding as the gallery itself; in addition to dozens of solo exhibitions focused on Black American artists\, the gallery organized the renowned annual exhibition series African-American Art: 20th Century Masterworks from 1993–2003. \n1. Henry Ossawa Tanner quoted in Dewey F. Mosby\, Across continents and cultures: The Art and Life of Henry Ossawa Tanner(Nelson-Atkins Museum of Art\, 1995)\, 7–8\n2. Beauford Delaney quoted in John Ashbery\, “American Sanctuary in Paris\,” ARTnews Annual vol. 31 (1966): 146\n3. Names with asterisks indicate that Michael Rosenfeld Gallery has presented solo exhibitions for these artists\n4. Tanner quoted in Hale Woodruff\, “My Meeting with Henry O. Tanner\,” The Crisis (June 1970)\, reprinted in Explorations in the City of Light: African-American Artists in Paris\, 1945-1965\, exh. cat. (New York: The Studio Museum in Harlem\, 1996)\, 11\n5. Beauford Delaney\, artist statement\, “Beauford Delaney – Career as a Creative Artist\,” c.1963\, Beauford Delaney collection\, Sc MG 59\, Schomburg Center for Research in Black Culture\, Manuscripts\, Archives and Rare Books Division\, The New York Public Library\, New York\, NY \n  Save  
URL:https://artinamericaguide.com/event/bienvenue-african-american-artists-in-france/
LOCATION:NY
CATEGORIES:Exhibition
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ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250510T160000
DTEND;TZID=America/New_York:20250621T170000
DTSTAMP:20260822T204157
CREATED:20250423T142243Z
LAST-MODIFIED:20250423T142243Z
UID:113040-1746892800-1750525200@artinamericaguide.com
SUMMARY:AMY SCHISSEL
DESCRIPTION:Like the imaginary maps at the beginning of fantasy novels\, Amy Schissel’s world building is vast. Wherever one’s eyes wander\, they wander in wonder\, resting upon a detail that instantly leads into luminous\, ever-expanding\, continuous\, and promising space. The large-scale drawings combine traditional cartography\, illustrated topographical mountains\, and cyber mapping systems to create vigorous artworks that span space\, time and universes. The painting and drawing processes record physical and fictional journeys of the artist through spaces\, imagined and real. The monumental scale and intricate details of Schissel’s drawings invite the viewer into her process. Thousands of repetitive marks show the artists’ hand\, drawing out expeditions in a never-ending\, fantastical atlas. Whether hypnotized by the soft auras of color amidst primarily black and white surfaces\, or the swirling white mist\, Amy Schissel keeps us in the palm of her hand as we enter her multiverse. \n\n\nAmy Schissel (Canadian) currently lives outside of Miami\, FL and is an Assistant Professor of Painting at the University of Miami. She earned a BFA and MFA from the University of Ottawa and is the recipient of numerous awards including a 2016 Joan Mitchell Painting and Sculpture grant\, 2014 RBC Emerging Artist Award\, 2011 RBC Canadian Painting Competition finalist\, and the Brucebo Foundation Fine Arts Award. She has exhibited internationally\, and her work can be found in the collections of the West Virginia Museum of Fine Art\, Global Affairs Canada (Embassy of Brussels\, New Zealand Consulate)\, University of Brussels\, Gotland Museum of Fine Art\, City of Ottawa Art Collection\, and the Canada Council Art Bank among others. This is the artist’s first solo exhibition with HEMPHILL. \n\n  Save  
URL:https://artinamericaguide.com/event/amy-schissel/
LOCATION:HEMPHILL\, 1515 14th Street NW\, Washington\, DC\, 20005\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="HEMPHILL":MAILTO:gallery@hemphillfinearts.com
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250515
DTEND;VALUE=DATE:20250623
DTSTAMP:20260822T204157
CREATED:20250505T202700Z
LAST-MODIFIED:20250505T202700Z
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SUMMARY:Anthony Falcetta: Inverse Certainties
DESCRIPTION:Kathryn Markel Fine Arts  is pleased to present Inverse Certainties\, an exhibition of paintings by Anthony Falcetta. This is the artist’s first solo exhibition with the gallery and will take place in The Pocket Gallery at 179 10th Avenue. An artist reception will be held on May 22nd from 6-8pm.  \nFalcetta’s paintings are abstract explorations of surface\, color and space. He paints intuitively and in layers to conceal\, expose\, and shape the final composition through an array of processes. Vibrant planes of color extend over the surface in varied levels of texture. Some rise off the substrate while  others are scraped down or obscured by subsequent layers. Evidence of previous forms allude to Falcetta’s process and interest in time. Curiosity drives the work and for the artist\, the act of making is a manner of discovery. In his own words\, “I value the practice of painting as a way to explore both inside and outside — of myself\, my work\, and my surroundings.” \nThe work references space and objects and becomes a means of reinterpreting his internal and external conditions. He explains these ideas\, “I’m inspired by sources in the built environment: interior and exterior space\, mundane objects\, bright colors\, hard edges and sharp shadows\, street architecture and road markings\, and weathered commercial signage — things made to serve a purpose\, then left to age and change and often be totally overlooked.” Just as the forms in his work bear the evidence of prior choices and changes in the artist’s plans\, so too do physical items and places change with time and human intervention. Falcetta enacts time on the works and imbues them with history and dynamism. \nAnthony Falcetta is a native of Manchester\, CT\, and a 2001 graduate of Massachusetts College of Art and Design in Boston. His work has been exhibited around New England\, New York\, Denver and elsewhere\, and is included in various private and corporate collections. He lives and works in Beverly\, Massachusetts. \n  Save  
URL:https://artinamericaguide.com/event/anthony-falcetta-inverse-certainties/
LOCATION:179 10th Ave\, 179 10th Ave\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Kathryn Markel Fine Arts":MAILTO:markel@markelfinearts.com
END:VEVENT
END:VCALENDAR